Royal opera house

I suspect this was a rush job: Like Water for Chocolate reviewed

11 June 2022 9:00 am

How much weight of plot can dance carry? Balanchine famously insisted that there are no mothers-in-law in ballet, and masters…

Too affectionate, not enough cruelty: Don Pasquale, at the Royal Opera House, reviewed

14 May 2022 9:00 am

There are many things to enjoy in the Royal Opera’s revival of Donizetti’s Don Pasquale, but perhaps the most surprising…

Why I booed Birtwistle

7 May 2022 9:00 am

Keith Burstein recalls a key moment in the battle for emancipation from the ivory tower of atonalism

Why is dance so butch these days?

2 April 2022 9:00 am

For an art form that once boldly set out to question conventional divisions of gender, ballet now seems to be…

Old-school excess, star power and spectacle: Royal Opera's Tosca reviewed

19 February 2022 9:00 am

London felt like its old self on Friday night. Possibly it was just me; when you visit the capital once…

Turns Handel into a Netflix thriller: Royal Opera's Theodora reviewed

12 February 2022 9:00 am

The Royal Opera has come over all baroque. In the Linbury Theatre, they’re hosting Irish National Opera’s production of Vivaldi’s…

A booster shot of sunlight: Unsuk Chin's new violin concerto reviewed

15 January 2022 9:00 am

Sir Simon Rattle and the London Symphony Orchestra began the year with a world première. Unsuk Chin’s Second Violin Concerto…

This is how G&S should be staged: ENO's HMS Pinafore reviewed

6 November 2021 9:00 am

Until 1881, HMS Pinafore was the second-longest-running show in West End history. Within a year of its première it had…

Swaggerific display of pumping chests and crotch-grabbing struts: NYDC's Speak Volumes reviewed

31 July 2021 9:00 am

Last week I attended a dance performance in person for the first time since March last year. If you’d asked…

The finest Falstaff you’ll see this summer

10 July 2021 9:00 am

Comedy’s a funny thing. No, seriously, the business of making people laugh is as fragile, as mercurial as cryptocurrency —…

The promoter the critics love to hate: an interview with Raymond Gubbay

19 June 2021 9:00 am

Richard Bratby talks to one of Britain’s most successful impresarios about his promoter’s nose, Arts Council spinelessness and ENO madness

Hit every auditory G-spot simultaneously: CBSO/Hough/Gardner concert reviewed

29 May 2021 9:00 am

Rejoice: live music is back. Or at least, live music with a live audience, which, as Sir Simon Rattle admitted,…

Sensual and silky: the Royal Ballet returns to Covent Garden

27 June 2020 9:00 am

Wayne McGregor’s Morgen! and Frederick Ashton’s Dance of the Blessed Spirits are the first pieces of live dance — streamed…

After weeks of silence, Royal Opera reopened with a whimper

20 June 2020 9:00 am

It was the fourth time, or maybe the fifth, that I found myself reaching for the tissues that I began…

Antonio Pappano on diversity, a new Ring cycle and defending Verdi from dodgy directors

29 February 2020 9:00 am

After a record 18 years – and counting – as music director, Antonio Pappano talks to Norman Lebrecht about life after Covent Garden and how opera is beyond younger audiences

The audience were in tears: Christian Gerhaher/Gerold Huber at the Wigmore Hall reviewed

24 January 2020 10:00 pm

‘Popular’ classical music is a relative term. Show me someone who thinks Beethoven is surefire box office, and I’ll show……

Daffy charm and diabolo tricks: Bolshoi’s The Bright Stream reviewed

17 August 2019 9:00 am

The Bright Stream is a ballet about a collective farm. Forget everything you know about collectivism — the failed harvests,…

Silly but stellar: Bolshoi Ballet’s Spartacus reviewed

10 August 2019 9:00 am

It’s togas-a-go-go as the Bolshoi bring Yuri Grigorovich’s 1956 ballet Spartacus to the Royal Opera House. Oh dear, I did…

Clare Presland as Susanna in Il segreto di Susanna at Opera Holland Park Image: © Ali Wright

It’s not fair – I liked Il segreto di Susanna before it was cool: OHP’s double bill reviewed

3 August 2019 9:00 am

Should a secret pleasure ever be shared? Spoiler alert: Susanna’s secret, unknown to her husband Gil, is that she smokes.…

Miraculous: Amanda Majeski as Katya Kabanova in Richard Jones’s Royal Opera production

One of the greatest operatic experiences of my life: Royal Opera’s Katya Kabanova reviewed

9 February 2019 9:00 am

Janacek’s upsetting opera Katya Kabanova, which hasn’t been seen in the UK for some time, turned up in two different…

Artists of the Royal Ballet against the easel-worthy backcloths of John Macfarlane’s ravishing designs for Swan Lake

Proper tutus, gorgeous designs, first-rate dancing: Royal Ballet’s new Swan Lake reviewed

26 May 2018 9:00 am

The Royal Ballet’s 2016 Frankenstein was a masterclass in how not to make narrative dance and the news that Liam…

The glums: Marisol Montiel and Ana Luisa Montiel in Taryn Simon’s ‘An Occupation of Loss’

Grief-conjurors, space-mincers and earth-shovellers: performance roundup

19 May 2018 9:00 am

They enter two by two. Grannies, mainly. Headscarved, mainly. Some locking arms. A bit glum. Like rejects from Noah’s ark.…

A delicious operatic ragout of horror: Lady Macbeth of Mtsensk reviewed

21 April 2018 9:00 am

There is famously no door into the late-night diner of Edward Hopper’s ‘Nighthawks’. Its three silent patrons are trapped behind…

Reducing the lead to an demented rape victim is just what ballet needs: The Wind reviewed

18 November 2017 9:00 am

A kindly cowboy, an East Coast bride, adultery, murder and madness. The Wind, Dorothy Scarborough’s 1925 Texas gothic novel (and…

The glorious Grand Pas from Paquita, part of the Mariinsky’s triple bill

Not vintage Mariinsky

19 August 2017 9:00 am

Not really a vintage Mariinsky season — an odd choice of repertoire and some hit-and-miss male casting — but the…