Monday, February 4, 2019
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
SOURCE: The Stage Registration at 09:16PMFirst 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
SOURCE: The Stage Registration at 07:24AMMonday, January 21, 2019
Mozart’s opera contains so many elements – fairytale, quest story, spiritual journey, low comedy and high-minded defence of Freemasonry – that any
SOURCE: The Stage Registration at 11:17AMTuesday, January 15, 2019
After growing up in communist Albania and training in Italy, the soprano made her Covent Garden debut as a ‘jump-in’, replacing an
SOURCE: The Stage Registration at 03:00AMMonday, January 14, 2019
Norwegian director Stefan Herheim’s international career reached its apogee with a production of Parsifal at Bayreuth (2008) that achieved a number of
SOURCE: The Stage Registration at 07:03AMFriday, December 21, 2018
This year welcomed a new 400-seat opera house at Nevill Holt, where the resident company staged successful productions of Figaro and Antony
SOURCE: The Stage Registration at 03:00AMFriday, December 14, 2018
When we meet, Antony McDonald has been working all day on his new production of Humperdinck’s Hansel and Gretel, which opened this
SOURCE: The Stage Registration at 12:35PMThursday, December 13, 2018
Part of Antony McDonald’s brief from director of the Royal Opera Oliver Mears in creating his new, self-designed staging has been to
SOURCE: The Stage Registration at 07:29PMFriday, November 23, 2018
In recent decades there’s been a revival of interest in Charles Stanford – a leading light of the English musical Renaissance who
SOURCE: The Stage Registration at 01:03PMSaturday, November 17, 2018
In 1962 the new Coventry Cathedral was consecrated, just yards away from the ruins of its medieval predecessor, which was destroyed in
SOURCE: The Stage Registration at 04:52PMFriday, November 16, 2018
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
SOURCE: The Stage Registration at 02:35AMWednesday, October 31, 2018
Ethel Smyth (1858-1944) deserves to be remembered for many things – in a year marking 100 years of (partial) women’s suffrage, as
SOURCE: The Stage Registration at 10:02AMFriday, October 26, 2018
First seen in 2008, David Alden’s hard-hitting staging of Donizetti’s tragedy of forced marriage and its shocking aftermath returns for a second
SOURCE: The Stage Registration at 04:14AMTuesday, October 23, 2018
The festival founded in a small town on the south-east coast of Ireland in 1951 has thrived on the most unlikely of
SOURCE: The Stage Registration at 12:37PMMonday, October 22, 2018
Major companies rarely glance at works by Saverio Mercadante, a prolific and admired older contemporary of Donizetti and Bellini who lived long
SOURCE: The Stage Registration at 07:12AMDuring his tenure Wexford’s artistic director David Agler has made a feature of American operas, with somewhat mixed results. The latest is
SOURCE: The Stage Registration at 04:54AMWednesday, October 17, 2018
Once again English Touring Opera places originality at the forefront of their programming. Only one of the three works in this triple
SOURCE: The Stage Registration at 10:24AMMonday, October 8, 2018
Over the years English Touring Opera has been loyal to Handel, staging several of his operas with the colourful period-instrument forces of
SOURCE: The Stage Registration at 08:58AMTuesday, October 2, 2018
From a visual point of view, Gotterdammerung – the last segment of Wagner’s Ring, revived for the final time in Keith Warner’s
SOURCE: The Stage Registration at 07:45AMMonday, October 1, 2018
In the third part of Wagner’s Ring, which concentrates on the adventures of young Siegfried, there remain production elements that puzzle in
SOURCE: The Stage Registration at 10:13AMTuesday, September 25, 2018
First seen in 2004, Das Rheingold, the first instalment of Keith Warner’s production of Wagner’s Ring, is back as the prelude to
SOURCE: The Stage Registration at 06:01AMMonday, September 24, 2018
Puccini’s Tosca is generally agreed to be the pre-eminent operatic thriller, but rarely does it pack such a sequence of visceral punches
SOURCE: The Stage Registration at 07:50AMWednesday, September 19, 2018
As the Royal Opera House prepares to let the public into its redeveloped spaces, chief executive Alex Beard tells George Hall why
SOURCE: The Stage Registration at 03:00AMTuesday, September 4, 2018
In 1939, Benjamin Britten and his partner Peter Pears, dismayed at the increasingly fraught situation in Europe, joined their friend WH Auden
SOURCE: The Stage Registration at 12:19PMMonday, September 3, 2018
The fully equipped, state of the art Victorian Theatre at Alexandra Palace opened in 1875, but despite some glory periods the venue
SOURCE: The Stage Registration at 07:17AMThursday, August 23, 2018
Next spring, the British opera director Stephen Langridge will take up the position of artistic director of Glyndebourne – not only one
SOURCE: The Stage Registration at 02:00AMTuesday, August 21, 2018
In 1890, impresario Richard D’Oyly Carte, composer Arthur Sullivan and librettist WS Gilbert fell out over the costs of a carpet. It
SOURCE: The Stage Registration at 05:42AMMonday, August 20, 2018
Two works from the early years of the Gilbert and Sullivan partnership are presented together and in contrasting manner. Festival founder Ian
SOURCE: The Stage Registration at 06:52AMIt’s evidence of the ongoing popularity of Gilbert and Sullivan that this year alone the UK has seen three professional productions of
SOURCE: The Stage Registration at 06:34AMThursday, August 16, 2018
The summer festival at Bregenz keeps the small Austrian city on Lake Constance full and occupied for a month of activity. Chief
SOURCE: The Stage Registration at 06:57AMFriday, August 3, 2018
After the demise of the D’Oyly Carte Opera Company, Ian Smith feared Gilbert and Sullivan’s legacy might fade into obscurity, so he
SOURCE: The Stage Registration at 07:59AM 
