All stories by George Hall on BroadwayStars

Tuesday, July 10, 2018

The Daughter of the Regiment review at Opera House, Buxton – ‘style and panache’ by George Hall

In its original version, Donizetti’s The Daughter of the Regiment is a light comedy with a military background: Marie, abandoned on the

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Monday, July 9, 2018

Idomeneo review at Opera House, Buxton – ‘an uneven staging’ by George Hall

Despite being a relatively familiar title, Mozart’s Idomeneo is a challenging assignment for Buxton, with a clutch of demanding central roles and

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Friday, July 6, 2018

The Skating Rink review at Garsington Opera, Wormsley – ‘finely observed’ by George Hall

Towards the end of a strong season, Garsington unveils a new opera – other than community works the first at this venue.

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Monday, July 2, 2018

Pelleas et Melisande review at Glyndebourne, Lewes – ‘a confusing production’ by George Hall

Last month the Grange Festival opened a production of Handel’s Agrippina in sets that repeatedly referenced the venue itself and its recent

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Friday, June 29, 2018

Powder Her Face review at Nevill Holt Opera – ‘rises to brilliance’ by George Hall

For the second production of its first season in its new opera house, Nevill Holt takes on a modern classic and presents

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Wednesday, June 27, 2018

La Boheme review at Royal Opera House, London – ‘an unforgettable portrayal of Musetta’ by George Hall

Puccini’s most popular work – indeed the most popular piece in the entire operatic repertoire these days – La Boheme returns in

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Monday, June 25, 2018

The Abduction from the Seraglio review at the Grange, Hampshire – ‘an evening of nostalgia’ by George Hall

At the age of 85, John Copley – Britain’s most experienced opera director – stages Mozart’s Turkish comedy The Abduction from the

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Romeo et Juliette review at Grange Park Opera, Surrey – ‘a lack of chemistry’ by George Hall

Charles Gounod’s second most popular opera (after Faust), Romeo et Juliette suffers from the composer falling in love with the sheer loveliness

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Thursday, June 21, 2018

Cave review at Printworks, London – ‘an impassioned plea for environmental responsibility’ by George Hall

The second operatic collaboration between composer Tansy Davies and poet Nick Drake focuses on climate change. In a ‘near-future’ world decimated by

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Tuesday, June 19, 2018

Falstaff review at Garsington Opera, Buckinghamshire – ‘warmth and humanity’ by George Hall

Bruno Ravella’s staging of Verdi’s final opera Falstaff — based on The Merry Wives of Windsor — is set around the time

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Monday, June 18, 2018

Oklahoma! review at Grange Park Opera, Surrey – ‘performed with unstoppable aplomb’ by George Hall

Opera companies sometimes use musicals as a way of replenishing the coffers. Others – such as Grange Park Opera – have developed

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Friday, June 15, 2018

Le Nozze di Figaro at Nevill Holt Opera – ‘a successful launch’ by George Hall

The headline news is that Nevill Holt Opera has created and opened an outstanding new purpose-built theatre, seating 400, possessing a superb

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Tuesday, June 12, 2018

To See the Invisible review at Britten Studio, Snape – ‘a musical patchwork’ by George Hall

New at this year’s Aldeburgh Festival, Emily Howard’s chamber opera To See The Invisible has been freely adapted by playwright Selma Dimitrijevic

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Monday, June 11, 2018

Giulio Cesare review at Glyndebourne, Lewes – ‘a memorable revival’ by George Hall

David McVicar’s Glyndebourne staging of Julius Caesar in Egypt was an overwhelming success back in 2005, helping to consolidate the position of

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Friday, June 8, 2018

Lohengrin review at Royal Opera House, London – ‘strong performances in a sombre new staging’ by George Hall

The last new Royal Opera Lohengrin was in 1977, when Elijah Moshinsky’s finest staging for the company had its premiere; but following

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Monday, June 4, 2018

Cosi Fan Tutte review at Opera Holland Park, London – ‘nuanced intelligence’ by George Hall

