An ambiguous Turn of the Screw at Garsington Opera

Review

This beautiful period production of Britten's The Turn of the Screw, directed by Louisa Muller, is no exception. The newly and rather cleverly built Opera Pavilion borrows from Japanese architecture, creating a space which ambiguously walks the line between the indoor and the outdoor.

Raw & exposed: Wozzeck

Review

Certain characters and scenes were exaggerated and grotesque, accentuating Wozzeck's unreliable interpretation of reality. Other moments, however, were unsettling precisely because they felt so realistic. The omnipresent menacing atmosphere was palpable throughout the opera, and McIntyre did not pull any punches when it came to the pivotal murder scene.

Talent & polish in Heroic Opera's Macbeth

Review

The music throughout was also brilliant. Perri Lo did a masterful job as the music director, especially with the ensemble scenes. Congratulations to everyone involved. Macbeth was a highly memorable top-notch production overflowing with talent and polish.

Simple joys in Noye's Fludde

Review

There was a palpable feeling of euphoria when the storm finally clears and Noah and his family realise, they have been spared. Their surprise, relief, and gratitude was genuine and infectious.

The ever-relevant classic: ROH's Marriage of Figaro

Review

Somehow, though now over two hundred years old, it maintains a certain freshness. Even a standard production like this 2006 David McVicar classic which this season sees its sixth revival run at the Royal Opera, still feels relevant.

Bring your tissues to DMMO's La bohème

Review

The main factor that makes or breaks a production of La bohème is the cast. The six lead characters must have comedic timing, dramatic chops, and believable chemistry. This opera is so popular precisely because all the characters are realistic and likeable.

Don't let the upbeat tunes deceive you: DMMO's Candide

Review

If you're looking for a theatrical farce that will leave you with a lot of questions about the human condition, then look no further than Des Moines Metro Opera's charming production of Candide.

All that glitters: WTO's magical double-bill

Review

Jonathan Knipscher designed glorious costumes across the board - Merlin's sequined suit, sequined tracksuit, sequined capes for the mermaids… Basically a lot of sequins that were complemented by shimmery curtains designed by Julia Noulin-Mérat.

NEMPAC's innocent, affecting, slightly uneven Little Prince

Review

One may ask oneself if the hyper-tonal, rather simplistic harmonic and melodic language of the source is perhaps too accessible for opera, but in my case I am not so certain it could have been done any other way.

When it's not about the music per se

Review

It’s a truly original idea. Two performers (a mezzo soprano and baritone,) portraying two sides of the same coin: a transgender character named Hannah. Born a boy and dressed like a boy in sneakers and a letterman jacket, Hannah (in the baritone phase of their life) secretly wears a blouse underneath because “it feels so right,” as they deliver their newspapers on a paper route.