The Magic Flute at Hampstead Garden Opera

Von Hilary Fisher, 14 November 2010

Laden, bitte warten...

Veranstaltung anzeigen

Rezensierte Veranstaltung: Upstairs at the Gatehouse, London, am 6 November 2010

Mozart, Die Zauberflöte (First performance using Stephen Fry's acclaimed translation by an English opera company)

HGO

Dionysus Ensemble

Oliver-John Ruthven, Musikalische Leitung

James Hurley, Regie

Iain Milne, Tamino

Hannah Sawle, Pamina

Daniel Roddick, Papageno

Andrew Tipple, Sarastro

Robyn Allegra Parton, Königin der Nacht

Emilia Pountney, Papagena

A heartening return to live opera at Highgate's Lauderdale House

Timmy Fisher, 13th August

HGO's production of Holst's Sāvitri is a smart choice for a socially distant era. But why mess with a winning formula?

***11

HGO serve up a treat with La bohème redux

David Karlin, 9th November

La bohème may not seem the obvious choice for a very small theatre, but HGO carry it off with aplomb, with the help of Rodolfo sung by a star in the making.

****1

Singing triumphs: Monteverdi's Poppea, Hampstead Garden Opera

Charlotte Valori, 12th May

A musically sensitive account of Monteverdi’s Poppea, with simple staging and 1950s costumes, sees singing triumph noticeably over the relative theatrical inexperience of HGO’s talented young cast.

***11

Tragic tears of a clown: Cav and Pag at Hampstead Garden Opera

David Karlin, 14th May

Benjie del Rosario ignites a thrilling Pagliacci, while Cavalleria rusticana is potentially as good but marred by intelligibility and balance issues.

****1

The very model of a modern sexual opportunist

Charlotte Valori, 15th November

A brilliant modern revisioning by Genevieve Raghu, in a superb contemporary translation by Benjamin Hamilton, makes Don Giovanni feel more relevant than ever for the Tinder generation and their disposable approach to love.

****1

Slick and contemporary: HGO's Xerses

Nahoko Gotoh, 26th April

Hampstead Garden Opera’s new staging of Xerxes is slick and contemporary with a well thought-out re-interpretation of the plot, offering a fresh perspective to the opera.

****1

Weitere Kritiken...

Hilary Fisher