Reviews

In review: Written On Skin at ROH

In review: Written On Skin at ROH

What's most thrilling about this Written on Skin was how the piece itself shone through Mitchell's production. Phrases from the libretto - like "blame her for everything" - leapt out as though shouted; Benjamin's use of the glass armonica - the instrument of "hysteria" - is well-timed and significant. Though it didn't overshadow the human stories of Agnès and The Protector, there was clear commentary on free will, and the cruelty inherent in God's creation of man.

Jenna Simeonov
In review: La Colla & Katzarava in recital

In review: La Colla & Katzarava in recital

At the same time, Wigmore Hall is not conducive to an evening of opera scenes. The two singers seemed to fall into a groove, carved from their respective past performances of Butterfly or Turandot. They seemed to want to fill the recital stage with stuff, making up for the lack of sets and costumes and space, when instead they could have done less, and simply let their voices do the work.

Jenna Simeonov
In review: Der Rosenkavalier at ROH

In review: Der Rosenkavalier at ROH

It's as though Richard Strauss envisioned the skill of singers like Renée Fleming and Alice Coote when he wrote that first scene of Rosenkavalier. It's not something that can be properly anticipated, the thrill of watching two exceptional singers perform roles for which they are rightly known.

Jenna Simeonov
TOT's Pirates of Penzance: "A glorious thing"

TOT's Pirates of Penzance: "A glorious thing"

Colin Ainsworth steps out as the hapless, handsome, if somewhat dim-witted Frederic. His bright face matched his clear, sailing tone throughout the house. His protrayal of Frederic's dim-wittedness was presented less as a sheer stupidity or unintelligence and more as absent-minded thoughtlessness which I thought was a strong choice. His chemistry with Mabel and Ruth was tangible through the whole show.

Greg Finney
He said/She said: a tale of two Messiahs

He said/She said: a tale of two Messiahs

Herr Handel was welcomed to the stage with all the flair and fervour of the biggest glam-rock superstar. It was heartening to see that kind of reaction. After a few housekeeping announcements disguised as a sketch with Handel, The Earl of Sandwich (apparently it's important to know that it's pronounced ['samɪtʃ]), and a silver tray of what I later found out to be actual turkey sandwiches, we had a quick warm-up and were off to the races.

Jenna Simeonov Greg Finney
In review: The (reimagined) Winter's Tale

In review: The (reimagined) Winter's Tale

Hovering somewhere between medieval inspiration and abstract improvisation, Kim Ashton's music served as evocative incidental music, offering subtext and commentary in what felt like a live version of a film score. With admirable listening skills, the quartet played from memory, removing one more barrier that can separate the audience from the creative process.

Jenna Simeonov
In review: Scenes from the End

In review: Scenes from the End

"Over the past few years, I have experienced grief. It's impossible to rationally 'describe' your experience of grief because death is absurd," writes Werner in her performer's notes. "When you lose someone, you find yourself surrounded by people who never talk to you about it - not in person anyway - because they simply can't. Or, if they think they can, it quickly becomes unhelpful and patronising, in a weird sort of way."

Jenna Simeonov
In review: Il trovatore at ROH

In review: Il trovatore at ROH

First performed in 1853, just after Rigoletto and just before La traviata, Il trovatore gives unfortunate talking points to those who may say that opera plots are silly. There's the "I burned the wrong baby" bit, the "it's too dark to tell who I'm hugging" bit, and there are all the opera-esque moments of oddly-timed shock and rage.

Jenna Simeonov
In review: Manon Lescaut at ROH

In review: Manon Lescaut at ROH

There are 21st-century women who are pressured by their parents into a life they don't choose, yet being sent to a convent is arguably more period-specific. Rich people get to enjoy private entertainment; yet a troupe of minstrels showing up in someone's bedroom is of another time. And while there's a theatrical trope of a chorus who comments on the actions of a main character, it's harder to believe a hoarde of people at a casino have turned their attention away from gambling, to Manon's outsmarting of her would-be abductors.

Jenna Simeonov
Loose TEA raises funds for radical new vision of Bizet's Carmen

Loose TEA raises funds for radical new vision of Bizet's Carmen

Viau's new take on the story has John already married to Michaela who comes and pleads for his return home for the sake of their kids, as opposed to his mother in the original. Ricardo is an investment banker ready to support Carmen in her dream of opening her own watering hole in exchange for her feminine charms. John is infatuated with Carmen, as she treats him like he's still a human being - something he doesn't recognize in others after two violent turns in Afghanistan.

Greg Finney

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