Gothic Opera allows Offenbach’s Die Rheinnixen to shine in Battersea

Die Rheinnixen

Alice Usher (Armgard) and Sam Utley (Franz)

Owain Gwynfryn (Conrad)

Par Nick Boston, 03 novembre 2025

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“the performance gripped from beginning to end”

Critique faite à Battersea Arts Centre, Londres, le 2 novembre 2025

Offenbach, Die Rheinnixen (Les Fées du Rhin)

Gothic Opera

Hannah von Wiehler, Direction

Max Hoehn, Mise en scène

Isabella Van Braeckel, Décors, Costumes

Luca Panetta, Lumières

Alice Usher, Armgard

Mae Heydorn, Hedwig

Sam Utley, Franz

Owain Gwynfryn, Conrad

Harrison Gration, Gottfried

Gothic Opera brings powerful high drama to Donizetti in Battersea

Nick Boston, 31st October

Strong performances and powerful direction in Gothic Opera's premiere UK staging of Donizetti's Maria de Rudenz at Battersea Arts Centre.

****1

Marschner’s Der Vampyr given a camp reboot by Gothic Opera

Mark Pullinger, 14th August

Julia Mintzer’s feminist twist on Marschner for Gothic Opera is a scream as Der Vampyr opens the 17th Grimeborn festival in Dalston.

****1

Musical performances keep WNO's new Così afloat

Mark Valencia, 6th March

Max Hoehn takes Così‘s subtitle, La scuola degli amanti (The School for Lovers), and connects it to Monty Python’s sex education sketch in The Meaning of Life. What larks, eh?

***11

WNO’s Figaro revival crackles with humour and exudes joie de vivre

Alice Hughes, 16th February

A solid Figaro in Cardiff, in which individual performances are a joy, and humour abounds.

****1

Memoirs of a Pear-Shaped Life: the essence of Satie

Alexandra Hamilton-Ayres, 1st November

In Memoirs of a Pear-Shaped Life, Erik Satie, the eccentric French Normandy composer, was defined on stage in three different forms, each with a bowler hat, in a music theatre performance of Satie's life.

***11

Le glorieux réveil de La Belle au bois dormant à Saint-Étienne

Irma Foletti, 26th April

L'œuvre de Charles Silver, élève de Jules Massenet, mérite sa résurrection après cent ans de sommeil, surtout avec une direction musicale et une distribution aussi convaincantes.

****1

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Nick Boston

Nick has an MA in Music, specialising in performance and repertoire. His particular passions are choral music, chamber music and opera, with a particular interest in early music. He sings in a number of choirs in the south east of England, plays the piano and occasionally dusts off the violin. He writes about music here.

Gothic Opera allows another side of Offenbach to shine at Battersea Arts Centre