Royal Opera House
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This revival of Leiser and Caurier’s production of Puccini’s tragedy is a superb achievement, with Ermonela Jaho bringing passionate conviction to the title role
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In this runner-up essay in the Observer/Anthony Burgess prize, Masters skilfully conveys the absurdity of this modernist piece of Russian theatre
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Renée Fleming leads a fine cast including Alice Coote, Sophie Bevan and Matthew Rose in a production whose romantic comedy plays out against a distractingly over-the-top backdrop
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Multiverse, McGregor’s newest work for the Royal Ballet, is set to Steve Reich’s most apocalyptic score but ends on a note of lyrical, limpid beauty
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With its gore, sexual menace and overtones of Beckett, Gerard Jones’s production will divide audiences but succeeds superbly in showcasing its young singers
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Fine performances lift this Royal Ballet revival of MacMillan’s strange ballet about the woman who claimed to be a lost Romanov
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It’s hard to know why the Royal Ballet have revived Kenneth MacMillan’s flawed study of madness, but Osipova’s magnificent performance makes it worthwhile
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Roderick Williams is a winning Billy Budd in Opera North’s top-notch production. At Covent Garden, the loss of a nose is no laughing matter
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Barrie Kosky’s take on Shostakovich’s satire is imaginative and brilliant but it sacrifices the opera’s deeper meaning
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With its story of rapes, murder, fine wines and fancy dress, Don Giovanni offers plenty for directors to get their teeth into. The results might not be coherent and they might well be controversial, but they are almost always colourful. Ahead of Richard Jones’s new staging for English National Opera we look at key productions of the last decade.
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Topics
To boo or not to boo? Royal Opera music chief defends vocal crowds