That Ochs sustains his injury in act 2 by being stabbed in the arse by the stem of the silver rose tells you most of what you need to know about Richard Jones’s production of Der Rosenkavalier for Glyndebourne. Of course, you can picture most of the rest from the fact that it’s a Richard Jones production: a vaguely 50s/60s setting, garish lighting, a supporting cast of grotesques, sharply angular sets clad in vibrantly hideous wallpaper. Glyndebourne could restage Anna Nicole in these Rosenkavalier sets without any amendment. (more…)
Two evenings, both with flaws as well as tremendous performances; both looked forward to immensely, and one more successful than the other.
The first – and most successful – was the concert performance of Der Freischütz at the Barbican (21/4). The LSO were on fine form, with all the gorgeous sonorities of the score richly displayed. Sir Colin Davis ensured there was the right amount of pep in all of the folksy numbers, the angst of Agathe and Max was given its space, and there was a liberal dose of fire and thunder in the Wolf’s Glen scene. I could have done without some of the electronic sound effects: I thought we left such things behind with John Culshaw’s Solti Ring recording. (more…)