horizontal line

Can you make this opera mean anything? Director Dmitri Tcherniakov will die trying – whether or not it’s in any form that Borodin would recognise. And with deftreorganising, flashbacks, excisions and insertions at the Met he made an Igor well-engineered towards an audience weaned on survivalist rubbish, with a dash of nationalist agitprop for the Pan- Slav gang too. Much time is spent wandering around the controversial $169,000 ($13.50 per flower) poppy-field set, before things get more interesting with back- home Yaroslavna and bad bro Galitsky. Later a real impetus develops – Putyvl is invaded, everything is destroyed, Igor (Ildar Abdrazakov) returns to the wasteland he has caused and in the best insertion sings a long Mea Culpa. But he remains a blank. Petrenko’s vivid Galitsky (with 100 per cent operatic roistering retinue), Anita Rachvelishvili’s spine-crushing Konchakovna and Oksana Dyka’s magnetic but vocally odd Yaroslavna are good. Orchestra and chorus are magnificent, and Gianandrea Noseda generates power and momentum. The final redemptionist insertion from Mlada feels fake.

Robin Thicknesse Read the full review on Agora Classica

   Read full review   

To continue reading, please upgrade to a premium account. You will have immediate full access.

Read more classical music reviews online here:

Opera Now, 2015 - ©Rhinegold Publishing