PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
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Fidelio, Royal Opera House
Incoherence mars ambitious interpretation of Beethoven’s only opera
EXTRAORDINARY: Lise Davidsen as Fidelio
[Bill Cooper]
LEO BOIX applauds an audacious, self-questioning film about grief, friendship and film-making
MARY CONWAY admires a brave and topical study of Armageddon that is, unfortunately, unable to come to a conclusion
ANDY HEDGECOCK, JAMES WALSH and JAMIE BRITTON review Hanging by a Wire, I Want Your Sex, The Pout-Pout Fish, and Rise of the Foot Soldier: Retribution
Chris Searle speaks to US pianist RAN BLAKE
The Bard hands out medals for his Edinburgh campaign and urges us to support The Men They Couldn’t Hang
THIS Royal Opera House production, marking Beethoven’s 250th birthday and with award-winning director Tobias Kratzer making his ROH debut, has been eagerly anticipated.
Kratzer believes that 18th and 19th-century composers would habitually locate their operas in exotic places in order to comment on contemporary events and, in setting this Fidelio in post-revolutionary France, he returns “what the censorship had abolished.”
An appropriate move, given that current events in France seem largely unreported outside that country.
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