STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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This Figaro hits all the right notes
An excellent production that brings out all the class and gender issues as well as offering an impressive staging, writes JOHN GREEN
Alison Rose and the female members of the ENO Chorus
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin
Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
The Marriage of Figaro
English National Opera
London
Mozart’s most revolutionary comic opera tackles traditional gender roles and class society. But packages it in scintillating orchestral writing and vocal fireworks. It is based on the play by Beaumarchais first performed in 1784. At the time the play was banned in Vienna due its subversive subject matter.
As a result of the ‘#MeToo’ movement, situations where wealthy and powerful men sexually harass women have become a key issue, so Mozart’s 200-year-old opera is as relevant as ever.
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