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D: Jo DaviesChristopher Moon-Little
C: Harry OggTianyi Lu
Repartiment: Virginie VerrezJulia MintzerDimitri PittasPeter AutyPhillip RhodesGiorgio CaoduroAnita WatsonElin PritchardHenry WaddingtonJohn SavourninHarriet EyleyHaegee LeeAngela SimkinRoss RamgobinBenjamin BevanHoward KirkJoe Roche
Carmen – Wales Millennium Centre, Cardiff

In the case of Jo Davies’ production for Welsh National Opera, it is not overstating to say, top of the league.

Llegeix més
11 Octubre 2019www.thereviewshub.comBarbara Michaels
The Turn of the Screw
D: Timothy Sheader
C: Toby Purser
Repartiment: William MorganElgan Llyr ThomasElin PritchardRachael LloydJanis KellySarah PringRhian LoisAnita Watson
REVIEW: THE TURN OF THE SCREW, REGENT’S PARK OPEN AIR THEATRE

That said the set is the star. The dilapidated conservatory in amongst the reeds and marshes feel like they have been part of the landscape for years, and sets just the right eerie tone. You are transported wholly into the house and its machinations, and Designer Soutra Gilmour must be praised for such an achievement.

Llegeix més
29 Juny 2018www.ayoungertheatre.comCharlotte Irwin
The week in classical: Roméo et Juliette; Cave; The Turn of the Screw review – midsummer loving

The same could be said of Britten’s The Turn of the Screw, his invincible 1954 chamber opera based on Henry James’s novella. Psychic forces grip the Governess in charge of two children, who may or may not be in thrall to two ghosts. In this first Regent’s Park Open Air theatre/ENO venture, young singers from ENO’s Harewood Artists programme – Rhian Lois, William Morgan, Elgan Llyr Thomas – led a double cast (I heard the second), conducted with superb authority by ENO Mackerras fellow Toby Purser. The 13-strong chamber ensemble was impeccable. As the children Miles and Flora, Sholto McMillan and Ellie Bradbury were chillingly convincing. Sholto’s brilliant miming on a dummy keyboard (played for real by on-stage piano) was a tour de force, never mind the insolent purity of his treble voice.

Llegeix més
01 Juliol 2018www.theguardian.comFiona Maddocks
La Bohème
D: Crispin LordJonathan Miller
C: Ben Glassberg
Repartiment: Samantha ClarkeLouise AlderElin PritchardSinéad Campbell WallaceNadine BenjaminDavid Junghoon KimAdam GilbertCharles RiceBenson WilsonAlex OtterburnWilliam ThomasSimon ButterissSimon Butteriss
Jonathan Miller’s production of Puccini’s La bohème returns to ENO

As a result, the evening relied more on the fine Marcello and Musetta from Charles Rice and Louise Alder, who gave the tragedy the ring of truth, both revealed and camouflaged by their explosive relationship. Alder took charge of her Café Momus waltz with imperious ease, considerable humour and some impressive coloratura, while in Act Three Rice’s immensely likeable Marcello in fine acting and singing painfully got to the heart of the misery Mimì and Rodolfo are inflicting on each other – they can’t live with or without each other. Rice naturally took charge of the artist household, backed up William Thomas’s Colline and Benson Wilson’s Schaunard, both strongly characterised and sung.

Llegeix més
31 Gener 2022www.classicalsource.comPeter Reed
La bohème returns to ENO

Or maybe not, for one of the most impressive aspects was Ben Glassberg’s conducting, which revelled in Puccini’s Wagnerisms, memories of Tristan evoked quite magically in the first act, without taking for something they were not. The sounds extracted from the ENO Orchestra were often magnificent: a great dynamic range, from moments of hushed intimacy, to grand, declamatory gesture. But it was Glassberg’s pacing and his reconciliation of vocal and orchestral demands that marked this out most strongly. That was not all his doing, of course. Both orchestra and chorus—what a joy to see and hear a chorus, handled most resourcefully, onstage once again—deserved plaudits in their own right. String sheen and incisiveness, bubbling woodwind and chorus: these and more played their part in weaving an effervescent, yet ever-darkening dramatic tapestry.

Llegeix més
05 Febrer 2022operatoday.comMark Berry
The Handmaid's Tale
D: Annilese Miskimmon
C: Joana Carneiro
Repartiment: Kate LindseyEmma BellRhian LoisRhian LoisElin PritchardSusan BickleyMadeleine ShawFrederick BallentineAlan OkePumeza MatshikizaJohn FindonRobert HaywardAvery AmereauSamantha Crawford
The week in classical: The Handmaid’s Tale; Le Chemin de la Croix; Bournemouth SO/Karabits

Ruders’s detailed orchestral colours are never dull, swerving from the sweet tonality of Amazing Grace (quoted in the score) to aggressive dissonance, enhanced by a battery or instruments from harpsichord and piano to xylophone, bells, gongs, woodblocks, unidentifiable grindings and sizzlings and the insistent ambush of a large bass drum. Every aspect of the singing and production is impressive, fluently staged with a backdrop of drapes and a few mobile set pieces such as The Wall. The women of English National Opera’s chorus have many opportunities to shine, and do. The hardworking ENO orchestra excels.

Llegeix més
16 Abril 2022www.theguardian.comFiona Maddocks
Opera: The Handmaid’s Tale by Poul Ruder (ENO)

Ruders and his librettist, Paul Bentley, have succeeded magnificently in transferring a book, much of whose action is in memories and internal monologue, to the stage. Flashbacks to Offred’s Life Before with her mother, husband, and daughter are back-projected black-and-white film. Act One ends with a birth — to the Handmaid Ofwarren, a moment of communal rejoicing — Act Two with a death, the whole framed by an academic symposium in which a historian in 2065 — Call My Agent!’s Camille Cottin — plays us Offred’s clandestine tapes, making it clear from the start that Gilead, like Nazi Germany, is a historical aberration.

Llegeix més
10 Maig 2022www.churchtimes.co.ukFiona Hook

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