Opera Reviews
Phaedra + Minotaur, Royal Ballet and Opera, Linbury Theatre review - a double dose of Greek mythMonday, 10 February 2025
Greek myths are all over theatre stages at the moment, their fierce, vengeful stories offering unnerving parallels with events in our modern world. The latest such project is a pithy double bill of opera and dance, both halves (though the first lasts only 20 minutes) featuring the half-man, half-bull Minotaur, and the havoc he wreaks, even in death. Read more... |
The Marriage of Figaro, Welsh National Opera review - no concessions and no holds barredSaturday, 08 February 2025
Drained as they are at present of crucial funds, WNO are managing to put on only two operas this spring, and spaced out to the point where it could hardly be called a season. For their new Peter Grimes we must wait till April. Meanwhile we can relish Tobias Richter’s sparkling nine-year-old Figaro, skilfully revived, with a few tweaks, by Max Hoehn. Read more... |
The Marriage of Figaro, English National Opera review - long on laughs, short on kerb appealThursday, 06 February 2025
Who’s in and who’s not – on the secret, the joke, the relationship, the family, the club? That’s the fulcrum of Joe Hill-Gibbins’ ingeniously simple Figaro for English National Opera. A white box and a row of doors supply the only set to speak of for a production less interested in the entrenched tensions of upstairs-downstairs than the shifting alliances and fragile coalitions of a household in flux. Read more... |
The Flying Dutchman, Opera North review - a director’s take on WagnerMonday, 03 February 2025
Saturday night could have given us the opportunity to witness the Opera North debut of Canadian soprano Layla Claire at the Grand Theatre, as well as Annabel Arden’s new production of The Flying Dutchman. Read more... |
Love Life, Opera North review - Lerner and Weill's blast into the pastFriday, 17 January 2025
The past is a foreign country: they do things differently there. But in Love Life, Kurt Weill and Alan Jay Lerner’s musical from 1948, it’s all the same country. The couple whose marriage is at the centre of it all are seen in different eras of US history, and while they hardly age, the country changes vastly. Read more... |
Jenůfa, Royal Opera review - electrifying details undermined by dead spaceThursday, 16 January 2025
This was always going to be Jakub Hrůša’s night, his first at the Royal Opera since performances of Wagner’s Lohengrin won him the role of Antonio Pappano’s successor as Music Director, which he takes up at the beginning in the 2025/6 season. Read more... |
Best of 2024: OperaFriday, 27 December 2024
Ireland takes the palm for best of 2024, with Wexford hitting comic heights among its three rarities in Donizettian let’s-make-an-opera, while Irish National Opera gave us a world-class Salome, a Vivaldi rarity strongly cast, a Rigoletto featuring my favourite performance from a Manchester-born Irish-Iranian soprano, and the perfect solution to Berlioz’s half-Shakespearean Béatrice et Bénédict, thanks to Fiona Shaw and three more sensational Irish women. Read more... |
La rondine, LSO, Pappano, Barbican review - sumptuous orchestral playing in an underrated scoreWednesday, 11 December 2024
There are no battlement leaps or murderous vows, no pistols or daggers, not so much as a slight cough disturbs the serene plot of La rondine – the Puccini opera once labelled a “poor man’s Traviata”. Read more... |
L’étoile, RNCM, Manchester review - lavish and cheerful absurdityWednesday, 11 December 2024
Emmanuel Chabrier’s L’étoile is not exactly a French farce, but it comes from a post-Offenbach era (1877 saw its premiere) when cheerful absurdity was certainly expected, especially at Offenbach’s old theatre, the Bouffes Parisiens. Read more... |
The Pirates of Penzance, English National Opera review - fresh energy in clear-sighted G&SSaturday, 07 December 2024
“Comedy is a serious thing,” quoth David Garrick. Gilbert and Sullivan knew it, and so does Mike Leigh, having bequeathed to ENO a clear and unfussy Pirates of Penzance. It does renewed honour to Victorian genius in Sarah Tipple’s freshly-cast revival. Most striking of all, perhaps, is how seriously conductor Natalie Murray Beale takes each musically rich number, vindicating Sullivan’s reputation as more than just a tunesmith to match Gilbert’s endlessly sharp and funny words. Read more... |
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