Onegin was Mariusz Kwiecin, a sweet-voiced Pole. Tatyana Monogarova seemed to be playing Ophelia rather than Tatyana in the first two acts, but woke up in the third. All very Stanislavskian.įew of the singers are known outside Russia. Although the duel is meant to be in winter, everyone wears summer suits and the entire action takes place around a large dinner table. Lensky doesn’t get shot in a duel he dies in a firearms wrestling accident with Onegin. The production is four-square Russian with minor variants. Dmitri Jurowski, Vladimir’s brother, conducted. The Bolshoi orchestra has a fabulous woodwind section, and its strings sound in pretty good form. The angle of vision is slightly limited – you don’t see right of stage – but you overlook the orchestra pit and can hear just how much of the fifth and sixth symphonies is anticipated in the opera score. Since the Royal Family were in Balmoral, we occupied it on our own, and very comfortable it was. Those issues cannot be dodged much longer. It helps that there are now two hats in the ring, each with an outstanding international record.įor reasons we need not examine here, my wife and I occupied the Royal Box at Covent Garden for the opening night of the Bolshoi run of Tchaikovsky’s Eugene Onegin. The Met will need strong candidates to be free when it has to get to grips with James Levine’s health problems and its artistic future. That said, you’d have to be a slow-witted Martian with mobility problems not to spot that the timing of the two departures looks just perfect for the Metropolitan Opera. There will be plenty of press chatter in the years ahead about likely contenders and I don’t intend to waste this space on idle speculation.
That year, 2013, will also be Antonio Pappano’s last at Covent Garden. The ever-rising Juro will be just 41 when he moves on. If you’re a young musician, this is the month to seize your chance.Īt the closing performance of the Glyndebourne season, chairman Gus Christie announced that Vladimir Jurowski was leaving in three years (as tweeted by Jessica Duchen). By then he will have put in 13 happy years and kept Glyndebourne fresh and challenging throughout, deepening the Wagner content, introducting Russian operas and generally being there through each summer as a hands-on musical leader. It’s still a bit of a shock to see an empty Festival Hall when, after a rousing musical finale, there’s no applause, but Jurowski doesn’t seem to notice and, therefore, neither do his musicians. I meant to watch just a few minutes of this concert but then got hooked by Jurowski’s quiet showmanship and the LPO’s zest to be playing again. Quick jump to a riotous cocktail party given by Arthur Bliss (Riot) and then finishing up a most entertaining concert with a work by a living composer, James MacMillan’s Sinfonietta. Back on his feet, Jurowski soon gets to 1820, Louis Spohr saluting his hero, Beethoven, with his dramatic Symphony No 2, and soon moves onto 1920, where Arthur Honegger is watching the sunrise over the Swiss Alps and composing his Pastorale d’été. The rest of the concert is equally unfamiliar.
Delightful, and so much less often stuck in our faces than The Four Seasons. His excuse for sitting down is to start this excellent London Philharmonic concert with Vivaldi’s overture, La Verita in Cimento composed for a carnival in 1720. Here’s a rare view of the conductor, Vladimir Jurowski, thoroughly enjoying himself at the harpsichord. LPO – Interrupted Stories – Jurowski at the harpsichord
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