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Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps. The Princeton Festival brings a run of three high-quality opera performances to town each summer, alternating between a modern opera and a traditional warhorse.

Many of the ingredients for a memorable concert were there, or so they initially seemed to be. What might have been?

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What might have been if Stefan Herheim had not changed his Konzept so late in the day? I had actually forgotten about that until reminded during the interval, yet had already began to wonder whether the production had been, especially for him, unusually rushed. There is something very Danish about this Don Giovanni. A blazing performance, formidably dramatic, executed with stunning assurance. Salonen has made his mark on the Philharmonia through in-depth explorations of the 20th century repertoire he loves so well.

It caused a sensation at its unveiling at the Aix-en-Provence Festival. Alone, tranquil and serene. In that sense, so did I. The Grange Festival had assembled a cast to grace any stage, a cast that more than lived up to expectations on this, the first night. Opera seems to travel far from the opera house these days.

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Or something. Most of all we marvel at genius of the composer and admire the canny story telling of the Zambello production. Fast forward six months, and what a world of difference! The shepherds and nymphs are at play!

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  8. Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera. But even more beautiful is freedom! Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of in the Teatro Giustiniani di S.

    It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams. He dispatches both her and her lover Aegisthus. What a treat the London Music Conservatoires serve up for opera-goers each season. Absence makes the heart grow fonder; or does it?

    Or rather, what could such a question even mean? Standing in shadow, encircled by the five players of the viol consort Fretwork, as the summer storm raged outside Milton Court Concert Hall countertenor Iestyn Davies offered mesmeric reassurance to the capacity audience during this intriguing meeting of the baroque and the modern. As a whole, this concert proved a curious affair. The idea of a night off from the symphonic Beethoven to turn to chamber works was, in principle, a good one, but the sole Gerald Barry piece here seemed oddly out of place — and not in a productive, provocative way.

    Even the Beethoven pieces did not really seem to fit together especially well. A lovely performance of the op. Seven, they are Seven , op. Revolution, repetition, rhetoric. On my way to meet countertenor Iestyn Davies, I ponder if these are the elements that might form connecting threads between the music of Henry Purcell and Michael Nyman, whose works will be brought together later this month when Davies joins the viol consort Fretwork for a thought-provoking recital at Milton Court Concert Hall.

    This concert might have been re-titled Remembrance of Musical Times Past: the time, that is, when French song, nurtured in the Proustian Parisian salons, began to gain a foothold in public concert halls.


    Then that red plush. New from Harmonia Mundi, Perpetual Night. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court. Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores.

    This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot , was her solo debut at the venue. As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. At his best, Matthias Goerne does serious ernst at least as well as anyone else.