Royal Opera
Sincere, serious and beautiful: Glyndebourne’s Parsifal reviewed
‘Here time becomes space,’ says Gurnemanz in Act One of Parsifal, and true enough, the end of the new Glyndebourne…
Splendid revival of an unsurpassed production: Royal Opera’s Turandot reviewed
Puccini’s Turandot is back at the Royal Opera in the 40-year old production by Andrei Serban and… well, guilty pleasure…
Spreads emotions like jam: Festen, at the Royal Opera House, reviewed
Mark-Anthony Turnage’s new opera Festen opened at Covent Garden earlier this month, and reader, I messed up. I broke my…
The thankless art of the librettist
Next week, after the première of Mark-Anthony Turnage’s new opera Festen, the cast and conductor will take their bow. All…
Fails to ignite: Royal Opera’s Tales of Hoffmann reviewed
I couldn’t love anyone who didn’t love Offenbach’s The Tales of Hoffmann. Everything – everything – is stacked against this…
Demanding but exhilarating: Royal Ballet’s Encounters reviewed
After opening its 2024/5 season with a run of Christopher Wheeldon’s candy-coloured, kiddie-friendly Alice’s Adventures in Wonderland, the Royal Ballet…
Heartfelt and thought-provoking: Eugene Onegin, at the Royal Opera, reviewed
The curtain is already up at the start of Ted Huffman’s new production of Eugene Onegin. The auditorium is lit…
The problem with Klaus Makela
Klaus Makela is kind of a big deal. He’s a pupil of the Finnish conducting guru Jorma Panula – the…
Ageing well
A classic opera production ages like wine. When David McVicar’s staging of Handel’s Giulio Cesare first opened at Glyndebourne in…
Shiny, raunchy, heartless spectacular: Platée, at Garsington, reviewed
Fast times on Mount Olympus. Jupiter has been shagging around again and now his wife Juno has bailed on their…
You could have built a tent city from all the red chinos: Aci by the River reviewed
The Thames cruise for which Handel composed his Water Music in 1717 famously went on until around 4 a.m. The…
Fifty shades of grey
Grey. More grey. So very, very grey. That’s the main visual impression left by Robert Carsen’s new production of Verdi’s…
Hot stuff
One legacy of lockdown in the classical music world has been the sheer length of the 21-22 season. In a…
Great Britten
No question, the Royal Opera is on a roll. Just look at the cast list alone for Deborah Warner’s new…
Stepmother superior
Leos Janacek cared about words. He’d hang about central Brno, notebook in hand, eavesdropping on conversations and trying to capture…
Lockdown unlocked
The choreographers called on to get the nation’s dancers back on to the stage have as much to say about…
Britain’s got talent
Brexit and Covid have pushed us out of the common musical market and thrown us back on homegrown sprouts. Good, says Norman Lebrecht
Drama vs display
It is amazing what fine performances you can get beamed to your computer these days. Slightly less amazing is the…
Born of the moment
It’s quite a title sequence. Puccini swells on the soundtrack and words flash before your eyes. ‘Ecstatic!’ ‘Spellbound!’ ‘Passionate!’ ‘Dazzled!’…
Magnificent muddle
In the 62 years since I first heard and saw Don Carlo, in the famous and long-lasting production by Visconti…
Handsome and revivable but I wasn’t moved: Royal Opera’s Death in Venice reviewed
Premièred within two years of each other, Luchino Visconti’s film and Benjamin Britten’s opera Death in Venice both take Thomas…
Joyce DiDonato seduces you within the first 10 minutes: Royal Opera’s Agrippina reviewed
‘Laws bow down before the desire to rule…’ Centuries before ‘proroguing’ had entered British breakfast-table vocabulary there was Handel’s Agrippina,…
More Grace Kelly than Grace Jones: Welsh National Opera’s Carmen reviewed
How do you take your Carmen? Sun-drenched exotic fantasy with a side order of castanets, or cool and gritty, sour…
