All stories by George Hall on BroadwayStars

Friday, October 18, 2019

L’Elisir d’Amore review at Glyndebourne, Lewes – ‘lively and effortlessly charming’ by George Hall

Since its first showing in 2007, Annabel Arden’s staging of Donizetti’s heart-warming romcom L’Elisir d’Amore (The Love Potion) has become a welcome

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Wednesday, October 16, 2019

Rigoletto review at Glyndebourne, Lewes – ‘Christiane Lutz’s muddled production’ by George Hall

Rigoletto belatedly enters the Glyndebourne repertory via Christiane Lutz’s staging, a radical rewrite of Verdi’s revenge tragedy based on a play by

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Tuesday, October 15, 2019

Don Pasquale review at Royal Opera House, London – ‘Bryn Terfel stars in a smart, stylish production’ by George Hall

You sometimes hear people describe Don Pasquale as a ‘cruel’ comedy – though they’re often a bit vague as to what they

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Thursday, October 10, 2019

Jawnuta review at Posk, London – ‘strongly performed Polish opera’ by George Hall

Stanislaw Moniuszko (1819-72) is one of those composers much admired inside his homeland – in this case, Poland – where he is

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Wednesday, October 9, 2019

The Seraglio review at Hackney Empire, London – ‘a staging of humour and heart’ by George Hall

English Touring Opera’s autumn tour celebrates the German form of Singspiel – opera with spoken dialogue – with works by Mozart and

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Sunday, October 6, 2019

Orpheus in the Underworld review at London Coliseum – ‘Emma Rice’s misjudged production of Offenbach’s operetta’ by George Hall

The second instalment of English National Opera’s Orpheus season is an operetta, and one of the most famous of all: Offenbach’s Orpheus

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Wednesday, October 2, 2019

Orpheus and Eurydice review at London Coliseum – ‘Wayne McGregor’s visually striking production’ by George Hall

English National Opera opens its Orpheus-themed season with the first of four operas on the myth: Gluck’s Orpheus and Eurydice, a work

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Thursday, September 26, 2019

The Intelligence Park review at Linbury Theatre, London – ‘wildly entertaining’ by George Hall

Gerald Barry’s first opera premiered in 1990 with a libretto by Vincent Deane, though not much has been heard of it since.

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Tuesday, September 24, 2019

Agrippina review at the Royal Opera House, London – ‘Joyce DiDonato shines’ by George Hall

The Royal Opera is working its way through the operas and oratorios Handel composed for the first Theatre Royal, Covent Garden –

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Monday, September 23, 2019

Carmen review at Wales Millennium Centre, Cardiff – ‘a Carmen for the #MeToo generation’ by George Hall

Carmen is one of the most iconic operas, with the popularity of individual musical numbers giving everyone some idea of its subject

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Wednesday, September 18, 2019

Werther review at Royal Opera House, London – ‘fails to catch fire’ by George Hall

Now in his mid-40s, Peruvian star tenor Juan Diego Flórez has enjoyed a brilliant career specialising in bel canto roles and especially

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Tuesday, September 17, 2019

Don Giovanni review at Royal Opera House, London – ‘an unforgettable performance by Erwin Schrott’ by George Hall

Kasper Holten’s legacy to the Royal Opera includes this 2014 production of Mozart’s dark comedy, which had a pretty mixed reception first

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Tuesday, September 3, 2019

Opera North: The Leeds-based company offering sanctuary to refugees by George Hall

For more than 40 years, Opera North has striven for artistic excellence while reaching out to new audiences. As the company prepares

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Monday, September 2, 2019

Scoring a Century review at Peacock Theatre, London – ‘a talented young cast’ by George Hall

Operatically speaking, David Blake is best known for two substantial works premiered by English National Opera: Toussaint in 1976 and The Plumber’s

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Friday, August 30, 2019

Cabildo review at Arcola Theatre, London – ‘thrillingly sung’ by George Hall

Originally the name of a Spanish colonial council, the word ‘cabildo’ also denotes the buildings in which such institutions carried out their

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Thursday, August 29, 2019

HMS Pinafore review at Wilton’s Music Hall, London – ‘hits the spot’ by George Hall

