Review: SINGIN' IN THE RAIN at Le Théâtre Du Lido
Robert Carsen turns the Lido’s cabaret heritage into a theatrical advantage, creating the most convincing production yet of its musical-theatre era.…
Place de la Bastille
Paris, Île-de-France 75012
Opéra Bastille is a theatre in Paris, Île-de-France.
Robert Carsen turns the Lido’s cabaret heritage into a theatrical advantage, creating the most convincing production yet of its musical-theatre era.…
Tucked into La Grange's intimate corner of Bruxellons, Andrew Lippa's near-sung-through two-hander proves a musical can carry real psychological weight.…
A brilliantly cast, beautifully judged French production of A Gentleman’s Guide to Love and Murder, where British manners, French theatrical tradition and comic murder collide at the Théâtre du Palais-Royal.…
Some festivals go out with a whimper. Once the excitement of the opening production in the Cour d'Honneur has passed, the remaining artists often present more modest, less foregrounded projects. There are concerts, readings, and other events, and it remains a vibrant hub of activity, but it is never…
Boris Charmatz dances with discomfort. His work Muette, now in performance at the Festival d'Avignon's La Chartreuse, offers no easy viewing. Earthy movement, prolonged silence, and nudity combine in an unsettling yet riveting exploration of the body. Charmatz seeks to dance the interior self, a sel…
What better way to close out the Festival d'Avignon than with a love letter to the theatre? At the conclusion of Casting Lear, now performing at the Opéra Grand Avignon as part of the Festival, creator and performer André Jiménez makes an impassioned case for the art form. …
In Christiane Jatahy and Wagner Moura's Un Procès Après l'Ennemi du Peuple, now performing at the Festival d'Avignon's Gymnase du Lycée Aubanel, Thomas Stockmann finally gets his day in court. Reimagining the events of Ibsen's An Enemy of the People in contemporary Brazil, the production transfor…
With its generous public funding for culture, France's Festival d'Avignon can produce theatrical spectacles on an extraordinary scale. Its directors regularly push the formal limits of the art form with enormous casts, technological innovation, and elaborate stagecraft. …
In his podcast, political commentator Ezra Klein has examined a curious conundrum within the modern elite: the pursuit of extraordinary qualities divorced from their original purpose. Looksmaxers have become sterile in their pursuit of superhuman beauty. …
In a BBC interview, famed director Katie Mitchell calls for fewer productions of Hamlet. She is tired of attending plays about “misogynistic, angry, depressed men.” I respect any artist defining the boundaries of what interests them. …
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It is Brünnhilde herself who, at the end of The Valkyrie, names the son of Siegmund and Sieglinde, the long-awaited hero Siegfried. The second day of the Ring cycle shows him in his turbulent early years, a headstrong youngster, tamer of bears and slayer of dragons. At the heart...
Nothing, in the bitingly cruel prelude that is The Rhinegold, could foreshadow the blazing miracle of The Walkyrie whose role within the Ring cycle is clearly to portray the threatened splendour of the gods and to pave the way for the coming of the new, free man, Siegfried...
A simple E flat major chord, austere and unchanging, inaudible up until now but no doubt present since all eternity. Scarcely perceptible at first, the sound unfurls, twisting over and under waves and currents; the breakers, “rolling the reflected heavens, blended in a solemn...
William Shakespeare, in the early years of the 17th century, had been unable to resist bringing to the stage the character of Cleopatra, the bewitching and impetuous queen of Egypt, mistress of Caesar and Mark Anthony. A century later Handel also succumbed to her charms...
At last the dusk approaches: it has been heralded, promised almost, since The Rhine Gold, and we have been awaiting it with impatience. The whole universe of the Ring, solidly constructed during the earlier days, the gleaming fortress, the resplendent god avid for annihilation...
For choreographers, ballet music has never ceased to be a source of inexhaustible inspiration offering a plethora of new readings and personal interpretations. If The Firebird, adapted from a traditional Russian tale, was initially written by Stravinsky for Diaghilev’s Ballets...
In his preface to Angelo, Tyrant of Padua, one of his rare prose plays, Victor Hugo says that drama has to be both noble and real. In transposing the play to operatic form, Amilcare Ponchielli and Arrigo Boito remained faithful to Hugo. Their Gioconda, first performed at La...
Gustav Mahler Symphony n° 10 (Adagio) Dimitri Shostakovitch Symphony n° 13 in B flat minor Babi Yar, op. 113
The entire edifice of John Neumeier’s work is built around a profound musical sensibility. However, the choreographer, in his constant questioning of the human condition, probably finds the closest reflection of his own humanist concerns in the works of Gustav Mahler, several of...
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