Review: LA TRAVIATA, London Coliseum
by Franco Milazzo - Oct 24, 2023
Much shorter than Richard Eyre’s three-hour plus version for the ROH, Peter Konwitschny’s La Traviata perhaps should be renamed La Trav or L’ Abbreviata. Its breathless sprint over 105 uninterrupted minutes takes more than it gives but there’s an admirable boldness to it all.
LA TRAVIATA Returns to the London Coliseum in October.
by Stephi Wild - Sep 21, 2023
Returning to the London Coliseum this October is Peter Konwitschny’s production of La traviata. Romantic and heartbreaking in equal parts, Verdi’s most famous opera tells the story of the doomed love between the courtesan, Violetta, and the gentleman, Alfredo. Learn more about the opera and find out how to get tickets here!
Anthony Minghella's Staging of MADAM BUTTERFLY Will Return to the London Coliseum
by Chloe Rabinowitz - Feb 4, 2020
Anthony Minghella's production of Madam Butterfly returns to the Coliseum. Premiered 15 years ago at English National Opera (ENO) and now onto its seventh revival, this popular production is back to entrance audiences with its mix of stunning cinematic imagery, traditional Japanese theatre and Puccini's powerful music.
Olivier Awards 2016: Hits and Misses
by Marianka Swain - Apr 4, 2016
As expected, the 40th anniversary Olivier Awards showered trophies on the sensational Gypsy. Imelda Staunton and Lara Pulver's performances and Mark Henderson's lighting were recognised, and the production took Best Musical Revival. But there were surprises elsewhere, with starry shows like Benedict Cumberbatch's Hamlet going home empty-handed, Nicole Kidman losing out in the Best Actress race, and an underdog win for Pat Kinevane and Fishamble's Silent at Soho Theatre - all welcome given concerns that changes to the Oliviers voting process might favour long-running West End shows and/or A-listers Here are some of the night's major hits and misses.
BWW Reviews: Britten's RIVER of No Return at Lincoln Center's White Light Festival
by Richard Sasanow - Nov 6, 2014
“Ideas of darkness and light, obscurity and illumination” are at the heart of the Benjamin Britten-William Plomer CURLEW RIVER. Called “a parable for church performance,” it was performed in New York at the Synod of the Cathedral of St. John the Divine, as part of Lincoln Center's White Light Festival. This short but potent work is one part Japanese Noh theatre and another part English medieval mystery play, but altogether modern in its spirituality and visions of motherly love.