Cher Public

Jon Taylor

Country matters

Je vois d’autres lumières.

The internal jukebox working in the way it does, I have for over 20 years been unable to hear any reference to Glyndebourne without Kit and the Widow popping into my head. They were a cabaret duo who were a permanent fixture at the Edinburgh Fringe and one of the mainstays of their repertoire was a song, set to a well-known operatic overture (I leave it to the cher public to work out which one) which contained the lines “We’re off to Glyndebourne/To see a rather boring opera by Rossini.”  Read more »

Hard candy

In theatre, there are two types of tragedy. There’s the tearjerker (Romeo and Juliet, The Glass Menagerie) which leaves you wet-cheeked, cathartised and endorphinned, and there’s the sledgehammer (Antigone, Ghosts) where you sit dazed in your seat for five minutes after it finishes and don’t say much on the way home.  Read more »

Medium cool

A riddle, inside a mystery, wrapped in cashmere.

It’s a common criticism of Manon Lescaut , whether in the hands of Massenet or Puccini, that it’s hard to feel a lot of sympathy for the heroine in the light of her actions. How much harder, then, is the task Nico Muhly has set himself in presenting Winston Graham’s elusive heroine Marnie (and this is very definitely an adaptation of Graham,not Hitchcock) on the operatic stage?  Read more »

Queen of the damned

Semiramide—a better opera than this dude expected!”

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