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New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
Fiona Maddocks's rating
Reader rating
Mesmerising: Rolando Vilazon (Don Carlo) and Marina Poplavskaya (Elisabetta)
Moments into Covent Garden’s new Don Carlo, the Mexican tenor Rolando Villazon takes centre stage for his first urgent outpouring of love for a woman he’s barely met. It sets the tone for an impassioned evening in this absorbing staging by National Theatre director Nicholas Hytner, superbly designed by Bob Crowley and conducted with tender intensity by Antonio Pappano.
Hytner first directed Schiller’s verse drama 20 years ago. In Verdi’s hands, this dark account of the Infante Carlo — whose betrothed, Elizabeth of Valois, instead marries his father Philip II of Spain — becomes a magnificent grand opera demanding top voices, including three deep, dark bass roles. Verdi reworked the piece over two decades and this was the later, Italian version. The bitter politics of 16th century Flanders and Spain, expressed through the outpourings of the (excellent) chorus, provide a backdrop to the individual agonies of king, queen and son.
Thoughts of these intrigues call up a shadowy Spanish baroque world spiked with glints of gold. So it proved here: Mark Henderson’s glittering Zurburanesque lighting pierced the darkness.
Crowley has updated doublet-and-hose tradition with a deft twist of redsplashed Japanese modernity.
From the opening, a frost-crystallised Fontainebleau forest, to the gloomy monastery and the fantastic gilded spectacle of Vallodolid Cathedral, all was of a piece. Casting was impeccable. Russian soprano Marina Poplavskaya, so statuesque and cool yet trembling with pent-up agitation, looked stunning as Elisabetta. She has a smooth, ivory vocal tone, a little scuffed at the top but gleaming in mid and low register. Her stillness is the counterpoise to her lover’s febrile vehemence, as expressed by Villazon.
Ferruccio Furlanetto’s proud Philip II mesmerised with his intelligence and vocal beauty. As Eboli, Sonia Garnassi’s had gutsty vitality. Winning extra thunderous applause, Simon Keenlyside’s Rodrigo showed customary perception and verve. Robert Lloyd, Eric Halfvarson and Jette Parker Young Artist Pumeza Matshikiza gave excellent support. The production team attracted a few incomprehensible boos amid cheers.
Holding all together, with a fine handling of the score’s own chiaroscuro display of darkness and light, was Antonio Pappano. He unlocked the compassionate heart of this work, while steering Verdi’s monumental edifice forward with drive. The ROH orchestra would have been the star, were there not already so many jostling for the title.
Until 29 June. Information: 020 7304 4000. BBC Radio 3 relay, 28 June.
Details are correct at the time of publication - please check with venue before booking.
