The gaps - tantalising or otherwise - in the 2015 Edinburgh Festival programme have now been filled. Two operas were added yesterday to the schedule at the Festival Theatre plus an electronic encounter with The Four Seasons at the Playhouse.
The Magic Flute will have four performances from Berlin’s Komische Oper, and The Marriage of Figaro three from Ivan Fischer and his Budapest Festival Orchestra with sundry soloists . Compared with the old days, when the two Mozart operas might have been given up to ten performances each in the (admittedly smaller) King’s Theatre, it is not a lot. But it is obviously better than nothing.
Indeed Fischer’s decision to break down the barriers between performers and audience, already successfully tried out by him in New York, has good omens, though how it will work on the stage of the Festival Theatre remains to be seen. If you admire Fischer as much as I do, you will certainly want to see and hear this progressive - and superlative - Mozartian in action.
As for The Magic Flute, it, too, this German expressionist production in the style of the 1920s is coming from a reliable source. But how well will Vivaldi’s four violin concertos survive their updating, in which, besides the electronics, the BBC Scottish Symphony Orchestra will be taking part? Better, let us hope, than Handel’s Messiah at the long-defunct Crystal Palace.
18 March 2015
The Magic Flute will have four performances from Berlin’s Komische Oper, and The Marriage of Figaro three from Ivan Fischer and his Budapest Festival Orchestra with sundry soloists . Compared with the old days, when the two Mozart operas might have been given up to ten performances each in the (admittedly smaller) King’s Theatre, it is not a lot. But it is obviously better than nothing.
Indeed Fischer’s decision to break down the barriers between performers and audience, already successfully tried out by him in New York, has good omens, though how it will work on the stage of the Festival Theatre remains to be seen. If you admire Fischer as much as I do, you will certainly want to see and hear this progressive - and superlative - Mozartian in action.
As for The Magic Flute, it, too, this German expressionist production in the style of the 1920s is coming from a reliable source. But how well will Vivaldi’s four violin concertos survive their updating, in which, besides the electronics, the BBC Scottish Symphony Orchestra will be taking part? Better, let us hope, than Handel’s Messiah at the long-defunct Crystal Palace.
18 March 2015
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