Just as Shakespeare has his problem plays, Mozart has Cosi Fan Tutte – one might translate the title as That’s What Women

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Capriccio review at Garsington Opera, Wormsley – ‘makes a profound impression’ by George Hall

Garsington has a long track record with Richard Strauss, and in their 30th season, they return to his operatic will and testament,

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Friday, June 1, 2018

Die Zauberflote review at Garsington Opera, Wormsley – ‘an enigmatic staging’ by George Hall

Mozart’s Magic Flute is many things: a pantomime, a philosophical drama, a lowbrow comedy, a spiritual quest, a fairy-tale. Reconciling all of

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Candide review at Iford Manor, Wiltshire – ‘marvellous material’ by George Hall

Just what exactly is Candide? There’s no neat answer. Jeff Clarke – who stages Iford’s production – admits that, like The Tales

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Wednesday, May 30, 2018

La Traviata review at Opera Holland Park, London – ‘intimacy and emotional depth’ by George Hall

Opera Holland Park’s season opener is Verdi’s popular classic, played in Cordelia Chisholm’s elegant period designs evoking the sophistication and sexual ambiguity

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Welsh National Opera managing director Leonora Thomson: ‘My goal is to make sure we are fit for the future’ by George Hall

WNO is in rude health on many fronts, but its boss tells George Hall of her mission not just to secure the

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Nevill Holt Opera’s Nicholas Chalmers: ‘Intimacy is our selling point. I never want to lose that’ by George Hall

After performing for 13 years in a temporary structure in a stable yard, Nevill Holt Opera is to open a purpose-built theatre.

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Tuesday, May 29, 2018

English National Opera: 50 years at the Coliseum in pictures by George Hall

As the English language opera company marks five decades of performing in residence at the London Coliseum, George Hall toasts some of

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Friday, May 25, 2018

Dorset Opera Festival: Small-scale venture with big ideas for producing world-class opera by George Hall

Credited with introducing several operas to this country, the annual festival returns with a UK stage premiere of Massenet’s Le Cid as

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Monday, May 21, 2018

Iolanthe review at Richmond Theatre, London – ‘a well-sung, all-male staging’ by George Hall

A decade ago, Sasha Regan started to dust off the national institution of Gilbert and Sullivan operas and gave them a new

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Der Rosenkavalier review at Glyndebourne, Lewes – ‘a superb revival’ by George Hall

When new in 2014, Richard Jones’ production was deemed radical. It certainly departs from the traditional mid-18th-century setting of Strauss’s romantic comedy,

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Friday, May 11, 2018

Lessons in Love and Violence review at Royal Opera House, London – ‘operatic mastery’ by George Hall

When his first opera Into the Little Hill was premiered in Paris in 2006, George Benjamin was already 46. His chamber-scale piece

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Monday, April 30, 2018

The Grief of Antigone/The Diary of One Who Vanished review at Omnibus, London – ‘works a treat’ by George Hall

The poems on which Janacek based his song-cycle The Diary of One Who Vanished were published in a Czech newspaper in 1916.

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Wednesday, April 25, 2018

4.48 Psychosis review at the Lyric Hammersmith, London – ‘extraordinarily accomplished’ by George Hall

Following its unveiling at this address in 2016, Philip Venables’ setting of Sarah Kane’s final play 4.48 Psychosis garnered major awards from

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Friday, March 30, 2018

Coraline review at Barbican Theatre – ‘magical opera based on Neil Gaiman’s novella’ by George Hall

Mark-Anthony Turnage’s new opera Coraline represents a departure for its 57-year-old composer. Its source is a multi-award-winning children’s novella by Neil Gaiman,

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Monday, March 26, 2018

Macbeth review at Royal Opera House, London – ‘well-cast, but unfocused’ by George Hall

As with several other unappealing Royal Opera productions, Phyllida Lloyd’s 2002 staging survives because at each revival the company can slot in

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