The Seckerson Tapes: Director Rufus Norris | Opera reviews, news & interviews
The Seckerson Tapes: Director Rufus Norris
Theatre director discusses his radical new ENO production of Don Giovanni
In 2001 Rufus Norris cleaned up on the awards front with his stunning production of Festen, the David Eldridge adaptation of Thomas Vinterberg's disturbing film which started life at the Almeida Theatre. But it was his grimly ironic staging of Kander and Ebb's Cabaret that I would put among the half-dozen or so best productions of a musical that I have ever seen. Now comes an even bigger leap - a hell of a leap (pun intended) - with his major operatic debut at the English National Opera: Mozart's Don Giovanni.
In this wide-ranging audio podcast Norris discusses how much of a shock to the system that has been, how music in all its guises fuels his theatre and film work, and how easy it is to misuse. Right now Norris is a reforming opera sceptic - and on the basis of this candid conversation is likely to deliver a Don Giovanni like no other.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Mozart's opera rediscovers its magic in this revelatory revival
Compelling new Faustian-pact opera is small in scale but big on ideas
Chabrier's pretty music for an absurdist comedy needs more sparkle
Second year of 'Mozart 250' places the boy wonder among the grown-ups of 1766
Still a show worth revisiting, despite some serious casting issues
A stripped-back staging marks a starry return for Rattle and Sellars
ENO triumphs despite bleak prospects, while the future looks brighter for young singers
Nicole Car lights up the stage as Tchaikovsky's Tatyana in a variable revival
Dickensian Christmas as one-man opera only half a good idea
Ko-Ko's still wielding a special little list as a white, tight craft sails on
Verismo gets horribly real in this thrilling new production of two Italian classics
A diva in full spate captures the true Italianate thrill of Leoncavallo's thoughtful curiosity