All stories by Inge Kjemtrup on BroadwayStars

Tuesday, October 1, 2019

The Elixir of Love review at King’s Head Theatre, London – ‘invigorating and witty’ by Inge Kjemtrup

Donizetti’s comic opera classic receives an invigorating new English-language production at the King’s Head Theatre, Islington. A co-production of King’s Head and

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Monday, September 23, 2019

Dear Marie Stopes review at Kings Place, London – ‘short but potent’ by Inge Kjemtrup

In 1918, birth-control advocate Marie Stopes published Married Life, a book that ignited a firestorm of controversy for its daring premise that

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Tuesday, September 10, 2019

The Picture of Dorian Gray review at the Bedford, London – ‘ambitious but patchy new opera’ by Inge Kjemtrup

The Picture of Dorian Gray has inspired many playwrights and composers to translate it to the stage. A new operatic adaptation by

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Thursday, August 15, 2019

Fulham Opera’s Die Meistersinger von Nürnberg review – ‘refreshing compact contemporary take’ by Inge Kjemtrup

An opera about a singing contest would seem an obvious candidate for a modern-era production and that’s exactly what Fulham Opera has

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Wednesday, July 24, 2019

Bride and Gloom review at Bampton Opera, Oxfordshire – ‘a sparkling score’ by Inge Kjemtrup

English composer Stephen Storace was a contemporary and friend of Mozart, and his 1785 opera Gli Sposi Malcontenti contains all the essential

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Tuesday, June 11, 2019

Un Ballo in Maschera review at Opera Holland Park, London – ‘a visual feast’ by Inge Kjemtrup

Political drama or romantic tragedy? Verdi’s Un Ballo in Maschera has elements of both with its plot about the assassination of the

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Monday, June 10, 2019

Das Rheingold review at Longborough Festival Opera – ‘a generally excellent cast of singers’ by Inge Kjemtrup

To launch a new Ring cycle is an ambitious undertaking for any opera company. It’s even more audacious when the company in

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Friday, May 24, 2019

Lagrime di San Pietro review at Barbican, London – ‘potent staging of a Renaissance masterpiece’ by Inge Kjemtrup

On the day of the European Union elections, to see Peter Sellars’ staged version of an a cappella Renaissance choral work, Orlando

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Tuesday, January 15, 2019

La Traviata review at Royal Opera House, London – ‘Engaging revival’ by Inge Kjemtrup

Richard Eyre’s production of La Traviata is a mainstay of the Royal Opera House, and Bob Crowley’s lavish design is one major

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Monday, November 26, 2018

It’s a Wonderful Life review at San Francisco Opera – ‘a visual treat’ by Inge Kjemtrup

American composer Jake Heggie is best known for his opera Dead Man Walking. His predilection for turning to popular sources continues with

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Tuesday, October 16, 2018

La Traviata review at Glyndebourne – ‘curiously uninvolving’ by Inge Kjemtrup

La Traviata is all about passion. Passion propels the opera’s drama forward, from the moment the impulsive Violetta decides to abandon her

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Wednesday, October 3, 2018

La Traviata review at King’s Head Theatre, London – ‘passion, power and pole dancing’ by Inge Kjemtrup

The feisty opera company at the King’s Head Theatre, under the artistic direction of Adam Spreadbury-Maher, likes to drill down to the

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Monday, October 1, 2018

Salome review at London Coliseum – ‘visually arresting, but decidedly peculiar’ by Inge Kjemtrup

From a feminist perspective, the character of Salome is seriously problematic. In Richard Strauss’s opera, based on Oscar Wilde’s play, she’s a

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Wednesday, September 5, 2018

The Rake’s Progress review at Peacock Theatre, London – ‘some fine moments’ by Inge Kjemtrup

“Since it is not by merit we rise or we fall, but the favour of Fortune that governs us all.” That sounds

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Monday, August 13, 2018

Greek review, Arcola Theatre, London – ‘energetic revival of Turnage’s outrageous opera’ by Inge Kjemtrup

It’s no wonder that Greek, Mark-Anthony Turnage’s first opera, made the 28-year-old composer’s name in 1988. Turnage’s brilliant, percussive score took an

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Tuesday, July 24, 2018

Cinderella review at Bampton Classical Opera – ‘a purposeful staging of a forgotten opera’ by Inge Kjemtrup

