Batman robbing: Johann Strauss’ Die Fledermaus, Fulham Opera

Fulham Opera, noted in recent years for their serious and compelling Wagner and Verdi output, are also not shy of comedy (as demonstrated by their very successful Falstaff). Die Fledermaus is a revenge comedy in the lighter tradition of operetta, and Fulham Opera’s take on Strauss is characteristically skilful, immediate, and musically polished, with minimal…

Blame game: Strauss’ Daphne at Grimeborn

Daphne comes from one of the most controversial (read: embarrassing) periods of Strauss’ life, when he continued to compose under the Nazi regime, rather than taking a principled stand (or moving away from Germany). For Strauss’ Daphne at the Arcola Theatre, Dalston, director and conductor José Manuel Gandia took Strauss’ discomfiting collaboration as the starting point…

Romancing the stones

The desecration of monuments is a hot topic today: ISIS and other actors in the Middle East are being regularly, widely and rightly castigated for their destruction of world heritage sites, something for which US troops were already being criticised in the earliest stages of the Iraq War. It’s not a new trend: the price…

Ariadne auf Naxos performed by Glyndebourne Opera

Method in its madness: Strauss’ Ariadne auf Naxos, Glyndebourne

To say that the 2013 Glyndebourne production of Strauss’ Ariadne auf Naxos has received “mixed” reviews would be an understatement. The reviews have, in fact, been terrible. So terrible, that even Glyndebourne could only fish out a 4-star, not a 5-star, review to put on their website, and that only from the august operatic tome…