Technicolour G&S: ENO's Iolanthe

Review

There were cheap laughs as well - seeing an MP with the hair of Boris Johnson was funny once, but the second time was over-doing it. An unwelcome flamingo made its way onto the stage for apparently no reason at all. The two-person cow suit made me feel like I was at a Christmas panto and not the London Coliseum - not to say that's an entirely bad thing.

"Viva la operetta!"

Review

Director Guerrero, using only a small acting space and nothing more than a door, a chair and bed as set pieces, utilized beautiful and, in some cases, symbolic rear projections to underpin the production, which is as much about the heart-breaking issue of immigration as it is about the heart-felt music.

The Met's 2018/19 seas...zzzzzzzzz

Humour

But, compared with the offerings at places like Opera Philadelphia, Minnesota Opera, The Atlanta Opera, and a fast-growing proportion of other regional opera houses in the United States and Canada, the Metropolitan Opera is proving its status as an honest-to-God opera museum.

Candide: the Best of All Possible Productions?

Review

All of Candide’s disasters could translate into a disastrous evening, but thanks to the clear and sure hand of director Zambello, the humor is allowed to speak for itself without too many additional bits and gags that often make a funny show tiresome and unwatchable.

This week: two lunchtime treats in the RBA

Review

De Sévigné's voice made the same journey; she started from a young place, almost a timid sound, that finally bloomed (and perhaps wilted, appropriately). Her instrument has always had a bell-like ring to it, and lately she has proven that she is a layered artist, both in sound and in the thought she gives to her onstage work.

A well-executed mashup: Tap:Ex Forbidden

Review

Sky flitted around the scenes and acted almost as an echo of Hajek's Lucifer through the conscience of each character. That, coupled with a dramatic performance as a young child terrorist dreaming of the rewards he'll be given, made it chilling and powerful.

Talking with singers: Lucas Meachem

Interview

"I didn't wait around for an interview that wasn't going to happen - I took it into my own hands through my blog. It's a lot of work and I'm proud to say I've posted consistently for over a year now. Phew! What motivates and inspires me most are real conversations I have with others in the opera world. That's what makes it so authentic."

Talking with singers: John Holiday

Interview

"I can remember dragging myself out of my third floor dorm room, in Mary Hay Hall (sidenote: Above my room, there was a plaque that read 'Future Leaders of Tomorrow'), and being late to those required acting classes for music majors. Ladies and gentlemen, if you're reading, take advantage of those classes. You'll be thankful you did."

Album review: O Gladsome Light

Review

The songs by Edmund Rubbra (1901-1986) are the real find in this album. His songs have a unique sound, a style that's difficult to place, but eventually emerges as English - yet with an edge.

A Warhorse For Opera's New World?

Review

Mr. Hourie directed with a terse and foreboding air that dispelled any memories of the films. The sleek and minimal set, comprised of skeletal architectural elements and lace curtains facilitated the action. As scenographer Hourie filled picture frames suggesting decaying ancestral portraits with video of flames, ghosts and all manner of frightening imagery.