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Salle: Garsington Opera, High Wycombe

Fichier de données
AdresseThe Wormsley Estate
High Wycombe
South-East
HP14 3YE
Royaume-uni
Google maps51° 38' 36.802" N 0° 55' 55.126" W
Critiques récentesEn voir plus...

Fidelio rescues Garsington Opera's 2020 festival

Toby Spence (Florestan) © Johan Persson
Peter Mumford's intelligent staging concept and a knockout performance by a reduced Philharmonia Orchestra made this a night to remember.

Goosebumps at Garsington: an outstanding, shadowy Turn of the Screw

Sophie Bevan (Governess), Leo Jemison (Miles) and Ed Lyon (Peter Quint) © Johan Persson
Director Louisa Muller overcomes the problems of opening a ghost story in natural daylight to deliver plenty of operatic chills. 

Clown court: Offenbach's Fantasio at Garsington

Hanna Hipp (Fantasio) © Clive Barda

The UK stage debut of Offenbach’s neglected Fantasio reveals a musical sizzler, but directorially it needs a more sympathetic touch than Garsington musters.

A flawed but interesting Don Giovanni from Garsington Opera

Jonathan McGovern (Don Giovanni) © Johan Persson
As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

An immaculately executed Bartered Bride at Garsington

Maypole dancing © Clive Barda
Natalya Romaniw is a natural as our maligned heroine: Paul Curran creates staging of bewildering comic complexity and pulls it off with panache.

The Skating Rink: Shivers up and down the spine

Alice Poggio (Skater) © Johan Persson
Tough, thrilling, ambitious and new: The Skating Rink is an exciting new major commission by Garsington, and its world première delivered on every level.

Songs of innocence and experience: Falstaff at Garsington

Henry Waddington (Falstaff) © Clive Barda
Bruno Ravella's fast-paced Falstaff for Garsington still has crucial space for pathos amid the comedy, with a notably subtle central performance from Henry Waddington.  

A gentle, sympathetic Capriccio at Garsington

Miah Persson (Countess), Sam Furness (Flamand) in background © Johan Persson
An affirmation of the importance of cultural values in the face of the abyss, or Richard Strauss fiddling while Europe burnt? Tim Albery's production leaves it to us to decide.