Tag Archives: Robert Carsen

Der Rosenkavalier, Royal Opera, ROH, Covent Garden, December 2016

The essence of Robert Carsen’s powerful new production is time. By setting it in the period of its creation, the early twentieth century rather than the mid-eighteenth, he compresses time, giving those glorious late nineteenth century waltz melodies and the story itself the feel of a world about to be changed forever, as indeed it …

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Dialogues des Carmélites, Royal Opera, Covent Garden, May 2014

Premiered at the Netherlands Opera in 1997, Robert Carsen’s award winning production has done the rounds before making its London debut as the first Carmélites at the ROH since 1983. Aesthetically abstract, it uses clever lighting on an open stage, and the vast number of chorus and extras emphasise the mass psychology underpinning the reign …

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Falstaff, Metropolitan Opera, live cinema relay, December 2013

On stage at Covent Garden last year, Robert Carsen’s new production showed Falstaff on a horse in Act III, and though I missed that on the Met cinema screening the comedy seemed more natural than in London. There was an appearance of spontaneity, with the performers playing the whole thing in a rambunctiously convincing way, …

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Falstaff, Royal Opera, Covent Garden, May 2012

The production team for Robert Carsen’s new staging of Verdi’s Falstaff received a mixed reception. Why so? This is a co-production with La Scala where it will feature in Verdi’s bicentenary there next year. Carsen has updated the setting of Shakespeare’s Merry Wives of Windsor from Elizabethan times to 1950s England, with Sir John and other men in hunting red at …

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Rinaldo, Glyndebourne, July 2011

The Siege of Jerusalem in 1099 is represented here by public schoolboys versus St. Trinian’s. Hockey sticks against lacrosse sticks. Super fun, and a rather good background for all the youthful amour and magical manipulations that form the heart of this Handel opera. The main feature of the story is that Rinaldo is in love …

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Ariadne auf Naxos, Deutsche Oper Berlin, Feb 2009

This imaginative and coherent production by Robert Carson sets the opera in modern times, complete with a mobile phone at one point, and it’s the only time I’ve seen the richest man in Vienna actually appear on stage.

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