Royal Opera House
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Monday 12 October 2009
Kenneth MacMillan's Mayerling isn't a conventional choice for a first-time ballet. It traces the decline of Crown Prince Rudolf, heir to the Austro-Hungarian empire, from his marriage to his death in a suicide pact with his teenaged mistress. This really isn't The Nutcracker.
Cloudgate Dance Theatre of Taiwan, Barbican Theatre, London<br/>Mayerling, Royal Opera House, London
Sunday 11 October 2009
Friday 09 October 2009
TV bosses may be at loggerheads over the prime time viewing clash between Strictly Come Dancing and The X Factor on the nation’s television sets.
Tristan und Isolde, Royal Opera House, London<br/>Werther, Grand Theatre, Leeds<br/>London Sinfonietta/John Adams, Queen Elizabeth Hall, London
Sunday 04 October 2009
Wednesday 30 September 2009
After his starkly minimalist Lulu one might have anticipated that director Christof Loy would deliver a Tristan und Isolde of unforgiving austerity.
Thursday 17 September 2009
The heat generated by this scorching revival of Verdi's Don Carlo had little to do with burning heretics or indeed any aspect of Nicholas Hytner's lucid if rather passive staging, but rather the conducting of Semyon Bychkov whose drive and patience ensured that both the urgency and weight of history defining this great score were magnificently served.
Wednesday 16 September 2009
The heat generated by this scorching revival of Verdi’s Don Carlo had little to do with burning heretics or indeed any aspect of Nicholas Hytner’s lucid if rather passive staging but rather the conducting of Semyon Bychkov whose drive and patience ensured that both the urgency and weight of history defining this great score were magnificently served.
Tuesday 15 September 2009
The prospect of four solid hours of un-staged opera is enough to strike fear into the hearts of even the most zealous of opera-fans, yet the Royal Opera House’s brief two-performance fling this week with Donizetti’s lesser known masterpiece is an absolute delight.
Thursday 10 September 2009
Despite the notoriety associated with grime music, Chipmunk will always be the rapper you'd happily bring home to mum. It's a pity the Royal Opera House didn't see it that way. Perhaps the excessive security measures were rolled out for the benefit of Wiley, who as tardy and calamitous as he was during his swift set, hardly lived up to the hazards one suspects were bashed out in capital letters on the risk assessment (unless being late, a touch explicit and forgetting your words is considered a threat nowadays). While grime music may still be regarded as part of an urban social class that's better appreciated from a distance – by those who usually frequent Covent Garden for the likes of Linda di Chamounix – the genre's climb to the top of the charts has helped it to earn a more PG status.
Tuesday 18 August 2009
The Mariinsky Ballet celebrates George Balanchine, in the only mixed bill of this London season. Sometimes they're on top of this choreography, sometimes not.
Sunday 16 August 2009
Thursday 30 July 2009
This year's Summer Collection has new momentum. The Royal Opera House's biennial season of contemporary dance is a mix of guest companies, associate artists and in-house work. The new streamlined programme, curated by Theresa Beattie, is faster paced than in previous years, short numbers put briskly together.
Tuesday 14 July 2009
Renowned conductor Sir Edward Downes and his wife, who died together in an assisted suicide clinic, were devoted to each other, the musician's manager said today.
Tuesday 07 July 2009
They say it is not over until the fat lady sings – now it turns out that it is not even over when the diva breaks a leg. There cannot be a professional performer treading the boards with a better story about how they stuck to the rule that the show must go on than self-styled 'Yankee diva' Joyce DiDonato, who will be appearing on stage tonight at the Royal Opera House in a new production of Rossini's opera Il barbiere di Siviglia (The Barber of Seville).
Sunday 05 July 2009
Rossini’s Barber of Seville is packed with showstoppers; but when did we last see it cast at such strength, sung with such tongue and vocal chord twisting relish, and conducted with such panache that every number did just that – stopped the show? Answer: the current revival of Moshe Leiser and Patrice Caurier’s wild and wacky staging at the Royal Opera House.
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