Vanessa

Samuel Barber’s Vanessa doesn’t get performed much and the recently released recording of the 2018 Glyndebourne production is the only video version available.  It’s pretty interesting, if perplexing at times, and I’m not as convinced as many of the people interviewed in the “extras” portion of the disk that this is an “under-rated masterpiece”.

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The ceremony of Innocence is drowned

Jonathan Kent sets his 2011 Glyndebourne production of The Turn of the Screw in the 1950s.  It’s effective enough especially when combined with Paul Brown’s beautiful and ingenious set and Mark Henderson’s evocative lighting.  The set centres on a glass panel which appears in different places and different angles but always suggesting a semi-permeable membrane.  Between reality and imagination?  Knowledge and innocence?  Good and evil?  All are hinted at.  A rotating platform allows other set elements to be rapidly and effectively deployed.  There’s also a very clever treatment of the prologue involving 8mm home video.

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