A CORRESPONDENT’S SUMMER 2018 ROUNDUP (GLYNDEBOURNE)

Back in May, I was treated to a Rosenkavalier at Glyndebourne. Uncharacteristically, the weather was perfect, such that I was forced to purchase a Panama hat at the concession. I confess I drank just a bit too much champagne before the show. But, at the Long Interval, I reclaimed my dignity by drinking a bit too much champagne again. This revival of the Richard Jones’ cartoonish production (sets and costumes, perhaps a bit too campy for my taste, by Paul Steinberg and Nicky Gillibrand) really worked, particularly in the small theatre, stripping down the cultural references and releasing the characters from history. Lots of nice things about Kate Lindsey’s buttery Octavian and Brindley Sherrat’s idiomatic Ochs (imagine an evening of leider here in NY with such an original as Sherrat). The remarkably bright projection of acting-tenor Alun Rhys-Jenkins’ Valzacchi gave this character disproportionate important. But special word must be said about Rachael Willis-Sorensen, a truly lush (American) Marschallin soprano, a big voice, a beautiful presence. Watch for her Donna Anna at the Met starting late January and the first two weeks of February opposite the legendary Peter Mattei.