Royal Opera House (The Guardian)
Royal Opera House (The Guardian) is a English-speaking media specialized in the field of classical music and opera. As such, Royal Opera House (The Guardian) is a qualified source of soclassiq, like Guardian or The Listeners' Club and many others. The oldest article indexed by soclassiq is dated 2014-04-08. Since then, a total of 372 articles have been written and published by Royal Opera House (The Guardian).
Royal Opera House (The Guardian) activity
With 6 articles published in the last 90 days, Royal Opera House (The Guardian) is currently a not very active news source. "Not very active" does not mean that Royal Opera House (The Guardian) is less interesting than another more prolific source. Each media follows a specific editorial line, publishing according to its own rhythm.
This editorial activity is slowing down compared to the previous period.
The last article in Royal Opera House (The Guardian), "Norman Bailey obituary", is dated 2021-09-22. By 2020, this source had published 38 articles (16 since the beginning of 2021). Over the past 12 months, Royal Opera House (The Guardian) has published an average of 2 articles per month.
Royal Opera House (The Guardian) in the last 36 months
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The latest articles from Royal Opera House (The Guardian)
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Bass-baritone who excelled as Wagner’s Wotan, Hans Sachs and Flying Dutchman, and in big Verdi rolesThe generation of British opera lovers who got to know Wagner’s works in the late 1960s and 70s was fortunate indeed that Sadler’s Wells (from 1974 English National) Opera was mounting its Ring cycle under the musical direction of Reginald Goodall. The company of singers he coached was spearheaded by Rita Hunter as Brünnhilde and Alberto Remedios as Siegmund/Siegfried, while the part of Wotan/Wanderer was taken by Norman Bailey, who has died aged 88. These were all performances of the highest calibre, Bailey bringing to his role a remarkable vocal and dramatic authority, animated projection and exemplary enunciation. The distinctive grain of his timbre could be deployed to evoke anger, tenderness, scorn or impassioned fervour: the ability to convey suppressed or conflicted emotions was a particular feature of his delivery.
Royal Opera House; Barbican, LondonOne grisly moment aside, Oliver Mears’s first ROH production feels like a straightforward Rigoletto made to last. And a Julian Anderson world premiere is the timely centrepiece of the LSO’s season opener Titian’s seductive Venus of Urbino dominates the opulent court of the rapacious Duke of Mantua in the first act of the Royal Opera’s new production of Verdi’s Rigoletto. Later it’s replaced by the Rape of Europa by the same artist. We know that in real life the 16th-century duke was a noted collector – and that Charles I snapped up several bargains when Mantua hit hard times – but neither of these images were ever in Mantua, or indeed Caravaggio’s Martyrdom of St Matthew, seen in a subverted tableau as the curtain rises. No matter. The message is clear: the Duke views women as commodities, whether on canvas or cotton sheets. This is director […]
The opera director, who has died aged 67, had a vision of making the art form accessible to all. From Falstaff in a leisure centre to Stockhausen with real helicopters, here are his most ambitious, innovative stagings Renowned opera director dies from Covid complications Graham Vick, who died on Saturday at the age of 67 from complications of Covid, was one of a handful of British opera directors with a truly international reputation. He had been director of productions at Scottish Opera in the 1980s and at Glyndebourne in the following decade, and also worked with many of the other major companies across Britain, Europe (especially Italy) and the US. But he had always had his own vision of what he wanted opera to be, a vision that he set out in his keynote speech at the 2016 Royal Philharmonic Society awards, in which opera would be accessible to […]
St John’s Smith Square, London; online; Royal Opera House, LondonHéloïse Werner leads a quicksilver recital, the Fife festival goes virtual, and the Royal Opera’s Don rings a bell… Héloïse Werner should be a name on the lips of any musical adventurer. You can see her work on YouTube. This young soprano-composer – and cellist too – is a one-off, who can transform a tiny fragment of song into a mesmerising drama. It’s as if her whole being is double-jointed. Her beautiful voice can flip itself from long-lined lyricism into a battery of percussive instruments: trilling her tongue at jet-propeller speed, turning a simple vowel sound into a complex expression of love or anguish, with a lexicon of facial expressions to match. Language, gesture, and how we communicate, are at the core of her music. In a 70-minute programme at St John’s Smith Square, she performed new works and texts with […]
Exclusive: De Niese reveals she was in hospital hours before acclaimed performance in La Bohème at Royal Opera House The soprano Danielle de Niese’s opening performance in Puccini’s La Bohème at the Royal Opera House last Saturday was acclaimed as “standout”, “show-stealing” and “big-hearted” as she “startle[d] with her energy and physicality, fusing acting and song in a way no one else approaches”. What neither the critics, the audience nor most of her colleagues knew was that 18 hours earlier she was doubled up in hospital in searing pain from a miscarriage, and the cramps continued for days afterwards.
