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Recently in Performances

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It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.

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Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.

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Die Entführung aus dem Serail,
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Dido and Aeneas, Spitalfields Festival

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Intermezzo, Garsington Opera

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The Queen of Spades, ENO

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Performances

25 Aug 2005

The Death of Klinghoffer at Edinburgh

It has taken 14 years for John Adams’ second opera to reach a British stage. Scottish Opera’s production of The Death of Klinghoffer at last goes boldly where no opera company in these islands has dared before (and one of them, Glyndebourne, shared in the original commission).

The Death of Klinghoffer

Andrew Clements [The Guardian, 24 August 2005]

It has taken 14 years for John Adams' second opera to reach a British stage. Scottish Opera's production of The Death of Klinghoffer at last goes boldly where no opera company in these islands has dared before (and one of them, Glyndebourne, shared in the original commission).

Click here for remainder of article.

The Death of Klinghoffer

[The Times, 24 August 2005]

Robert Thicknesse at Edinburgh Festival Theatre

THE trouble with The Death of Klinghoffer is easy: whatever I say, half of you will hate me. Those who "like" John Adams's opera and those who "dislike" it are accused of fascism in equal measure. And those who impute anti-Semitism to the work should bear in mind that the film of it was banned by the (Palestinian) Ramallah film festival last year.

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Reality of terrorism on stage

By Andrew Clark [25 August 2005]

There were no security checks at the Edinburgh Festival Theatre on Tuesday. You could have carried a bomb inside. And for one long moment it felt as if someone had done just that during the long-awaited UK stage premiere of John Adams's The Death of Klinghoffer. The performance began with three loud gunshots. Before long Arab-looking terrorists were occupying the stage, pointing weapons nervously at the auditorium. One of them waded into the stalls and started dragging members of the audience towards a huddle of frightened hostages.

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