All stories by George Hall on BroadwayStars

Tuesday, April 23, 2019

The Garden review at Queen Elizabeth Hall, London – ‘endearingly whimsical’ by George Hall

Opera, of course, this isn’t – though Richard Ayres has already composed two of them: The Cricket Recovers, a success at its

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Wednesday, April 17, 2019

HMS Pinafore review at King’s Head Theatre, London – ‘an irresistible staging’ by George Hall

Charles Court Opera returns to the King’s Head with its small but perfectly formed staging of one of the finest Gilbert and

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George Hall: Daniel Kramer is a talent who could talk the talk at ENO but couldn’t always walk the walk by George Hall

The news that Daniel Kramer is to leave English National Opera, the company he has led for the past three years, is

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Tuesday, April 16, 2019

Opera singer Rosalind Plowright: ‘Watch out for conductors – they can be totally ruthless…’ by George Hall

Celebrated mezzo Rosalind Plowright shows no sign of slowing down as she prepares to mark her 70th birthday with back-to-back roles. She

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Director Deborah Warner: ‘I thought opera was absurd, impossible, but then I got it’ by George Hall

The director known for her interpretations of Shakespeare, Bertolt Brecht, Henrik Ibsen and Benjamin Britten has seamlessly bridged the worlds of theatre

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Alex Reedijk: ‘I want Scottish Opera to feel like a festival all year round’ by George Hall

In 13 years, New Zealander Alex Reedijk has pulled Scottish Opera back from the brink, turning it into a thriving company that

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Friday, April 12, 2019

Faust review at Royal Opera House, London – ‘a fascinatingly vital production’ by George Hall

Due to sing Marguerite in this revival of David McVicar’s 2004 production, star German soprano Diana Damrau pulled out a week ago

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Sunday, March 31, 2019

Jack the Ripper: The Women of Whitechapel review at London Coliseum – ‘a limited achievement’ by George Hall

The notorious serial-killer nicknamed Jack the Ripper continues to fascinate, with countless books, films, documentaries, tours and websites catering to a seemingly

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Thursday, March 28, 2019

Berenice review at Linbury Theatre, London – ‘a witty staging of Handel’s rarely performed opera’ by George Hall

One of Royal Opera director Oliver Mears’ initiatives is to bring back to Covent Garden the numerous works Handel premiered there. The

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Friday, March 22, 2019

La Forza del Destino review at Royal Opera House, London – ‘a star-studded production’ by George Hall

Rumour on the operatic street has it that tickets for Christof Loy’s new production of La Forza del Destino are reselling for as

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Wednesday, March 13, 2019

Katya Kabanova review at Theatre Royal, Glasgow – ‘exceptional’ by George Hall

Scottish Opera’s fine production of Katya Kabanova – directed by Stephen Lawless, vividly conducted by Stuart Stratford, and performed in the original

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Monday, March 11, 2019

Idomeneo review at Hackney Empire, London – ‘English Touring Opera’s clear-sighted staging’ by George Hall

One of two major works that he is directing as part of English Touring Opera’s spring tour, James Conway’s Idomeneo is a

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Monday, March 4, 2019

Elizabeth I review at Hackney Empire, London – ‘Rossini’s opera is delivered with style and clarity’ by George Hall

Rossini’s 1815 opera marked his debut in Naples, where he was to remain for eight years, turning the San Carlo Theatre into

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Agreed review at Glyndebourne – ‘Community opera proves worthwhile’ by George Hall

Every couple of years Glyndebourne stages a new work involving its youth wing and other non-professionals, who combine with professional principals, band

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The Merry Widow review at the London Coliseum – ‘much-loved operetta misfires’ by George Hall

Operetta is the trickiest of all genres: its performers have to be able to sing with operatic skill, put over reams of

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Thursday, February 28, 2019

Robin Hood review at CLF Arts Cafe, London – ‘an inventive new opera’ by George Hall

Founded three years ago, the Opera Story has produced two new works, both of them genuine successes: Snow (2017) collated three shorter