Had Rossini not composed Le Cenerentola in 1817, it’s possible that the most famous operatic version of Perrault’s fairytale Cendrillon would be

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Wednesday, July 18, 2018

Ariadne Auf Naxos review at Opera Holland Park, London – ‘a vibrant production’ by Inge Kjemtrup

Hot on the heels of a well-received revival of Mascagni’s forgotten Isabeau, Opera Holland Park chalks up its first Richard Strauss opera with a

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Wednesday, June 13, 2018

The Barber of Seville review at Grange Festival, Hampshire – ‘witty and entertaining’ by Inge Kjemtrup

Rossini’s The Barber of Seville requires a fine balance between fast-paced slapstick and stand-and-deliver vocal showpieces, and an enjoyable new production from

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Monday, March 5, 2018

Il Tabarro / Gianni Schicchi review at Hackney Empire, London – ‘high energy’ by Inge Kjemtrup

English Touring Opera’s revival production of Il Tabarro and Gianni Schicchi provides a reminder of the wide range of emotion Puccini crammed

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Monday, November 27, 2017

Girls of the Golden West review at War Memorial Opera House, San Francisco – ‘a flawed gem’ by Inge Kjemtrup

The operas of John Adams – Nixon in China, Doctor Atomic and The Death of Klinghoffer among them – confront the American

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Monday, November 13, 2017

The Enchanted Pig review at Jacksons Lane, London – ‘a hugely enjoyable evening’ by Inge Kjemtrup

The course of love never does run smooth and neither does the course of most fairytales. Random cruelty and stunning setbacks abound

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Friday, October 27, 2017

Don Giovanni review at Pleasance Theatre, London – ‘a provocative idea’ by Inge Kjemtrup

Directors of Mozart’s Don Giovanni are often seduced into seeking out a plausible explanation for the title character’s unrepentant womanising. For the

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Monday, October 9, 2017

Cosi fan Tutte review at Glyndebourne – ‘comedy to savour’ by Inge Kjemtrup

It’s a beautiful sunny day in Naples, but it might as well be the frozen North for two young men who have

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Friday, September 29, 2017

ENO’s Aida review at London Coliseum – ‘a musical and visual spectacle’ by Inge Kjemtrup

Verdi’s Aida lends itself to spectacle. Set in ancient Egypt, and with temple scenes and triumphal processions crucial to the plot, it’s

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Friday, August 4, 2017

Hummus review at Lewis Cubitt Square, London – ‘flavoured with equal parts humour and pathos’ by Inge Kjemtrup

Who can resist hummus, that delicious blend of chickpeas, olive oil and garlic? It’s a Middle Eastern cultural touchstone and the name

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Thursday, July 20, 2017

The Merchant of Venice review at Royal Opera House, London – ‘incisively played’ by Inge Kjemtrup

Exactly why composer Andre Tchaikowsky – gay, Jewish and depressive – chose The Merchant of Venice, with its heavy-handed anti-Semitism, as the

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Wednesday, July 12, 2017

La Voix Humaine review at Kings Place, London – ’50 shades of emotion in 50 minutes’ by Inge Kjemtrup

Poulenc’s one-woman opera La Voix Humaine opens with a woman, Elle, sitting alone, waiting for her lover to ring. She swings from

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Monday, June 5, 2017

Le Nozze di Figaro review at Garsington Opera – ‘enchanting and engaging’ by Inge Kjemtrup

Garsington Opera’s Le Nozze di Figaro is a glorious indulgence for the eye and ear. From the first scene to the last,

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Friday, June 2, 2017

La Rondine review at Opera Holland Park – ‘visually arresting’ by Inge Kjemtrup

How best to mark the centenary of Puccini’s La Rondine? It’s an operatic misfit that began life as a frothy operetta, turned

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Tuesday, May 30, 2017

The Day After review at Lilian Baylis House, London – ’emotionally compelling’ by Inge Kjemtrup

The inspiration for Jonathan Dove’s opera The Day After, being given its UK premiere by English National Opera, is the Greek myth

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Tuesday, May 23, 2017

The Secret Marriage review at the Vaults, London – ‘easy-drinking, operatic fizz’ by Inge Kjemtrup

Cimarosa’s Il Matrimonio Segreto was the runaway hit of 1792 following its first performance before Emperor Leopold II, who insisted upon an

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