Royal Opera House, LondonA wild variety of pas de deux fuel this mixed bill, from kitschy Strauss to a duet with a table, plus part of Sleeping Beauty Much as happens with real-life weddings, thanks to Covid, the guest list at Princess Aurora’s nuptials has shrunk. A bubble of dancers went into self isolation in the run-up to the Royal Ballet’s latest opening, meaning a hasty reorganisation for some of this mixed bill.Act three of Sleeping Beauty (performed as a standalone finale, making this a long evening), had a reduced cast but it didn’t dent the star billing, ever-perfect Marianela Nuñez and Vadim Muntagirov, nor Meaghan Grace Hinkis’s noteworthy Princess Florine: animated, technical, musical. Meanwhile, the opener, Anemoi, was reworked at the last minute by Valentino Zucchetti. Expanded from his lockdown piece Scherzo, made for the company’s corps de ballet, the new title refers to the wind gods of Greek […]
Sadler’s Wells; Royal Opera House, LondonCue rapturous applause – and backbends – as the stars of ENB and the Royal Ballet storm back to live performance in two bold, future-facing programmes Ballet is back, and it’s the little things I’ve missed. The slap of a sole on the floor, the skitter of a pointe shoe. That sudden intake of breath before a leap. The swoosh of a turn. Those tiny sounds of effort and release are signifiers of the bigger thing that makes live dance unique: its ability to embody a wide range of emotion in a tangible form. The return of both English National Ballet to Sadler’s Wells and of the Royal Ballet to Covent Garden were greeted with ear-battering applause before a step had been danced. However impressive lockdown’s digital offerings from both companies, audiences have missed the experience of watching movement in space just as intensely […]
Royal Opera House; Linbury theatre, LondonAncient Rome crackles with emotion and nylon in Richard Jones’s rigorous new Mozart staging. Plus drama extremely close and personal with the world’s first hyperreal opera The joy was being back. The sorrow, obligatory distancing leaving banks of seats empty, was to share the experience with so few. The Royal Opera House opened last Monday, the first day theatres could function again, with a new production of Mozart’s La clemenza di Tito (1791), conducted by Mark Wigglesworth, directed by Richard Jones and designed by Ultz. It was the company’s first since 2002. This opera seria – the form celebrates nobility, dignity and, in this instance, clemency – has never won great popularity. Yet Mozart’s late opera, brilliant in musical unity and psychological complexity, can be the richest of all. Wagner, not always right, called it “stiff and dry”. Had he encountered Jones he might have […]
Royal Opera House, London Works by Christopher Wheeldon, Crystal Pite and rising star Kyle Abraham reveal a company eager to pursue expressive and exciting directions It is a statement of intent that the Royal Ballet’s first show back for 2021 is focused on living creators, not classics from the vaults. We’re starting afresh, and the dancers are full of hunger and finesse, diving into new vocabularies and ways of storytelling. Christopher Wheeldon’s well-loved Within the Golden Hour is a safe opener, with its twinkling costumes, the minimalist swell of Ezio Bosso’s score and the kind of dance you can melt into – in Francesca Hayward and Valentino Zucchetti’s serenely slow pas de deux you can almost hear your heartbeat decelerating. But the rest of the programme suggests artistic director Kevin O’Hare is interested in things beyond pure beauty.
Current, Rising at the Royal Opera House, London, takes its audience on a dizzying journey through strange realms. Could this be the future? “Start with your feet, Earth-kin,” coos soprano Anna Dennis into my ear. I’m standing in the small space that is hosting the world’s first ever virtual reality opera. I have a headset, headphones and a backpack. The Royal Opera House is calling this the opera Tardis; to me it seems more like a walk-through art installation with bespoke soundtrack. Whatever this is, it isn’t opera as we know it. Current, Rising was conceived two years ago, long before our Covid age, but is now serendipitously topical. It explores what the blurb calls “ideas of isolation, connection, and collective reimagination”. It wasn’t designed to be opera for our socially distant age, but it works that way. Only four people can enter the opera Tardis at one time, and […]