Photo credit: Marc Brenner

(4 / 5)



I thought I had heard the last of John Tavener back in 2015 with Floods of Dreams, from the Britten Sinfonia. After a lifetime in Orthodoxy, Tavener passed in 2013, just shy of his 70th birthday. Prior to his death, he spent many years considering the universal nature of faith. Through this, he found many source materials in Hinduism, Buddhism, Islam and other beliefs. His fallout with his main writer for his music, Mother Thekla who sadly saw this as a step too far and a step away from Orthodoxy.

Originally written in 2005, Krishna was never a commission. Sir John just wrote it for pleasure. Hearing it now over twenty years later was rather moving. Most of his work is filled with infinite sadness. Listening to his last opera on record, Mary of Egypt proves you simply have to be there in person. I think Krishna has more going for it, as this “mystical pantomime” has some truly quite beautiful music, Tavener never afraid to embrace traditional modes. There are much respect to the story of Krishna, Indian music and the culture surrounding. There may be notes on appropriation here, though this shared experience is another universal truth.

Tavener is still the youngest ever commissioned composer at the Royal Opera and his popularity has never gone away. His honouring of the celestial Krishna and how he created such a strange and trippy opera on the subject gets a lot of respect out of me. David Poutney, who did heaps of work with Welsh National Opera,  took the directing reigns here. He loves pageantry and there are numerous silly billy moments for the chorus sat in a traditional structure.  I was not expecting a giant, inflatable cobra to be on stage, as Krishna battles it, a phase of good verses evil. There is not a conventional story here, but rather moments from Krishna life.

Mark Shanahan as conductor and The Gascoigne Orchestra brought this treat to life with joy and reverence. We get the ringing temple bowls and sombre handballs, percussion Tavener has used for decades. Drummer Nao Masuda had many moments of dramatic interjection on these beautiful drums, as well as rain trees, bowls and more. Designer Rachana Jadhavhas committed to the most faithful costumes and they are a stunning sight to behold. Krishna’s transformation into maturity is shared between four singers, each costume the familiar and dazzling clothes of the god.

The set of women dancers add auras of expressionism and further traditional moves thanks to choreographer Shobana Jeyasingh. There is some top-class singing on  board this production. Ross Ramgobin as the Celestial Narrator (who’s costume appears to have changed since the photo run) is the announcer of each scene. Calmness in the sung line is the ideal and is seen off and on in this compressed role. Sara Fulgoni as the weeping cow Bhumi and Krishna’s mother Yashoda has many moments of depths for mezzo, evocative and impassioned. Nazan Fikret as Rikmini who marries Krishna and Radha from Juila Sitkovetsky north get stratospheric bars during their extensive Love Duet and other embraces. Jennifer Statham is seen little as the child version of Radha, blindfolded and playing games with Krishna, vocally sweet and playing a child well.

Most remarkable are the four singers who see Krishna is various stages of his development. Child version is Rosa Sparks, who getting the biggest applause at the curtain, has real colour and range and a voice that absolutely should be heard much more. Adolescent Krishna is Eliran Kadussi a touching countertenor and joy to listen to. Young man Krishna is from Welshman tenor Elgan Llŷr Thomas, who has hefty voice demands for the role. He seemed to struggle slightly in the blockbuster love duet, but it is just so demanding. I’d like to hear more from him. Krishna as a man was Brett Polegato, very Messiaen St Francis like in his broad, wise aria. With bow and arrow abound and fabulous attire, it was great to just see him on stage. Though, all four singers together united on stage, was a lovely vision. 

Sir John’s popularity is justified thanks to the deeply emotional core to his faith and therefore his music. This was a lovely send off of a life in music.

Krishna continues at Grange Park Opera till 2nd July 2026