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Performer: Hannah Clark

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LeedsAlcinaNew production

Alcina
Handel: Alcina
Laurence Cummings; Tim Albery; Opera North; Hannah Clark; Máire Flavin; Patrick Terry

NottinghamAlcinaNew production

Alcina
Handel: Alcina
Laurence Cummings; Tim Albery; Opera North; Hannah Clark; Máire Flavin; Patrick Terry

SalfordAlcinaNew production

Alcina
Handel: Alcina
Laurence Cummings; Tim Albery; Opera North; Hannah Clark; Máire Flavin; Patrick Terry
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LeedsTrouble in Tahiti

Bernstein: Trouble in Tahiti
Jonathon Heyward; Matthew Eberhardt; Opera North; Charles Edwards; Hannah Clark; Quirijn de Lang; Sandra Piques Eddy
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Berenice at the Linbury: Handel meets Gilbert and Sullivan

Claire Booth (Berenice) © ROH | Clive Barda
Visual eye candy, excellent singing and superb Handelian playing by Laurence Cummings and the London Handel Orchestra are marred by poor diction and limited acting expressivity.
***11
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Venables sets free the music in Kane’s 4.48 Psychosis

Gweneth-Ann Rand © Paula Court
Venables conceived a wealth of acoustic and visual components that constantly overlap and interact.
****1
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Kevin Puts’ Silent Night given its UK première

Quirijn de Lang (Lt Audebert), Richard Burkhard (Lt Horstmayer) and Timothy Nelson (Lt Gordon) © Tristram Kenton
Opera North's triumphant UK première production of Silent Night by Kevin Puts is directed at Leeds Town Hall by Tim Albery and conducted by Nicholas Kok.
*****
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Murder on the dance floor: an underwhelming Ballo

Rafael Rojas (Gustavo) and Adrienn Miksch (Amelia) © Clive Barda
If you had received an invitation to a masked ball at which there turned out to be no masks and no dancing, it's understandable you'd feel disappointed. 
**111
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Destiny and South Sea escapes from Opera North

Wallis Giunta (Dinah) with Nicholas Butterfield, Fflur Wyn and Joseph Shovelton (The Trio) © Alastair Muir
Two thematically linked, but contrasting short operas are the final component of Opera North's Little Greats season at the Leeds Grand Theatre.
***11
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A stern Father's Day treat: Mozart Idomeneo at Garsington

Mozart's messy monster of an opera gets a brutalist tidy-up at Garsington, but the determinedly straightforward reading only makes this work's innate problems more obvious. 
***11
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