All stories by Yehuda Shapiro on BroadwayStars

Thursday, February 13, 2020

Luisa Miller review at London Coliseum – ‘strong musical performances in an overloaded production’ by Yehuda Shapiro

This new English National Opera production of Luisa Miller starts as it means to go on. Under conductor Alexander Joel, the overture’s

SOURCE: The Stage Registration at 11:00AM
Friday, November 22, 2019

Death in Venice review at Royal Opera House, London – ‘excellent execution and meticulous detailing’ by Yehuda Shapiro

The strip of sea that evokes Venice Lido is emblematic of David McVicar’s new staging of Benjamin Britten’s final opera, Death in

SOURCE: The Stage Registration at 07:20AM
Tuesday, November 12, 2019

La Boheme review at Jacksons Lane, London – ‘intermittently engaging staging’ by Yehuda Shapiro

Puccini’s evergreen tale of youthful love and loss is only rarely cast with age-appropriate performers. Daisy Evans’ production for Hampstead Garden Opera,

SOURCE: The Stage Registration at 12:47PM
Friday, August 16, 2019

Count Ory review at Arcola Theatre, London – ‘beautifully judged comic moments’ by Yehuda Shapiro

Rossini’s music for Le Comte Ory is often exquisite, but the humour is robust. The womanising Count Ory devises ways of seducing

SOURCE: The Stage Registration at 06:51AM
Wednesday, August 14, 2019

Hippolyte et Aricie review at Arcola Theatre, London – ‘visceral immediacy’ by Yehuda Shapiro

Hippolyte et Aricie, a take on the Phaedra story first seen in 1733, is a landmark opera by a supreme French composer,

SOURCE: The Stage Registration at 06:55AM
Monday, August 12, 2019

Silk Moth review at the Arcola Theatre, London – ‘eclectic trilogy’ by Yehuda Shapiro

In purely musical terms, the most striking component of this trilogy of contemporary works is the finale: Bel canto by Cassandra Miller.

SOURCE: The Stage Registration at 06:48AM
Wednesday, August 7, 2019

Alfonso und Estrella review at Opéra de Baugé – ‘surprisingly epic’ by Yehuda Shapiro

The Opéra de Baugé, an enterprising British-run summer festival in the Loire, this year offers Die Zauberflöte, Il Trovatore, and a rarity,

SOURCE: The Stage Registration at 06:17AM
Friday, August 2, 2019

Wagner on the fringe: How London’s smallest stages are hosting opera’s largest works by Yehuda Shapiro

Usually performed in opera houses with astronomical budgets, Wagner’s epic works seem unlikely fare for fringe venues. Yehuda Shapiro discovers how, with

SOURCE: The Stage Registration at 01:24PM
Wednesday, July 31, 2019

Violetta review at Arcola Theatre, London – ‘a truncated La Traviata’ by Yehuda Shapiro

Violetta, first seen at last year’s Edinburgh Festival Fringe, starts off with a surprise. Though it is a chamber version of Verdi’s

SOURCE: The Stage Registration at 11:33AM

La Cenerentola review at West Green House, Hampshire – ‘skilful, tightly choreographed production’ by Yehuda Shapiro

There is no pumpkin coach in Rossini’s take on the Cinderella story. Its farce may be formulaic, but it is grounded in

SOURCE: The Stage Registration at 07:17AM
Friday, July 26, 2019

Orpheus in the Underworld review at Bloomsbury Theatre, London – ‘flashes of comic brilliance’ by Yehuda Shapiro

Jeff Clarke – artistic director of Opera della Luna, a company that turns 25 this year – is endlessly inventive. Just look

SOURCE: The Stage Registration at 11:53AM
Wednesday, July 24, 2019

Die Fledermaus review at West Green House – ‘a smartly performed art deco update’ by Yehuda Shapiro

Die Fledermaus, with its delicious tunes and high spirits, might define Viennese operetta, but there is nothing romantic about its web of

SOURCE: The Stage Registration at 09:37AM
Tuesday, July 9, 2019

L’Orfeo review at LSO St Luke’s, London – ‘a visually haunting staging of Monteverdi’ by Yehuda Shapiro

Thomas Guthrie, who directs this semi-staging of Monteverdi’s L’Orfeo, is fascinated by the possibilities of puppets and masks. At the Barbican last

SOURCE: The Stage Registration at 12:30PM
Tuesday, July 2, 2019

Rusalka review at Glyndebourne – ‘whimsy, raunch and brutality’ by Yehuda Shapiro

In recent decades opera directors have found rich pickings in Dvorak’s g‎rown-up take on the Little Mermaid story. Melly Still, whose 10-year-old

SOURCE: The Stage Registration at 07:29AM
Monday, June 17, 2019

Fantasio review at Garsington Opera – ‘colourful production of a rediscovered Offenbach opera’ by Yehuda Shapiro

Garsington’s third new production for 2019 brings the UK stage premiere of an opera first performed in Paris in 1872, but only

SOURCE: The Stage Registration at 08:53AM
Monday, June 10, 2019

Falstaff review at the Grange Festival – ‘precisely calibrated and musically captivating production’ by Yehuda Shapiro

In his first operatic venture, Christopher Luscombe delivers a sharply observed, precision-engineered production. Set in 2019, it even features a walk-on by

SOURCE: The Stage Registration at 11:41AM
Friday, June 7, 2019

Don Carlo review at Grange Park Opera – ‘Verdi’s sombre masterpiece remains elusive’ by Yehuda Shapiro

