Live opera is as physical as art gets, though you would never know that from sitting in any major opera house. By Alexandra Coghlan L’Ormindo Sam Wanamaker Playhouse, London SE1 Shakespeare’s Globe ...
I count my slowness to realise what an asset the open air Globe Theatre is to London, as one of the rare tragedies of my life so far. I have not repeated that mistake having visited it’s winter venue ...
The masterpieces of early opera are essentially sung plays that must be brought to life by words and the accouterments of staging rather than by beautiful singing. Saturday’s cast for Francesco ...
Staging an almost forgotten 17th century Italian opera for a 21st century British audience presents a formidable challenge. First you need a theatre that recreates the atmosphere of the period; then ...
All the seductive candlelit charm of the Wanamaker Playhouse – a scholarly reconstruction of a Jacobean indoor theatre – shouldn’t fool one into thinking that it can convey what early baroque opera ...
A 17th century Italian opera by a composer most people have never heard of may sound a bit precious, but when I went to Cavalli's L'Ormindo at the Globe's Sam Wanamaker Playhouse last year, I thought ...
Just as the Roundhouse’s production of Claudio Monteverdi’s L’Orfeo (1607), considered to be the first ever opera, closes, the Sam Wanamaker Playhouse, the recent Jacobean addition to Shakespeare’s ...
The star attraction of this production of Cavalli’s L’Ormindo is not the singers or even the conductor, the splendidly resourceful Christian Curnyn: it’s the venue. The Sam Wanamaker Playhouse is the ...
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