A pairing of two American music dramas promised plenty of angsty feminist fun for a Friday night at Grimeborn; and I admit, in less accomplished hands, the angst might have…
Violetta is a reduction of Verdi’s La traviata, using only three characters: the doomed courtesan Violetta, her idealistic yet immature lover Alfredo, and – surprise! Alfredo’s mother. Yes, Germont père is exchanged…
Like the roar of an older, bolder London, Mark-Anthony Turnage’s GREEK bounces snarling onto the Grimeborn stage, celebrating its thirtieth anniversary in the first ever revival of its world premiere production for…
Opera and physics: as a combination, what could possibly go wrong? As I briefly scanned one of the many programme notes generously supplied for the brave audience of Entanglement! An…
Lucia di Lammermoor is an opera of shocking brutality, with savage emotional aggression rivalling physical violence throughout its fast-paced plot. Fulham Opera’s reduction for Grimeborn brings Donizetti’s dark, doomed characters…
Taking as its inspiration Lorca’s 1928 play Amor de Don Perlimplín con Belisa en su jardín, Edward Lambert’s The Cloak and Dagger Affair is a curious portrait of a very…
“And in a world where everyone else is in possession of at least once significant other, I couldn’t be more alone.” Elfyn Jones’ timely little one-woman opera Vicky and Albert…
Prometheus stole fire from the gods in order to ensure human progress, and met with a grisly eternal punishment as a reward: Zeus’ eagle devouring his liver daily. Keith Burstein’s…
The celebrations of the centenary of Women’s Suffrage in Britain have reached Dalston’s cultural heartland as Spectra Ensemble present a little-known opera by Suffragette composer Ethel Smyth, The Boatswain’s Mate, at Grimeborn.…
Madame Butterfly enjoys extraordinary popularity today: even people who have never been to an opera in their lives could probably recognise its title. But why? Despite its surface familiarity, it’s…