thu 09/04/2020

Royal Opera

Classical Music/Opera direct to home 5 - orchestral manoeuvres in the light

Necessity has certainly been the mother of invention over the past  three weeks, and orchestras especially, left in the dark with no means of coming together other than virtually, have had to adapt double-quick. The players, of course, are...

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Susanna, Royal Opera/London Handel Festival review - fitful shinings

That virtue can be fascinating and prayers to a just God dramatic have been proved in riveting productions of two late Handel oratorios, Theodora and Jephtha. Whether Susanna can ever be reclaimed for the stage as powerfully seems unlikely, but this...

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Fidelio, Royal Opera review - fitfully vivid singing in a dramatic void

Emblazoned on a drop-curtain in front of a mirror-image of the auditorium, the three great tenets of the French revolution seem to be mocking us right at the start, above all the second of them: equality, really, given the make-up of the Royal Opera...

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Alice's Adventures Under Ground, Royal Opera review - a blast for children of all ages

"About as much fun as you can have with your clothes on," promised a member of the two Royal Opera casts teamworking their way through multiple roles and costume changes for what in effect is Alice's Adventures Under Ground and Through the Looking...

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theartsdesk Q&A: Director Sir Jonathan Miller

Doctor, writer, sculptor, curator, comedian, presenter and director, Sir Jonathan Miller (1934-2019) was one of the mighty cultural and intellectual omnivores of our age. To those of a musical or theatrical bent, however, Miller was above all one of...

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Death in Venice, Royal Opera review – expansive but intimate evocations

Death in Venice is usually a dark and claustrophobic affair. It lends itself to small-scale staging with minimal props and suggestive, low-key lighting. But for this new production at the Royal Opera, director David McVicar has taken a different...

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Don Pasquale, Royal Opera review - fun and frolics in stylish new production

Venetian director Damiano Michieletto’s new Royal Opera production of Donizetti’s Don Pasquale is a clever and entertaining mix of old and new. The curtain rises to reveal a skeleton of a 1960s style house - there are doors, but no walls, revealing...

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The Intelligence Park, Linbury Theatre review - baroque to the point of obscurity

Could Gerald Barry's first opera really be as enervating in the Royal Opera House's Linbury Theatre as it seemed nearly 30 years ago at its Almeida Music Festival premiere? Since then we've become accustomed to wonder at, even love, the Barry style...

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Agrippina, Royal Opera review - carry on up the Campidoglio

It was said of the Venetian audiences randy for the satirical antique of Handel's first great operatic cornucopia in 1709 that "a stranger who should have seen the manner in which they were affected, would have imagined they were all distracted"....

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Werther, Royal Opera review - shadows and sunsets from an unreconstructed romantic

Goethe’s Die Leiden des junges Werthers (The Sorrows of Young Werther) was a vital spark in the ignition of the German romantic movement. The story of a young man driven to kill himself for love of a woman, Charlotte, who loves him but marries...

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Don Giovanni, Royal Opera review - laid-back Lothario

Kasper Holten left a mixed bag of productions behind at Royal Opera when he left in 2017, but the best of them - though not all my colleagues on The Arts Desk have agreed - is this Don Giovanni, now back for its latest revival.Visually, the...

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La Fille du Régiment, Royal Opera review - enjoyable but questionable revival

On paper, this might seem like a revival too far, a production clearly intended as a vehicle for world-class singers being tacked on the end of the Covent Garden season, and without any big names in sight. But it turns out that Laurent Pelly’s...

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