Royal Opera House hits low note | reviews, news & interviews
Royal Opera House hits low note
Royal Opera House hits low note
Monday, 05 April 2010
The Royal Opera House's website in stasis
As anyone on the Royal Opera House's mailing list will no doubt be aware, today is the first day you can book for the new season. In theory.
As anyone on the Royal Opera House's mailing list will no doubt be aware, today is the first day you can book for the new season. In theory.
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Peter Grimes, Welsh National Opera review - febrile energy and rage
In every sense a tour de force
Owen Wingrave, RNCM, Manchester review - battle of a pacifist
Orpha Phelan brings on the big guns for Britten’s charge against war
Tales of Apollo and Hercules, London Handel Festival review - compelling elements, but a failed experiment
Conceptually the two cantatas just don't work together
La finta giardiniera, The Mozartists, Cadogan Hall review - blooms in the wild garden
Mozart's rambling early opera can still smell sweet
Der fliegende Holländer, Irish National Opera review - sailing to nowhere
Plenty of strong singing and playing, but the staging is static or inept
Die Zauberflöte, Royal Academy of Music review - first-rate youth makes for a moving experience
The production takes time to match Mozart's depths, but gets there halfway through
Mansfield Park, Guildhall School review - fun when frothy, chugging in romantic entanglements
Jonathan Dove’s strip-cartoon Jane Austen works well as a showcase for students
Uprising, Glyndebourne review - didactic community opera superbly performed
Jonathan Dove and April De Angelis go for the obvious, but this is still a rewarding project
Fledermaus, Irish National Opera review - sex, please, we're Viennese/American/Russian/Irish
Vivacious company makes the party buzz, does what it can around it
The Capulets and the Montagues, English Touring Opera review - the wise guys are singing like canaries
There's a bel canto feast when Bellini joins the Mob
Mary, Queen of Scots, English National Opera review - heroic effort for an overcooked history lesson
Heidi Stober delivers as beleaguered regent, but Thea Musgrave's opera is limiting
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