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The Duchess of Malfi |
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| English National Opera | | | A vivid and regularly unnerving experience |
| A great vehicle for the sort of interactive theatre that Punchdrunk has made its trademark |
| The finale pulls cast, orchestra and audience together in high theatre |
| Voyage of discovery down in the docks for The Duchess of Malfi |
| A ghost train for grown-ups that sets you down feeling bullied and bored |
| At times the experience was deeply unsettling |
| The final scene was jaw-droppingly operatic |
| Punchdrunk's The Duchess of Malfi offers breathtaking moments, but nothing of great artistic import |
| Punchdrunk's production lacked the courage to match their radical theatre with the radical music it deserved |
| Physical immersion is no substitute for emotional involvement |
| A rather frustrating game of operatic hide-and-seek |
| Idomeneo |
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| English National Opera | | | An unusual example of musical and dramatic seriousness |
| Visually ENO chose minimal modernism for this maximal, classical work |
| A performance that carries dramatic weight and turbulent energy |
| Emma Bell is outstanding as Electra |
| Edward Gardner conducts a wonderfully propulsive account that combines grandeur and intimacy |
| Modern take on Idomeneo loses the magic |
| A very respectable presentation of the young Mozart's first all-out masterpiece |
| Something not to miss in spite of the production |
| Katie Mitchell's staging is a cold, shallow affair |
| Mitchell’s great achievement is to make us feel we are seeing this opera for the first time |
| It all sounds wonderful. You just need to shut your eyes |
| As puerile, boring and tacky a trivialisation as you would hope never to encounter |
| With a few caveats, ENO's production is a triumph |
| The bigger musical guns began to fire in Act Two |
| An infuriating evening dramatically |
| Idomeneo surely deserves better than this |
| A travesty to a degree beyond belief or comprehension |
| Les pêcheurs de perles |
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| English National Opera | | | What a joy to see this in the repertory! |
| Extravagant plots need extravagant music and extravagant staging |
| No masterpiece, but worth an outing |
| An enjoyable evening and one that should pull in the punters |
| English National Opera takes Bizet into a disaster zone |
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ENGLISH NATIONAL OPERA
London, United Kingdom
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The Duchess of Malfi (photo: Stephen Cummiskey) Idomeneo (photo: Steve Cummiskey) Les pêcheurs de perles (photo: Catherine Ashmore) Tosca (photo: Robert Workman)
John Berry in conversation | | The 2010-2011 English National Opera season opens on September 18th, and it’s set to be a spectacular one. |
Should The Pearl Fishers have pulled the plug? | | With both the lead tenor and his understudy off sick, was it wrong for the ENO production to carry on regardless? |
Penny Woolcock – runaway success | | She was a teenage mother who escaped bourgeois Argentina for Britain. Award-winning director Penny Woolcock talks to Charlotte Higgins. |
Interview: Hanan Alattar | | Hanan Alattar talks Opera Britannia as she prepares to sing the role Leila in The Pearl Fishers for English National Opera. |
Penny Woolcock | | After her successful staging of Adams' Doctor Atomic, acclaimed British director Penny Woolcock returns to the Coliseum to direct a new production of Bizet's The Pearl Fishers. |
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19 Jul 10 / The Stage
