tue 28/05/2024

opera directors

Death In Venice, Welsh National Opera review - breathtaking Britten

Benjamin Britten’s last opera Death in Venice (1973), adapted from Thomas Mann’s novella of the same name (1912) and the subject of one of Visconti’s later, most celebrated films, explores homoerotic attraction, the nature of beauty and the...

Read more...

theartsdesk in Strasbourg: crossing the frontiers

A single pair of swans glided serenely under the bridges of the river Ill as I walked to the premiere of the Opéra National du Rhin’s new production of Lohengrin in Strasbourg on Sunday.It felt like an auspicious omen for Michael Spyres’s first full...

Read more...

Giant, Linbury Theatre review - a vision fully realised

Abandon hope of the human comedy so precisely charted in Hilary Mantel’s related historical fiction The Giant, O’Brien, prepare for a vision of outsized body and soul revealed in sleep, and your patience will be rewarded. Sarah Angliss’s haunting...

Read more...

The Magic Flute, English National Opera review - return of an enchanted evening

Trials by fire and water pale in comparison with trials by Arts Council England. English National Opera’s long torment has lately involved redundancy notices issued mid-performance and the enforcement of a sub-standard contract for chorus and...

Read more...

Best of 2022: Opera

Looking through everything we’ve covered this year – and some of our reviewers have made their choices from an even wider sphere – I find, as in 2021, that the abundance of classical-concert top choices is richer than the number of truly outstanding...

Read more...

Patience, Charles Court Opera, Wilton's Music Hall review - bar room bliss

“Twenty lovesick maidens we,” pining in stained-glass attitudes for florid poet Reginald Bunthorne, usually kick off Gilbert and Sullivan’s delicious mockery of the high (or cod) aesthetical. That might have been a problem for Charles Court Opera’s...

Read more...

Otello, Grange Park Opera review - angels and demons

The devil, in Verdi’s Otello, doesn’t quite have all the best tunes. Desdemona trumps him there. But the arch-manipulator Iago boasts a part of such polished, seductive wickedness that (as in Shakespeare’s tragedy) the villain can often make off...

Read more...

Best of 2021: Opera

January to mid-May 2021 were the bleakest Covid months, yielding only the occasional livestream at least half as good as being there (Barrie Kosky’s magically reinvented Strauss Der Rosenkavalier from Munich, a film of Britten's The Turn of the...

Read more...

Remembering Graham Vick (1953-2021) - top colleagues on one of the greatest opera directors

Five weeks have passed since the death of opera director Graham Vick from complications due to Covid-19, shocking even to those of us (un)prepared for the worst, and yet so many of us think about him every day. For the musicians, actors, dancers and...

Read more...

RhineGold, Birmingham Opera Company, Symphony Hall review - music-drama at the highest level

The love of power corrupts, the power of love falters or fails. The essence of Wagner’s Ring of the Nibelung is also what Graham Vick communicated so stunningly in many of his unforgettable productions with his Birmingham Opera Company (...

Read more...

GogolFest:Dream review - the best music festival of the summer?

GogolFest:Dream in Kherson, somewhere near the Crimea in Ukraine was the music festival of the summer. Admittedly, in my case and for many, having missed out on WOMAD, Glastonbury, Fez, and others it was the only festival of the summer, and the bar...

Read more...

The Telephone, Scottish Opera/Cargill, RSNO, Søndergård, Edinburgh International Festival online - human emotions in digital form

Lockdown, perhaps more than any other time, has amplified how modern technology can be both a blessing and a curse. Of course, it’s wonderful to have the means to connect with friends and family scattered across the globe; carry on working, learning...

Read more...
Subscribe to opera directors