Competitions always generate interest and controversy.
The sudden death of Guiseppe Sinopoli whilst conducting Aida at the end of last month shook the musical world, and his legacy is reviewed by Marc Bridle , who believes he was finest as an opera conductor. In the last act sleepwalking scene she finds too the 'husky, stifled voice' Verdi wanted, and Sinopoli discovers a tragic grandeur there and in the swift denouement. This is a Macbeth for the new century and a worthy memorial for Guiseppe Sinopoli. They vary disconcertingly as to musical and visual values and directorial approaches, and our firm preference remains with those that take us into the theatre to share the experience of a live audience. The reactions of each character whilst another is singing are never overdone and are superbly caught, and the whole is vastly enhanced by the subtitles, lack of which had left me underwhelmed by Arabella in the past.