All stories by Yehuda Shapiro on BroadwayStars

Wednesday, April 17, 2019

Shaw Goes Wilde review at Royal Academy of Music, London – ‘whimsical and charming opera double-bill’ by Yehuda Shapiro

For the second year running, Pegasus Opera is presenting the UK premieres of two one-act operas – one serious, one comic –

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Tuesday, April 16, 2019

Kaj Nazar review at Bishop Centre, London – ‘witty revival of Armenia’s first comic opera’ by Yehuda Shapiro

Kaj Nazar by Haro Stepanian, billed as Armenia’s first comic opera, has not been seen since its premiere in Yerevan in 1935.

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Friday, March 15, 2019

The Turn of the Screw review at Bury Court, Farnham – ‘starkly theatrical production of Britten’s bewitching opera’ by Yehuda Shapiro

It is surprising that Bury Court Opera has waited until its final season to stage The Turn of the Screw: the company’s

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Tuesday, March 12, 2019

Macbeth review at Hackney Empire, London – ‘a handsome, well-sung production’ by Yehuda Shapiro

English Touring Opera, which takes a flexible view on language, presents Verdi’s Macbeth in Andrew Porter’s English version. Since surtitles are also

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Thursday, January 31, 2019

L’Incoronazione di Poppea review at Cockpit Theatre, London – ‘a compelling staging’ by Yehuda Shapiro

The artistic and musical director of Ensemble OrQuesta, Marcio da Silva, has developed a distinctive style for his productions of Baroque opera.

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Wednesday, January 23, 2019

Alcina review at St John’s Smith Square – ‘elegant concert staging’ by Yehuda Shapiro

Though John Caird, an honorary associate director of the Royal Shakespeare Company, is credited with the staging, this is essentially a concert

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Wednesday, December 19, 2018

Cinderella review at King’s Theatre, Portsmouth – ‘Natasha J Barnes raises the roof’ by Yehuda Shapiro

The gorgeous Edwardian Kings Theatre is ideal for traditional panto, and this is essentially what we get in this Cinderella. The richly-coloured

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Tuesday, November 20, 2018

The Secret Marriage review at Jacksons Lane, London – ‘fizz and refinement’ by Yehuda Shapiro

Famously encored in its entirety by the Emperor of Austria, Domenico Cimarosa’s Il matrimonio segreto dates from 1792 – the year of

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Thursday, November 8, 2018

Don Carlo review at St John’s Church, London – ‘a sense of grandeur’ by Yehuda Shapiro

With Wagner’s Ring among its past projects, Fulham Opera now turns to Don Carlo, maybe Verdi’s grandest – and greatest – opera.

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Friday, October 12, 2018

Passion review at Anvil, Basingstoke – ‘an opera-ballet of elegiac beauty’ by Yehuda Shapiro

Pascal Dusapin’s Passion, a meditation on the Orpheus myth, was premiered 10 years ago at the Aix-en-Provence Festival, but this collaboration between

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Friday, September 7, 2018

Faust, Alberta review at the Bridewell Theatre, London – ‘imaginative scoring’ by Yehuda Shapiro

Faust, Alberta is a small village in western Canada. In Simone Spagnolo’s new one-man opera, it is also a state of mind.

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Monday, September 3, 2018

The Enchanted Island review at Peacock Theatre, London – ‘a vibrant young cast’ by Yehuda Shapiro

A baroque extravaganza, The Enchanted Island was conceived by Jeremy Sams for the Metropolitan Opera, New York, where its premiere cast in

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Monday, August 20, 2018

Don Giovanni review at Waterperry Opera Festival – ‘exhilarating momentum’ by Yehuda Shapiro

This Don Giovanni, presented in a neo-classical stone amphitheatre, inaugurates the Waterperry Opera Festival in rural Oxfordshire. It shares the programme with

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Monday, August 6, 2018

Vanessa review at Glyndebourne – ‘probing and spectacular’ by Yehuda Shapiro

It is 60 years since Vanessa’s successful premiere at New York’s Metropolitan Opera in New York, but this is the first professional

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Monday, July 9, 2018

Falstaff review at Royal Opera House, London – ‘a lavish production’ by Yehuda Shapiro

This revival of Robert Carsen’s 2012 staging of Verdi’s final opera seems to have everything you could ask for. Appropriately enough, it

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Thursday, July 5, 2018

Cosi Fan Tutte review at St Saviour’s Church, St Albans – ‘pace and panache’ by Yehuda Shapiro

Dulwich Opera is a touring company established by two young singers, Loretta Hopkins and David Fletcher. Its production of Cosi Fan Tutte

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Tuesday, June 26, 2018

How opera diva Maria Callas continues to enthral the theatre world by Yehuda Shapiro

Revered more than 40 years after her death, Maria Callas wowed audiences from the New York Met to La Scala in Milan.