Dating from 2016, this production of Don Carlo was first presented in Grange Park Opera’s former home in Hampshire. While never radical,

SOURCE: The Stage Registration at 11:54AM
Wednesday, June 5, 2019

Manon Lescaut review at Opera Holland Park, London – ‘symbolism triumphs’ by Yehuda Shapiro

Manon Lescaut was Puccini’s first great success, but while it is full of marvellous moments, it is haphazardly built. Only in the

SOURCE: The Stage Registration at 12:39PM
Wednesday, April 17, 2019

Shaw Goes Wilde review at Royal Academy of Music, London – ‘whimsical and charming opera double-bill’ by Yehuda Shapiro

For the second year running, Pegasus Opera is presenting the UK premieres of two one-act operas – one serious, one comic –

SOURCE: The Stage Registration at 11:08AM
Tuesday, April 16, 2019

Kaj Nazar review at Bishop Centre, London – ‘witty revival of Armenia’s first comic opera’ by Yehuda Shapiro

Kaj Nazar by Haro Stepanian, billed as Armenia’s first comic opera, has not been seen since its premiere in Yerevan in 1935.

SOURCE: The Stage Registration at 11:54AM
Friday, March 15, 2019

The Turn of the Screw review at Bury Court, Farnham – ‘starkly theatrical production of Britten’s bewitching opera’ by Yehuda Shapiro

It is surprising that Bury Court Opera has waited until its final season to stage The Turn of the Screw: the company’s

SOURCE: The Stage Registration at 02:10PM
Tuesday, March 12, 2019

Macbeth review at Hackney Empire, London – ‘a handsome, well-sung production’ by Yehuda Shapiro

English Touring Opera, which takes a flexible view on language, presents Verdi’s Macbeth in Andrew Porter’s English version. Since surtitles are also

SOURCE: The Stage Registration at 01:23PM
Thursday, January 31, 2019

L’Incoronazione di Poppea review at Cockpit Theatre, London – ‘a compelling staging’ by Yehuda Shapiro

The artistic and musical director of Ensemble OrQuesta, Marcio da Silva, has developed a distinctive style for his productions of Baroque opera.

SOURCE: The Stage Registration at 12:42PM
Wednesday, January 23, 2019

Alcina review at St John’s Smith Square – ‘elegant concert staging’ by Yehuda Shapiro

Though John Caird, an honorary associate director of the Royal Shakespeare Company, is credited with the staging, this is essentially a concert

SOURCE: The Stage Registration at 12:39PM
Wednesday, December 19, 2018

Cinderella review at King’s Theatre, Portsmouth – ‘Natasha J Barnes raises the roof’ by Yehuda Shapiro

The gorgeous Edwardian Kings Theatre is ideal for traditional panto, and this is essentially what we get in this Cinderella. The richly-coloured

SOURCE: The Stage Registration at 09:25AM
Tuesday, November 20, 2018

The Secret Marriage review at Jacksons Lane, London – ‘fizz and refinement’ by Yehuda Shapiro

Famously encored in its entirety by the Emperor of Austria, Domenico Cimarosa’s Il matrimonio segreto dates from 1792 – the year of

SOURCE: The Stage Registration at 12:33PM
Thursday, November 8, 2018

Don Carlo review at St John’s Church, London – ‘a sense of grandeur’ by Yehuda Shapiro

With Wagner’s Ring among its past projects, Fulham Opera now turns to Don Carlo, maybe Verdi’s grandest – and greatest – opera.

SOURCE: The Stage Registration at 12:46PM
Friday, October 12, 2018

Passion review at Anvil, Basingstoke – ‘an opera-ballet of elegiac beauty’ by Yehuda Shapiro

Pascal Dusapin’s Passion, a meditation on the Orpheus myth, was premiered 10 years ago at the Aix-en-Provence Festival, but this collaboration between

SOURCE: The Stage Registration at 11:00AM
Friday, September 7, 2018

Faust, Alberta review at the Bridewell Theatre, London – ‘imaginative scoring’ by Yehuda Shapiro

Faust, Alberta is a small village in western Canada. In Simone Spagnolo’s new one-man opera, it is also a state of mind.

SOURCE: The Stage Registration at 08:43AM
Monday, September 3, 2018

The Enchanted Island review at Peacock Theatre, London – ‘a vibrant young cast’ by Yehuda Shapiro

A baroque extravaganza, The Enchanted Island was conceived by Jeremy Sams for the Metropolitan Opera, New York, where its premiere cast in

SOURCE: The Stage Registration at 10:30AM
Monday, August 20, 2018

Don Giovanni review at Waterperry Opera Festival – ‘exhilarating momentum’ by Yehuda Shapiro

This Don Giovanni, presented in a neo-classical stone amphitheatre, inaugurates the Waterperry Opera Festival in rural Oxfordshire. It shares the programme with

SOURCE: The Stage Registration at 07:08AM

All that Chat

2023-2024 BROADWAY SEASON
May 30, 2023: Grey House - Lyceum Theatre
Jun 26, 2023: Just For Us - Hudson Theatre
Jul 24, 2023: The Cottage - Hayes Theater
Nov 16, 2023: Spamalot - St. James Theatre
Dec 18, 2023: Appropriate - Hayes Theater
Mar 07, 2024: Doubt - Todd Haimes Theatre
Apr 14, 2024: Lempicka - Longacre Theatre
Apr 17, 2024: The Wiz - Marquis Theatre
Apr 18, 2024: Suffs - Music Box Theatre
Apr 25, 2024: Mother Play - Hayes Theater
Jun 10, 2024: The Drama Desk Awards