Total reviews: 16
Positive reviews
Mixed reviews
Negative reviews
13 February 2020
British soprano Elizabeth Llewellyn returns to the company after far too long a gap in the title role. If Act I's Bel Canto Luisa is a bit of a squeeze for this generous voice, she comes into her own in the later acts, where soubrettish agility gives way to demanding, sustained vocal drama.
Read the original review5 October 2019
Musically things are no less slick. DiDonato gives her finest performance in this house for years, crooning ‘Ogni vento’ into a bejewelled microphone with rock-star panache, before stripping things right back for Shakespearean monologue-in-music ‘Pensieri’.
Read the original review12 July 2019
Pido plays the straight man to Pelly's clown, offering gentle, discursive comedy and lightly rolling rhythms rather than anything more obviously knockabout. It's a decision that keeps things just the right side of indulgent - a crisp and colourful farce with an authentic French accent.
Read the original review18 January 2019
As ever with Herheim, it’s an interesting idea, meticulously researched and referenced, but unnecessarily overcomplicated. Despite Philipp Fürhofer’s handsome and often ingenious designs, it never quite pivots from thesis to drama.
Read the original review26 September 2018
More than 10 years on, the steampunk Edwardian setting – corsets, puffed sleeves and patriarchs meet futuristic onyx interiors and mad scientists – still looks handsome, and the sense of a world on the brink of change is no less keen.
Read the original review