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The Turn of the Screw review at Open Air Theatre, London – ‘palpable dramatic charge’ by Yehuda Shapiro

Ahead of its production of Little Shop of Horrors, Regent’s Park Open Air Theatre stages a subtler and more sinister musical chiller,

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Monday, June 18, 2018

Mamzer Bastard review at Hackney Empire, London – ‘hauntingly melodic’ by Yehuda Shapiro

Mamzer, a Hebrew word, denotes a person born from a forbidden relationship. Yoel (countertenor Collin Shay) is a timid 21-year-old Hassid. On

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Thursday, May 31, 2018

Trioperas review at Peacock Theatre, London – ‘a trilogy of potted operas’ by Yehuda Shapiro

Some of the best moments in Trioperas come when the show gets furthest away from conventional expectations of opera. There’s the breakdancing

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Tuesday, May 22, 2018

La Traviata review at Jackson’s Lane, London – ‘youthful energy’ by Yehuda Shapiro

Marie Duplessis, the historical model for Verdi’s Violetta Valery, died at the age of just 23. This makes La Traviata an apt

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Monday, May 21, 2018

Madama Butterfly review at Glyndebourne, Lewes – ‘excellent performances’ by Yehuda Shapiro

This is the first time that Madama Butterfly has emerged from her chrysalis at Glyndebourne’s summer festival, though the company first toured

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Friday, May 4, 2018

The Mother review at Posk, London – ‘grotesquery and sophistication’ by Yehuda Shapiro

Laurence Osborn, the 29-year-old composer of this new opera, writes in the programme of the claustrophobia of living with his mother until

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Friday, April 13, 2018

Lady Macbeth of Mtsensk at Royal Opera House review – ‘graphic, visceral and exuberant’ by Yehuda Shapiro

Famously condemned by Stalin in 1936, Shostakovich’s graphic Lady Macbeth of Mtsensk still has the power to shock. Until the bleak final

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Tuesday, March 6, 2018

Ruth/The Dark Lady of the Sonnets review at St Paul’s Church, London – ‘a gift for melody’ by Yehuda Shapiro

The New York-based composer Philip Hagemann has come to London to conduct this double bill of his own operas, both receiving their

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Tuesday, November 21, 2017

The Rake’s Progress review at Wilton’s Music Hall, London – ‘elegant and lively’ by Yehuda Shapiro

Stravinsky’s neoclassical extravaganza, The Rake’s Progress, plays on the tension between artificiality and sincerity. This elegant and lively inaugural production by OperaGlass

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Wednesday, November 8, 2017

La Tragedie de Carmen review at Wilton’s Music Hall, London – ‘tongue-in-cheek’ by Yehuda Shapiro

Ahead of Barrie Kosky’s new production of Carmen, due at Covent Garden in February, the Royal Opera House’s Jette Parker young artists

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Wednesday, October 11, 2017

The Voice of Black Opera: How diversity is helping to build opera’s artistic strength by Yehuda Shapiro

The vision of a British opera industry that is as ethnically diverse as Team GB at the London and Rio Olympics may

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Wednesday, October 4, 2017

Tosca review at King’s Head Theatre, London – ‘inventive touches’ by Yehuda Shapiro

Centred on the passions and pains of an operatic diva, Tosca gives Puccini permission to use his full, seductive box of tricks

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Friday, August 18, 2017

Collision review at London’s Arcola Theatre – ‘jazzily popular and rigorously serious’ by Yehuda Shapiro

A cheeky eschatological opera featuring a virtuosic high soprano as the sinister police chief – if that sounds like Gyorgy Ligeti’s Le

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Wednesday, July 26, 2017

The Marriage of Kim K review at Arcola Theatre, London – ‘an ambitious fusion’ by Yehuda Shapiro

Opening Dalston’s annual Grimeborn opera festival before visiting the Edinburgh Fringe, The Marriage of Kim K come from Manchester-based company Leoe and

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