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Emphatic singing characterises much of Garsington’s darkly imagined Queen of Spades
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Emphatic singing characterises much of Garsington’s darkly imagined Queen of Spades
When Tchaikovsky’s card-game opera first appeared at London’s Drury Lane Theatre in 1915, it was announced by The Times as ‘a romance’. That’s marketing for you and pushing things a bit far, even with Pushkin’s original novella of 1833, where Lisa marries a dull functionary, while the anti-hero Herman, diminished by his gambling addiction, is confined to a mental asylum. Nothing so unsensational in Tchaikovsky’s reimagining who, with his brother…
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