A dystopian Hansel und Gretel at the RAM

Anna-Helena Maclachlan (Hansel) and Binny Supin Yang (Gretel)

Konstantinos Akritidis (Witch)

Conrad Chatterton (Father), Ella Oharek-Coddington (Mother) and Binny Supin Yang (Gretel)

Binny Supin Yang (Gretel)

Von Mark Valencia, 21 November 2024

Laden, bitte warten...

Veranstaltung anzeigen

“a company without a weak link”

Rezensierte Veranstaltung: Royal Academy of Music: Susie Sainsbury Theatre, London, am 20 November 2024

Humperdinck, Hänsel und Gretel (arr. Derek Clarke)

Royal Academy Opera

Johann Stuckenbruck, Musikalische Leitung

Jack Furness, Regie

Alex Berry, Bühnenbild, Kostüme

Ben Ormerod, Licht

Royal Academy of Music Symphony Orchestra

Anna-Helena Maclachlan, Hänsel

Binny Supin Yang, Gretel

Konstantinos Akritidis, Knusperhexe

Conrad Chatterton, Peter / Vater

Ella Oharek-Coddington, Gertrud / Mutter

Caroline Blair, Taumännchen

Grace Hope-Gill, Sandmännchen

Die Wahrheit liegt in der Musik: Dido and Aeneas an der Royal Academy

Rainer Zerbst, 27th May

Ein ausdrucksstarkes Dirigat von Elizabeth Kenny und ein grandioses Sängerensemble beeindrucken in London.

***11

The Royal Academy's Carmen has too many what-if moments

Dominic Lowe, 18th November

Presenting a work like Carmen is a punchy move by a conservatoire. The Royal Academy of Music's production has conceptual weaknesses, but features some good singing.

***11

Royal Academy Opera stages a magical Zauberflöte

Mark Valencia, 18th March

A lyrical yet zesty account of Mozart's' adorable score, in a production that is on the nose and off the wall.

****1

Keeping it surreal: Martinů double-bill at the Royal Academy of Music

Dominic Lowe, 8th May

With typical spirit, the students at the Royal Academy of Music did an excellent job in bringing Martinů’s Comedy on the Bridge and Alexandre bis to life – two lesser-known pre-war surrealist gems.

***11

Unreal city: The Rake's Progress at the Royal Academy of Music

Benjamin Poore, 22nd November

Frederic Wake-Walker's realisation of the Hogarth-inspired opera is visually bracing and assuredly sung.

****1

Emotion and mayhem: a golden double bill from Royal Academy Opera

Stephen Pritchard, 18th March

Students triumph in Tchaikovsky's Iolanta and Ravel's L'Enfant et les sortilèges.

****1

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Mark Valencia

Mark has worked in arts journalism for four decades, both as a writer and as a French-English translator. Nowadays he focuses his energies on reviewing opera and music. Mark also writes for Opera magazine and for Musical America as a correspondent for Europe and the UK.