All stories by George Hall on BroadwayStars

Tuesday, January 16, 2018

Tosca review at Royal Opera House, London – ‘a confident staging’ by George Hall

Another opening night, another sad memorial. The first performance of this revival of Jonathan Kent’s Tosca, first seen in 2006, was dedicated

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Thursday, January 11, 2018

The Return of Ulysses review at Roundhouse, London – ‘an excellent cast’ by George Hall

Two years ago the Royal Opera and the Roundhouse collaborated on a production of Monteverdi’s Orfeo that set out to win new

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Tuesday, January 9, 2018

Salome review at Royal Opera House, London – ‘fails to deliver’ by George Hall

At 10 years old this year, David McVicar’s staging – and where would the Royal Opera be without him? – has worn

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Friday, December 15, 2017

Rigoletto review at Royal Opera House, London – ‘uneven and unfocused’ by George Hall

The first night of this revival of David McVicar’s staging of Rigoletto was dedicated to the memory of Dmitri Hvorostovsky, who was

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Wednesday, December 6, 2017

George Hall: Glyndebourne losing Sebastian Schwarz is a pity – replacing him will not be easy by George Hall

When Sebastian F Schwarz was announced as the successor to David Pickard as Glyndebourne‘s general director in November 2015, all looked set

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Monday, December 4, 2017

Cavalleria Rusticana/Pagliacci review at Royal Opera House, London – ‘an exceptional evening’ by George Hall

Premiered two years apart in the early 1890s, Cavalleria Rusticana and Pagliacci soon became conjoined as a perennially successful double bill. Rodula

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Monday, November 20, 2017

Semiramide review at Royal Opera House, London – ‘an intermittent sense of inertia’ by George Hall

The Royal Opera’s new production of Rossini’s melodramma tragico Semiramide – its first full staging at the venue since 1887 – was

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Sunday, November 19, 2017

Marnie review at the London Coliseum – ‘an outstanding acievement’ by George Hall

Back in June 2011 English National Opera staged the world premiere of Nico Muhly’s first opera, Two Boys – a co-production with

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Monday, November 13, 2017

Belongings review at Glyndebourne – ‘good intentions but lacks narrative strength’ by George Hall

Glyndebourne has more experience in staging new youth operas than any other UK company. The work of composer Lewis Murphy and librettist

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Tuesday, October 24, 2017

Margherita review at Wexford Opera House – ‘smile-raising’ by George Hall

Back in 2013 the Wexford Festival had a hit on its hands with Cristina, regina di Svezia – a rediscovery from the

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Monday, October 23, 2017

Risurrezione review at Wexford Opera House – ‘dramatic conviction’ by George Hall

Franco Alfano has gone down to history as the minor master who accepted the ungrateful task of completing Puccini’s Turandot after the

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Friday, October 20, 2017

Medea review at Wexford Opera House – ‘beset by problems’ by George Hall

The Wexford Festival made no secret of the fact that owing to the severe effects of hurricane Ophelia, the company lost the

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Friday, October 13, 2017

Les Vepres Siciliennes review at Royal Opera House, London – ‘an exceptional cast’ by George Hall

Norwegian director Stefan Herheim’s international career took off in 2009 with an acclaimed Parsifal at Bayreuth, which employed Wagner’s opera as a

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Thursday, October 12, 2017

Osud/Trouble in Tahiti review at Grand Theatre, Leeds – ‘a strong cast’ by George Hall

Opera North’s Little Greats season is unusual in that one can pick and choose from different pairings of six short operas in

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Tuesday, October 10, 2017

Dardanus review at Hackney Empire, London – ‘stylishly conducted’ by George Hall

English Touring Opera has never been shy of repertoire challenges. In this autumn’s jaunt around a total of 21 venues, it presents

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Friday, October 6, 2017

English Touring Opera’s Giulio Cesare Part II: Cleopatra’s Needle review – ‘much to admire’ by George Hall

