John Tomlinson

“This opera, premiered at the Royal Opera last April, seems to me to be a masterpiece, of the kind that one feels the greatness of before one has a complete understanding of it. …the Minotaur is a terrifying and pained figure. This performance is the climax of John Tomlinson's career, in a part written with his huge, gravelly voice in mind. The other compelling figure is Ariadne... Christine Rice, bearing the weight of exposition and of suffering, uses her wonderfully rich mezzo to stunning effect.” BBC Music Magazine, December 2008 *****

“The filming reinforces the strengths of Stephen Langridge's tightly controlled, potently expressive production in an economical yet atmospheric setting, with the whole ensemble totally engaged in the drama's dark enterprise. Repeated hearings underline that, in the end, this tragedy is the more convincing for the way its turn towards pathos does not involve any false consolation.” Gramophone Magazine, January 2009

“Birtwistle's latest large-scale music drama, written for Covent Garden, is a quite different experience on DVD: what might have been planned by composer and stage director to be witnessed from a distance is shown in unsparing close-up. But this seething, monumental reinvention of one of the most disquieting Greek myths – with a pithy libretto by David Harsent – is neither betrayed nor diminished by this excellent film. Only in its final stages does the opera's focus shift decisively to the doomed Minotaur from the scheming Ariadne, and the drama's most essential point is that this Ariadne – as different from Strauss's as Birtwistle's Orpheus is different from Gluck's – is in her own way as much of a monster as the half-man/half-bull. These demanding roles are projected with maximum musical eloquence by Christine Rice and Sir John Tomlinson, no doubt because – as Rice makes clear in the absorbing 30-minute documentary that accompanies the performance – what is demanding is also intensely rewarding to singers prepared to commit themselves to a steep learning curve. Equal commitment is evident in Johan Reuter's Theseus, the conventions of heroic posturing given new depth and relevance in text, music and vocal acting alike. We see little of Antonio Pappano and his orchestra, but the excellent sound never lets us escape the inexorable magnetism of the instrumental continuum.” Gramophone Classical Music Guide, 2010

“Glyndebourne under the regime of director Graham Vick now looks ideal for Tchaikovsky's 'lyric scenes'. The bare wooden floors, open skies and distancing curtains of Richard Hudson's sets… allow us to focus on the intense characterisations. Will there ever be a Tatyana closer to the ideal of Pushkin's impulsive heroine than Elena Prokina? Every movement, every facial gesture speaks of a teenage girl - and later a barely-repressed society lady - with an intense inner life... Martin Thompson's Lensky fills the poet's raptures and despair with luminous candour, and Wojciech Drabowicz captures the torment of Onegin's too-late love for the girl he once rejected... Andrew Davis's buoyant conducting makes sure the uneventful opening scene and the final big duet move along without a hint of torpor or forced rhetoric.” BBC Music Magazine, February 2006 *****

“John Copley's direction… tells the compulsive farrago of unhistorical history with pace and clarity. It allows Baker's Queen of Scots to face off Rosalind Plowright's fearless Queen of England with a subtle mix of dignity, fear and bravado. …Alan Opie and John Tomlinson tease out every opportunity from the opposing Ministers; Sir Charles Mackerras gives the music unsentimentalised dramatic identity.” Gramophone Magazine, December 2005