Tag Archives: Aigul Akhmetshina

Carmen, Royal Opera, April 2023

A terrific opening of Covent Garden’s new Carmen. Olga Kulchynska made a seductive gypsy and Piotr Beczala a suitably weak but vocally strong and effortless Don José in this new production by Damiano Michieletto. The lighting beautifully conveyed the light and dark of Bizet’s opera — see my review in The Article.

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Werther, Royal Opera, June 2023

This is the fourth revival of the Royal Opera’s 2004 production by Benoit Jacquot, once again conducted by Antonio Pappano who produced excellent playing from the orchestra in a hugely lyrical rendering of the score. But is it not time for a change of Massenet operas — a full staging of Thaïs for example? Se …

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Barber of Seville, Royal Opera, February 2023

The team of Moshe Leiser and Patrice Caurier returned to the ROH to direct this revival of their 2005 production, allowing them to make some alterations. The overturning of furniture and damage to the piano in Rosina’s sudden fury, when she believes Bartolo’s claim that her lover was sent to trap her into a loveless …

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Katya Kabanova, Glyndebourne, May 2021

The opening night of Glyndebourne’s season featured a vibrant production of Janaček’s dramatic opera Katya Kabanova with the wonderful Czech soprano Kateřina Kněžíková in the title role. A superb performance under the baton of Robin Ticciati in a new production by Damiano Michieletto. My review in The Article.

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Lady Macbeth of Mtsensk, Royal Opera, ROH, Covent Garden, April 2018

Lady Macbethis an opera that needs to be seen in the theatre, and its powerful dramatic impact is beautifully illuminated by this 2004 production by Richard Jones — the first at the Royal Opera House. Based on an 1865 novella by Nikolai Leskov the opera, but omitting the third murder, committed for purely mercenary reasons, …

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Carmen, Royal Opera, ROH, Covent Garden, February 2018

Carmen as a musical is what the first part (Acts 1 and 2) felt like, but a musical needs better dance sequences, and the choreography was ineffective. Yet Barrie Kosky, whose production of Shostakovich’s Nose appeared at Covent Garden in late 2016, is ever a theatrical innovator. The orchestra starts without warning as the proscenium …

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