OPERA


Reviews


L’Isola disabitata
By Editorial Staff
While Gounod’s Roméo et Juliette was being revived upstairs on the main stage, as the focal point of the Royal Opera’s Meet the Jette Parker Young Artists Week, Haydn’s
Roméo et Juliette
By Editorial Staff
Seeing the Royal Opera’s production of Gounod’s Roméo et Juliette is like being cast back to a bygone era.  There’s little directorial intervention in Nicolas
Rigoletto
By Editorial Staff
A grey, decaying stage is dominated by a skewed palazzo that rotates, Sean Kenny-style, to represent all Rigoletto’s locations in and around a single edifice. Designer Michael Vale’s ...
La Bohème
Jonathan Miller’s 1920s inspired staging of La Bohème returns to the Coliseum for its first revival and remains as uninvolving and under-cast as when it was new last year. Although
The Barber of Seville (or Salisbury)
By Editorial Staff
OperaUpClose’s  La bohème was always going to be a hard act to follow.  The problem with their new Barber of Seville is that, unlike the Puccini which came out
Promised End
By Editorial Staff
“Well, it’s different” muttered a woman in front of me at the interval. The trouble is it’s not, though, because Alexander Goehr’s new opera ploughs an over-familiar furr
Minotaur Operas
By Editorial Staff
While Islington’s King’s Head is launching itself as London’s latest opera house, it’s fair to point out that another pub, the Rosemary Branch, a few streets closer to Shore
Radamisto
By Editorial Staff
As drama, Radamisto looks forward to later opera seria, as far even as Mozart, and as a result is more dramatically effective than almost any other Handel opera seen recently in Lond
Les Pêcheurs de Perles
By Editorial Staff
Orchestra and Chorus of The Royal Opera at The Royal Opera House, Monday 4 October 2010. It is impossible to sit through this concert performance of Bizet’s opera without thinking of the Labo
Pleasure’s Progress
Having wowed audiences with his enchanting Faeries at the Linbury, for his new work Will Tuckett’s turned to an altogether darker source, namely Hogarth’s 18th century etchings of