mon 11/12/2017

London Coliseum

Marnie, English National Opera review – hyped new opera doesn’t hit the heights

The great and good of the London music scene were gathered at English National Opera last night for the unveiling of American Wunderkind Nico Muhly’s new opera, Marnie. Although it was commissioned by the Met in New York, somehow ENO managed to...

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Aida, English National Opera review - heroine almost saves a dismal day

If the best is the enemy of the good, then the excellent is also the enemy of the "meh". And if you can stomach Verdi's Aida, go and see English National Opera’s new production for its central performance by Latonia Moore. In what’s become her...

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Carousel, London Coliseum review - 'Katherine Jenkins is game, Boe out-acted by wig'

“Then I’ll kiss her so she’ll know.” At the sound of his ringing voice, the girls part to reveal him standing there, a hapless monument of rumpled charm. The audience relaxes in pleasure as an easeful actor joyfully shows what you can do with a...

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Partenope, English National Opera

It's time again for surrealist charades at the nothing-doing mansion. Christopher Alden's Handel is back at ENO, making inconsequentiality seem wondrous. Christian Curnyn's conducting sets the tone, with orchestral playing as light as air, and a new...

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The Winter's Tale, English National Opera

After a Royal Opera performance of Birtwistle's The Minotaur, a friend spotted Hans Werner Henze in the foyer and had the temerity to ask that annoying question "What did you think?" "Very competent and extremely well performed," came the reply....

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Giselle, English National Ballet, London Coliseum

In the annals of ballet directors, always searching for the perfect balance between heritage programming and new work, there can rarely have been a double whammy so successful. In pairing a brand new Akram Khan Giselle with Mary Skeaping's near-...

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ENO's Marvellous Miller in pictures

It should have been unmodified rapture: a gathering of English National Opera team members old and new celebrating the doyen of the company's best-selling productions. And, as has always happened with the artistic side of the company, this loving...

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Lulu, English National Opera

After a day of sheer pain, would it be endless night or cathartic relief at ENO? Both, must be the answer, and much more, all at once. Iconoclastic Frank Wedekind's "earth-spirit" Lulu, exploited as a street-child but now able to turn the tables for...

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Martyn Brabbins: a safe pair of hands at ENO

No-one can easily replace Mark Wigglesworth as Music Director of English National Opera: ask any of the musicians working there and you'll find they're all heartbroken. That said, they could not have chosen a nicer man or a better all-round musician...

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Don Giovanni, English National Opera

Pace-perfect musical articulation and meaningful surprises in the direction: both were to be expected after the conductor-generated sludge and the production overkill of the new Royal Opera Così fan tutte. Mark Wigglesworth has form in Mozart at ENO...

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Cinderella, Ratmansky/Australian Ballet, London Coliseum

Does Alexei Ratmansky, former Bolshoi director and current world-leading classical choreographer, really love Prokofiev's Cinderella, or did he choose to create a new one for Australian Ballet in 2013 principally because he wasn't happy with his...

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Swan Lake, Australian Ballet, London Coliseum

Graeme Murphy's 2002 Swan Lake for Australian Ballet stitches together plot elements from Swan Lake, Giselle and Lucia di Lammermoor, among other things. No bad thing, that; such mash-ups can work well (see Moulin Rouge), and Matthew Bourne proved...

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