Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Opera Holland Park

A good, honest staging and solid singing add up to an excellent new production – its third – at Opera Holland Park. 

Wolf-Ferrari's Il segreto di Susanna provides an airy bon-bouche to Tchaikovsky's Iolanta, brilliantly sung by Natalya Romaniw and David Butt Philip and conducted to fairy-tale perfection by Sian Edwards

Gaitanou’s direction of the singers is so exact that it becomes impossible to separate them from their characters.

Opera Holland Park updates Puccini's setting to the 1960s in a production that does not completely work, but benefits from the strong performance of Elizabeth Llewellyn as its leading lady.

A spirited and seamless production of Strauss’s Ariadne is aided by some excellent singing and playing at London’s premier summer opera festival.

An embarrassingly trite libretto proves unsalvageable, even with a committed cast of singers.

As the two sisters, Eleanor Dennis and Kitty Whately ideally complemented and blended with each other.  

Opera Holland Park starts its 2018 season with a bang (and a cough), offering a splendid new production of La traviata. Lauren Fagan is a sensational Violetta, but the production is a real company effort and achievement.

A convincing outing for Leoncavallo's rarely performed tale of adultery, populated by characters who are flesh and blood and are immediately recognisable today.

Problems of orchestral balance cloud Olivia Fuchs's straightforward, compelling staging of Janáček’s tirade against the rigidity and hypocrisy of small town society.

Mozart's Don Giovanni is transported by director Oliver Platt to The Queen Mary in the 1930s. It looks handsome enough, but the concept is flawed.

A tight production from Martin Lloyd-Evans together with a strong cast and loving treatment from conductor Matthew Kofi Waldren made a strong case for more regular performances of this neglected gem.

Poulenc's one-act, one-side-of-a-phone-conversation opera provides a perfect vehicle for Anne-Sophie Duprels to demonstrate her talents as a singing actor.

Tchaikovsky's High Gothic opera about gambling obsessions is worth seeing for a first class staging, albeit with a mixed musical performance.

After a sparkling Act I, energy fades slightly on a sweltering night in London, but Opera Holland Park's Die Fledermaus has a lot going for it.

Opera Holland Park's traditionally staged Cenerentola has plenty of sparkle and a fine cast of talented singers.

La bohème staged as Tudorbethan drama? Opera Holland Park's quirky tribute to Shakespeare400 is a lot of fun. 

Perhaps not a masterpiece, but worth exploring, Mascagni's Iris returns to Opera Holland Park. 

In Opera Holland Park's latest foray into obscure verismo, an excellent orchestral performance and high quality singing fails to translate into a compelling drama.

Ailyn Bozok's minimlaist production of Delibes' Lakmé at Opera Holland Park contains much tender beauty and is carried by fine musical performances. 

Third time unlucky? After a scorching start to the summer, with superb productions of Il trittico and Flight, Opera Holland Park’s season came unstuck with a horror of a show in Daniel Slater’s Aida.

Flight represents a brave new departure for Opera Holland Park, the first contemporary opera to take to its main stage, in a striking staging with top quality musical performances. 

Opera Holland Park give us a broad span of human joys and tragedies in an excellently staged and acted rendering of Puccini's Il trittico.

Alfredo Catalani's La Wally is the last of three rarely performed Italian operas from the late 19th century verismo period to feature in Opera Holland Park's 2011 season. Catalani belongs to group of composers whose place in the modern repertoire suffers from the problem of "not being Puccini," the more poignantly since he was born in Puccini's home town of Lucca.