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Meanwhile Antonio Pappano extracts wonderful playing from the orchestra. If you want to hear a near-definitive performance of this majestically beautiful score. Herheim’s production, despite the per
The central problem is the casting of Aleksanders Antonenko as what must have seemed at the time like a plausible heroic-tenor Herman.
Most of what intermittent dramatic tension or emotional engagement the evening has to offer comes from the pit, where conductor Antonio Pappano and the orchestra whip up the storm signally lacking on
Stefan Herheim’s production has taken full advantage of this, producing a staging so dotty and abstruse that the bewildered audience couldn’t even muster up the will to boo its pretensions.
Experiencing the Royal Opera’s new Queen of Spades is like trying to watch a fireworks display stuck behind a tall person filming it on their mobile. The noise is tremendous; so are the sights, but
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