Over its 25 years of existence Opera della Luna has given nearly 500 performances of the indestructible Gilbert and Sullivan comic opera,

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Wednesday, August 28, 2019

Treemonisha review at Arcola Theatre, London – ‘Scott Joplin’s rediscovered opera’ by George Hall

Of Scott Joplin’s two operas, one is entirely lost and the other, Treemonisha, exists only in vocal score. Despite the composer having

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Thursday, August 22, 2019

Breaking the Waves review at King’s Theatre, Edinburgh – ‘troubling opera based on Lars von Trier’s film’ by George Hall

Lars von Trier’s 1996 film Breaking the Waves remains a controversial work. The narrative, and in particular its treatment of the central

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Wednesday, August 21, 2019

Caccia Lontana review at Bridewell Theatre, London – ‘little drama, though the music is undeniably lyrical’ by George Hall

Opera in the City Festival opens its third season with what must be a UK premiere, and a great rarity anywhere: a

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Friday, August 9, 2019

Rinaldo review at Glyndebourne, Lewes – ‘exceptional cast and conductor’ by George Hall

We no longer view the events of the First Crusade (1095-99) in the way Handel and his audiences did. Set during that

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Tuesday, July 30, 2019

The Magic Flute review at Waterperry Opera Festival, Oxfordshire – ‘thoughtful and engaging’ by George Hall

Mozart and his librettist Schikaneder’s 1791 opera is a defence of their shared involvement with freemasonry. Its unique blend of the fantastical,

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Friday, July 26, 2019

Lucia di Lammermoor review at Dorset Festival Opera – ‘unpardonably silly’ by George Hall

In Flaubert’s novel Madame Bovary, the unhappily married heroine is inspired by a performance of Donizetti’s Lucia di Lammermoor to reflect on

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Thursday, July 25, 2019

Nabucco review at Dorset Opera Festival – ‘a mystifyingly vague staging’ by George Hall

The printed synopsis of Verdi’s Nabucco as staged by Peter Relton for Dorset Opera is unusually imprecise in terms of both period

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Tuesday, July 23, 2019

Il Segreto di Susanna / Iolanta review at Opera Holland Park – ‘an exceptional double bill’ by George Hall

The last of Opera Holland Park’s stagings this summer is this double bill of unusual titles: Wolf-Ferrari’s clever little comedy of marital

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Monday, July 22, 2019

Opera della Luna’s Jeff Clarke: ‘If you try to be funny in comic opera, you’ll fall flat on your face; play the truth in it, then it’ll be fun by George Hall

Jeff Clarke set up Opera della Luna in 1994 to stage the neglected repertoire of comic operas and operettas. He tells George

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Friday, July 19, 2019

Die Zauberflöte review at Glyndebourne, Lewes – ‘a trivial staging of Mozart’s comedy’ by George Hall

An Enlightenment tract, Mozart’s The Magic Flute is equally a reminder of the limitations of that movement in terms of its views

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Friday, July 12, 2019

La Fille du Régiment review at Royal Opera House, London – ‘takes a while to warm up’ by George Hall

First seen in 2007 and here revived for the fourth time, Laurent Pelly’s amiable production of Donizetti’s light comedy The Daughter of

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Wednesday, July 10, 2019

Lucio Papirio Dittatore review at Opera House, Buxton – ‘rare revival of Caldara’s opera’ by George Hall

Even at a time when Baroque operas are being endlessly revived, the 40 surviving examples by Antonio Caldara haven’t had much of

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Tuesday, July 9, 2019

Georgiana review at Opera House, Buxton – ‘celebratory pasticcio’ by George Hall

The Italian word pasticcio can mean a number of things, but to 18th-century audiences it meant a sort of musical pudding made

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Monday, July 8, 2019

Eugene Onegin review at Opera House, Buxton – ‘musically impassioned’ by George Hall

Buxton’s new regime launches with a visually intriguing and musically impassioned account of Tchaikovsky’s opera, set in mid-19th-century Russia and sung in

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Thursday, July 4, 2019

Noye’s Fludde review at Theatre Royal Stratford East , London – ‘enchanting’ by George Hall

Written in 1958, Britten’s opera brings together professionals and amateurs, adults and children to tell the tale of Noah’s Flood – to

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