A reconstruction of George Butterworth’s Fantasia for Orchestra provided a seamless piece of musical speculation, but it was Finzi’s final Cello Concerto that gave this concert substance
Glyndebourne, LewesStéphanie d’Oustrac’s Carmen combines dignity, intelligence and knowing sexual allure in this visually spectacular production
Royal Festival Hall, LondonIván Fischer and the BFO gave a colossal force and momentum to Brahms, while soloist Maria João Pires delivered a near-perfect performance of Mozart
It has been a good year for Gaetano Donizetti. For the season opener, Glyndebourne has chosen Poliuto, his story of religious persecution and martyrdom in Roman-occupied Armenia, never heard in the UK – or, at least, not heard quite like this: at London’s Royal Festival Hall only a few months ago, Opera Rara exhumed Les Martyrs, the sprawling four-act opera into which Donizetti reworked Poliuto to cater for the more extravagant tastes of Paris audiences. Poliuto is far leaner than Les Martyrs – the closing act is so short that, at Glyndebourne, it’s over before the interval picnic has gone down.
The London Philharmonic sound airy and idiomatic under Enrique Mazzola’s pacy conducting, and the chorus is strong with outstanding soloists. In fact, the whole evening would fly by if it weren’t for the flatness of Mariame Clément’s production.
Related: New David Hare play to dramatise the birth of Glyndebourne
"Maintenance is a breeze. I am so happy that we chose InstantEncore!"