It is English Touring Opera’s experienced general director, James Conway, who devised and stages this version of Handel’s opera seria, split over

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Thursday, October 5, 2017

English Touring Opera’s Giulio Cesare: The Death of Pompey review – ‘astute and detailed’ by George Hall

English Touring Opera’s autumn tour launches with what is effectively half an opera: artistic director James Conway, wishing to play the entirety

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Monday, October 2, 2017

Opera North’s Pagliacci/Cavalleria Rusticana review – ‘visceral interpretations’ by George Hall

This pairing of Pagliacci and Cavalleria Rusticana in Opera North’s Little Greats season is traditional – though not in this order. Deemed

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Opera North’s Trial by Jury/L’Enfant Et Les Sortileges review – ‘two winning entertainments’ by George Hall

Back in 2004, Opera North enjoyed artistic success with Eight Little Greats, a season made up of one-act pieces played in various

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Friday, September 22, 2017

Senza Sangue/Bluebeard’s Castle at Hackney Empire, London – ‘dramatically enigmatic’ by George Hall

Hackney Empire is clearly strengthening its opera programming. For this flying visit by a European company that is an offshoot of the

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Wednesday, September 20, 2017

Opera: Passion Power and Politics – singing up a storm in the V&A’s huge new exhibition space by George Hall

Highlighting seven landmark works in seven cities, the museum is presenting a wealth of artefacts and embracing technology to bring opera to

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Monday, September 18, 2017

Mansfield Park review at the Grange, Hampshire – ‘solidly sung’ by George Hall

It’s good to see the Grange Festival extending its work beyond the summer season with the premiere of a new chamber orchestral

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Wednesday, September 13, 2017

Die Zauberflote review at Royal Opera House, London – ‘extraordinary dramatic diversity’ by George Hall

Reappearing for the sixth time and carefully revived by Thomas Guthrie, David McVicar’s production of The Magic Flute has turned out to

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Monday, September 11, 2017

La Boheme review at Royal Opera House, London – ‘Richard Jones’ successful new staging’ by George Hall

It is 43 years since the Royal Opera last launched a new La Boheme – the most frequently played opera at this

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Monday, September 4, 2017

The Vanishing Bridegroom review at Peacock Theatre, London – ‘valiantly performed’ by George Hall

British Youth Opera opens its 30th anniversary season with a revival of Judith Weir’s The Vanishing Bridegroom, first performed by Scottish Opera

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Wednesday, August 30, 2017

The Queen’s Lace Handkerchief review at Wilton’s Music Hall, London – ‘theatrical brilliance’ by George Hall

Opera della Luna is unique in specialising in comic opera and operetta, and though it often has stronger material to work with

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Monday, August 14, 2017

Proms 2017 Oklahoma! review – all-dancing all-singing cowboys, a preposterous peddler and a convincing baddie by George Hall

Royal Albert Hall, London The John Wilson Orchestra on their annual Proms visit did not disappoint with an impeccable performance of every last quaver of the Rodgers and Hammerstein musical …

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Wednesday, August 9, 2017

Even You, Lights, Cannot Hear Me/Nero Monologues review at Bridewell Theatre – ‘mixed-quality new works’ by George Hall

Opera in the City Festival’s inaugural programme includes this double bill of recent works, both from the avant-garde end of the spectrum.

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Monday, July 31, 2017

Silver Birch review at Garsington Opera – ‘remarkable event with vast community cast’ by George Hall

Garsington’s final offering this season is the festival’s second community opera – a work specially written for a combination of professional and

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Thursday, July 27, 2017

La Clemenza di Tito review at Glyndebourne, Lewes – ‘magnificently dramatic’ by George Hall

Claus Guth’s Glyndebourne debut production saw three cast changes in the weeks leading up to the first night, with the title role

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Wednesday, July 19, 2017

Zaza review at Opera Holland Park – ‘a richly detailed production’ by George Hall

Over the years Opera Holland Park has made a speciality of the operas of Puccini and his contemporaries – a group often

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