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Reviews | 28 March 2024 |
First nights
wpworld premiere
cconcert performance
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Performance reviews
Key | Photo gallery | Production details | Video link |
SalomeEnglish National OperaNo. of reviews: 20 |
The musical pleasures were supplemented by some good singing and dramatic performances |
18 Oct 18 / Opera Journal |
Losing heads in London |
17 Oct 18 / ConcertoNet (English) |
A radically feminist version of the story |
12 Oct 18 / Express |
If you’re used to installation art, you’ll take to it more readily |
9 Oct 18 / The Critics' Circle |
Blood and guts meet street dance and a kinky Santa in a provocative production of Strauss’s opera |
7 Oct 18 / The Observer |
ENO’s cast deserved better than this incompetent, incoherent production of Salome |
5 Oct 18 / Seen and Heard |
There will be blood in English National Opera’s Salome |
4 Oct 18 / San Francisco Classical Voice |
Once-banned opera Salome is back on the London stage |
2 Oct 18 / Londonist |
Flogging a dead horse: a new Salome at English National Opera |
2 Oct 18 / Bachtrack |
English National Opera's production is psychologically acute but dramaturgically flawed |
2 Oct 18 / Evening Standard |
Visually arresting, but decidedly peculiar |
1 Oct 18 / The Stage |
A cold-hearted, half-baked conceptual riff on an opera that should leave you shattered |
1 Oct 18 / The Times |
Vividly theatrical, lyrically sung, but.... |
1 Oct 18 / Planet Hugill |
ENO's Salome both intrigues and bewilders |
1 Oct 18 / Opera Today |
Petals, porn and dead ponies give Strauss a feminist reboot |
1 Oct 18 / The Guardian |
Inertia kills strong stage pictures, decent singing and a bejewelled orchestra |
30 Sep 18 / The Arts Desk |
The excellent cast captures the audience from the start |
30 Sep 18 / The Upcoming |
Headless horses with floral innards in theatre of the absurd |
30 Sep 18 / Independent |
Big on gesture but short on enlightenment |
30 Sep 18 / Classical Source |
A baffling, feminine interpretation of Strauss |
30 Sep 18 / Telegraph |
associated articles [+]
Strauss’s opera, with its necrophilia, nudity and sheer nastiness is - and always was - a huge challenge for singers. Can a new production coming to ENO emphasise its ‘mythic and feminine’ elements?
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