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Wednesday, February 27, 2019

The Pirates of Penzance review at Wilton's Music Hall, London - 'fresh as paint' by George Hall

In its rebuilt form, Wilton’s Music Hall dates from exactly the same period as the Gilbert and Sullivan comic opera, whose premiere

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Tuesday, February 12, 2019

Akhnaten review at London Coliseum – ‘a visually extraordinary staging’ by George Hall

English National Opera’s collaboration with Improbable and its director Phelim McDermott on Philip Glass’ 1984 opera returns for its first revival. It

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Tuesday, February 5, 2019

Carlo Rizzi: ‘Conducting is not telling people what to do – you convince them’ by George Hall

Introduced to the UK opera scene by Lesley Garrett, conductor Carlo Rizzi had two stints as musical director at Welsh National Opera

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Monday, February 4, 2019

Katya Kabanova review at Royal Opera House, London – ‘a profoundly committed performance’ by George Hall

Three UK companies are staging Janacek’s tragedy of Russian provincial life almost simultaneously. Opera North’s revival of Tim Albery’s 2007 production opened

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Katya Kabanova review at Leeds Grand Theatre – ‘passionate conducting’ by George Hall

First seen in 2007, Tim Albery’s production of Janacek’s small-Russian-town tragedy returns for a revival. Hildegard Bechtler’s costumes indicate the staging’s repositioning

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Monday, January 21, 2019

The Magic Flute review at Grand Theatre, Leeds – ‘an ambitious production’ by George Hall

Mozart’s opera contains so many elements – fairytale, quest story, spiritual journey, low comedy and high-minded defence of Freemasonry – that any

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Tuesday, January 15, 2019

Soprano Ermonela Jaho: ‘The first time I saw La Traviata, I thought I’d die if I never sang it’ by George Hall

After growing up in communist Albania and training in Italy, the soprano made her Covent Garden debut as a ‘jump-in’, replacing an

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Monday, January 14, 2019

The Queen of Spades review at Royal Opera House, London – ‘a tedious evening’ by George Hall

Norwegian director Stefan Herheim’s international career reached its apogee with a production of Parsifal at Bayreuth (2008) that achieved a number of

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Friday, December 21, 2018

2018: Best opera of the year by George Hall

This year welcomed a new 400-seat opera house at Nevill Holt, where the resident company staged successful productions of Figaro and Antony

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Friday, December 14, 2018

ROH’s Hansel and Gretel director and designer Antony McDonald: ‘Creative tension can be good’ by George Hall

When we meet, Antony McDonald has been working all day on his new production of Humperdinck’s Hansel and Gretel, which opened this

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Thursday, December 13, 2018

Hansel and Gretel review at Royal Opera House, London – ‘a magical staging’ by George Hall

Part of Antony McDonald’s brief from director of the Royal Opera Oliver Mears in creating his new, self-designed staging has been to

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Friday, November 23, 2018

The Travelling Companion review at Town Hall, Lewes – ‘fine performances’ by George Hall

In recent decades there’s been a revival of interest in Charles Stanford – a leading light of the English musical Renaissance who

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Saturday, November 17, 2018

War Requiem review at London Coliseum – ‘Daniel Kramer directs an unforgettable staging’ by George Hall

In 1962 the new Coventry Cathedral was consecrated, just yards away from the ruins of its medieval predecessor, which was destroyed in

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Friday, November 16, 2018

Simon Boccanegra review at Royal Opera House – ‘an outstanding performance from Carlos Alvarez’ by George Hall

First seen in 1991, Elijah Moshinsky’s production of Verdi’s Simon Boccanegra has helped cement a once neglected masterpiece in the Royal Opera’s

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Wednesday, October 31, 2018

The Wreckers review at Roxburgh Hall Theatre, Stowe – ‘a work of stature’ by George Hall

Ethel Smyth (1858-1944) deserves to be remembered for many things – in a year marking 100 years of (partial) women’s suffrage, as

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All that Chat

2018-2019 BROADWAY SEASON