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George Hall

Carmen - review

Royal Albert Hall, London Originally presented in 2002, David Freeman's arena staging of Bizet's opera is back for its third revival. It has undoubtedly seen better days; where it used to be sharply focused, some of the action has become fuzzy. Worse,

Medea, Coliseum, London

Adventurous programming continues at the Coliseum with the UK stage premiere of a neglected 1693 masterpiece by the comparatively little known French Baroque composer Marc-Antoine Charpentier. Deriving from ancient Greek myths, the plot centres on the sor

Werther, Theatre Royal, Glasgow

Massenet's romantic tragedy joins Scottish Opera repertoire in a new staging by up-and-coming director Pia Furtado. Designer Helen Goddard's costumes suggest a period closer to the opera itself (1892) than to the late-18th-century setting of Goethe's nove

LSO/Haitink - review

Wagner's labelling of Beethoven's Seventh Symphony as "the apotheosis of the dance" has stuck to it like glue, and there's no denying that the orchestral repertory offers few accumulations of energy as sustained as this warhorse – at least in any half-d

The Sixteen/Christophers - review

Published in 1641, Monteverdi's late collection Selva Morale e Spirituale brought together a wealth of music he had written for liturgical use over many years' service at St Mark's in Venice, where he was employed from 1613. It includes a mass, hymns, psa

Joyce DiDonato - review

Barbican, London Drama Queens is the title of Joyce DiDonato's recent CD of Baroque arias , many of which she reprised in her Barbican concert with the Italian period-instrument band Il Complesso Barocco under violinist and director Dmitry Sinkov

La Traviata, Coliseum, London

Coliseum, London: An ongoing problem for the current ENO administration has been an ability to provide new productions of standard repertory pieces that are keepers - able to be revived year-in, year-out. Back in 2006, the company's most recent productio

Orfeo - review

Trinity Buoy Wharf, London Despite its name, Silent Opera 's performances are perfectly audible, though in this unconventional production of Monteverdi 's work parts of the score are pre-recorded and experienced by the audience through headphones; othe