All stories by George Hall on BroadwayStars

Monday, March 16, 2020

The Marriage of Figaro review at London Coliseum – ‘an inventive and well-sung production’ by George Hall

It’s usual for a company to leave some space between one production of a classic work and another, but Joe Hill-Gibbins’ new

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Friday, March 6, 2020

Susanna review at Linbury Theatre, London – ‘uneven staging of Handel’s oratorio’ by George Hall

The annual production by members of the Royal Opera’s Jette Parker Young Artists Programme gives the scheme’s current intake a chance to

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Thursday, March 5, 2020

Così Fan Tutte review at Hackney Empire, London – ‘a lightweight staging of Mozart’s complex comedy’ by George Hall

English Touring Opera launches its spring tour with the complex Mozart/Da Ponte comedy whose title translates as All Women Behave Like That

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Monday, March 2, 2020

Fidelio review at Royal Opera House, London – ‘an original take on Beethoven’s opera’ by George Hall

This year marks 250 years since Beethoven’s birth. For opera companies the anniversary choice is simple, since he completed only one opera,

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Wednesday, February 19, 2020

Nixon in China review at Theatre Royal, Glasgow – ‘gives a modern classic a new lease of life’ by George Hall

The first so-called ‘CNN opera’ was premiered in 1987, when the events it portrayed – US President Richard Nixon’s unanticipated and historic

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Tuesday, February 11, 2020

La Dafne review at Old Market, Hove – ‘witty production of Marco da Gagliano’s early opera’ by George Hall

Opera is a fairly recent art form: the first work generally accounted as an opera dates from 1597 and is largely lost,

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Friday, January 24, 2020

Opera composer Gerald Barry: ‘The most money you got was for an opera: so I decided to write one’ by George Hall

Composer Gerald Barry tells George Hall about discovering music as a child, cutting up Oscar Wilde for The Important of Being Earnest

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Monday, January 20, 2020

Street Scene review at Grand Theatre, Leeds – ‘intricate staging of Kurt Weill’s opera’ by George Hall

Premiered on Broadway in 1947, Kurt Weill’s ‘American opera’ drew on a Pulitzer-winning play that sought to depict realistically the interconnected lives

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Monday, January 13, 2020

La Bohème review at the Royal Opera House, London – ‘finely cast revival’ by George Hall

Puccini’s classic tale of bohemian love, poverty, life and death in 19th-century Paris returns for another revival. Before Richard Jones’ production (here

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Wednesday, December 11, 2019

The Lost Thing review at Linbury Theatre, London – ‘a versatile and hard-working cast’ by George Hall

This first collaboration between the Royal Opera and the disabled and non-disabled artists of Candoco is based on Shaun Tan’s picture book

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Tuesday, December 10, 2019

Otello review at Royal Opera House, London – ‘a strong cast in a lacklustre production’ by George Hall

Originally launched by star tenor Jonas Kaufmann, Keith Warner’s 2017 production returns, this time with 65-year-old American Gregory Kunde in the title

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Monday, November 18, 2019

Orphée review at London Coliseum – ‘Netia Jones’ staging is stylish and evocative’ by George Hall

English National Opera has enjoyed significant success with two major Glass pieces: Satyagraha and Akhnaten, which, together with Einstein on the Beach,

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Thursday, November 14, 2019

La Belle Hélène review at Town Hall, Lewes – ‘hits the spot’ by George Hall

New Sussex Opera joins forces with operetta specialists Opera della Luna for its latest production, which benefits from Jeff Clarke’s mastery of

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Tuesday, November 12, 2019

Tenor Mark Padmore: ‘I’m in awe of quite how wonderful Death in Venice actually is’ by George Hall

Mark Padmore’s latest role was written for Benjamin Britten’s lifelong partner Peter Pears. The tenor tells George Hall how at 58 he

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Monday, November 4, 2019

The Magic Flute review at Royal Opera House – ‘perfectly blends seriousness and comedy’ by George Hall

The Royal Opera has taken to calling Mozart’s work The Magic Flute on its website, rather than retaining the German title Die

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Thursday, October 31, 2019

Mother Goose/Where the Wild Things Are review at Alexandra Palace, London – ‘unalloyed fun’ by George Hall

Just one UK performance for this staging of Oliver Knussen’s family opera – arguably the finest of all such pieces – following

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Monday, October 28, 2019

La Cucina/Adina review at National Opera House, Wexford – ‘witty and accomplished’ by George Hall

Irish composer Andrew Synnott’s La Cucina (The Kitchen) makes its world premiere on Wexford’s main stage, with a libretto by the event’s

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Friday, October 25, 2019

The Mask of Orpheus review at London Coliseum – ‘a superficial staging’ by George Hall

Premiered at English National Opera back in 1986, The Mask of Orpheus belatedly returns in a staging by Daniel Kramer – the

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Don Quichotte review at National Opera House, Wexford – ‘handsomely designed and impressively conducted’ by George Hall

Rising star director Rodula Gaitanou joins with designer Takis and conductor Timothy Myers to give Wexford a successful season launch with this

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Thursday, October 24, 2019

Dorilla in Tempe review at National Opera House, Wexford – ‘lacks directorial conviction’ by George Hall

At a festival that celebrates the rare, Baroque opera is itself a rarity. The works of Antonio Vivaldi – best known for

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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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All that Chat

2019-2020 BROADWAY SEASON
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