This year’s starter was a revival of Annabel Arden’s witty production of Rossini’s Il Barbiere di Siviglia. Its choreography may be overblown, but it’s a splendid feast of comic coloratura. This is thanks to Cecilia Molinari as the love-interest, to the raw energy of German Olvera in the title role, and to the sweet-toned Jonah Hoskins as Count Almaviva.
Parsifal, by Wagner, at Glyndebourne, 10 May 2025, as part of Festival 2025. Directed by Jetske Mijnssen. Provider: Glyndebourne Productions Ltd.
Some claim it’s a piece of overt anti-Semitism. Others argue that it has to be a Christian tract, since the Holy Grail containing Christ’s blood – and the Spear which pierced his side – are the relics on which the action turns. Sexual lust and its chaste renunciation are the polarities between which each of its three main characters are trapped.
One great strength of this production is the way each soloist finds ways to make their character pulsatingly real. Audun Iversen’s Amfortas makes a haunting invalid, a mixture of querulous complaint and heart-rending pathos, while tenor Daniel Johansson brings wide-eyed innocence to the title role.
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With a bunch of oddballs like this, and a drama encompassing landscapes of many kinds, no setting could ever seem ‘right’, and Mijnssen has opted for provincial Russia in Chekhov’s day – not an obvious fit.
Until June 24
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