Royal Opera
Lessons in Love and Violence, Royal Opera review - savage elegance never quite glows red-hotFriday, 11 May 2018
A rope is mercy; a razor-blade to the throat, a kiss; a red-hot poker… But, of course, we never get anything so literal as the poker in George Benjamin and Martin Crimp’s elegant, insinuating retelling of Christopher Marlowe’s Edward II. The title... Read more... |
4.48 Psychosis, Royal Opera, Lyric Hammersmith review - despairing truth in song and speechThursday, 26 April 2018
Depression, with or without psychotic episodes, is a rare subject for drama or music theatre - and with good reason: the sheer unrelenting monotony of anguish and self-absorption is hard to reproduce within a concentrated time-span. So we still... Read more... |
Lady Macbeth of Mtsensk, Royal Opera review - bleak rigour and black comedy still cast a spellFriday, 13 April 2018
Anyone who's seen Richard Jones's rigorous production before will remember the makeover – Katerina Izmailova, bored and brutalised housewife released by sex and murder from her shackles, having her drab bedroom expanded and redecorated in deliberate... Read more... |
Coraline, Royal Opera, Barbican review - spooky story, underwhelming scoreThursday, 05 April 2018
With the eyes of musical fashion turned relentlessly on the calculating stage works of chilly alchemist George Benjamin, hopes ran high for a brighter spark in a new opera by his contemporary Mark-Anthony Turnage. Would Coraline, a music-drama for... Read more... |
From the House of the Dead, Royal Opera review - Janáček's prison oddity prompts hot tearsThursday, 08 March 2018
A political prisoner is brutally initiated into the life of a state penitentiary, and leaves it little over 90 minutes later. Four inmates reveal their brutal past histories with elliptical strangeness - each would need an episode of something like... Read more... |
Carmen, Royal Opera review - clever concept, patchy singing, sexy dancingWednesday, 07 February 2018
Roll up, dépêchez-vous, for Carmen the - what? Circus? Vaudeville/music-hall/cabaret? Opéra-ballet, post-Rameau? Not, certainly, a show subject to the kind of updated realism which has been applied by just about every production other than the... Read more... |
The Return of Ulysses, Royal Opera, Roundhouse review - musical drama trumps dodgy stagecraftThursday, 11 January 2018
The power of music solves every problem, at least when as bewitchingly performed as it was here. With the great mezzo Christine Rice voiceless for at least a night, and rising star Caitlin Hulcup singing for her from the midst of the instruments in... Read more... |
Best of 2017: OperaTuesday, 26 December 2017
It may not have been the best year for eye-popping productions; even visionary director Richard Jones fell a bit short with a tame-ish Royal Opera Bohème, though his non-operatic The Twilight Zone is something else. Instead there's been time to... Read more... |
Cavalleria Rusticana/Pagliacci, Royal Opera review - one tenor, two samey brutesMonday, 04 December 2017
Are "Cav and Pag" inseparable? Clearly not, to judge from Opera North's "Little Greats" and elsewhere, but it's still the pairing of choice. Tricky, because as music-theatre, Leoncavallo's drama of rough life entwined with rough art stands high... Read more... |
Semiramide, Royal Opera review - Rossini's Queen is backMonday, 20 November 2017
It has long been a mystery why no new production of Semiramide should have been staged at Covent Garden since 1887: un offesa terribile considering that this splendid melodramma tragico should have been the inaugural production of the Royal Italian... Read more... |
Lucia di Lammermoor, Royal Opera review - creepy, violent and intenseTuesday, 31 October 2017
Katie Mitchell’s production of Lucia di Lammermoor opened at Covent Garden in 2016 and now returns for a first revival. Royal Opera were clearly expecting great things, even from the start, and this is the third cast to have presented the show,... Read more... |
Jonas Kaufmann: Tenor for the Ages, BBC Four review - a musical megastar with sword and shortbreadMonday, 16 October 2017
Now we know who sent Jonas Kaufmann the Union Jack boxer shorts for the Last Night of the Proms. Whether the sender’s identity is the bigger surprise, or the hint of ambiguity over whether the "Greatest Tenor in the World" had previously heard of... Read more... |
