| Date and venue | Title |
|---|---|
| 11-Mar-2013 Royal Academy of Music, Sir Jack Lyons Theatre | An absorbing Eugene Onegin at Royal Academy Opera |
 For an opera school production, it's a good idea to choose a classic: something that will focus the audience on the quality of the singers and orchestra rather than on innovation in the piece or programming. It's better still if you can find a classic that was originally composed with a conservatoire performance in mind, and this is what Royal Academy Opera have chosen this term, in the shape of Tchaikovsky's Eugene Onegin, first performed in 1879 by students at the Moscow Conservatoire.
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| 30-Dec-2012 Teatro Real | Mark Morris Dance Group presents Mozart Dances in Madrid |
 The Teatro Real de Madrid has finished 2012 and welcomed 2013 with an excellent dance company. Mark Morris Dance Group has come to the Spanish capital to offer only six performances of its internationally acclaimed Mozart Dances. Premièred in New York in 2006 during the Mostly Mozart Festival, the piece has three movements, “Eleven”, “Double” and “Twenty Seven”, respectively set to Mozart’s Piano Concerto no. 11, Sonata for two pianos in D major and Piano Concerto no. 12.Read full review... | |
| 19-Aug-2012 Royal Albert Hall | Prom 49: Gilbert and Sullivan's The Yeomen of the Guard |
 When choosing a Gilbert and Sullivan operetta to be performed at the Proms in a year firmly branded as "London 2012", The Yeomen of the Guard had obvious appeal, being set in one of the capital's most famous landmarks, and giving the opportunity, even in semi-staged form, to deck the hall with Beefeater uniforms. And indeed, if you include excerpts, this Sullivan operetta has had 62 outings at the Proms, more than any other Gilbert and Sullivan operetta.
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| 12-Mar-2012 Royal Academy of Music, Sir Jack Lyons Theatre | Die Zauberflöte at the Royal Academy Opera |
.jpg) Die Zauberflöte is probably the greatest singspiel ever composed (only Mozart's own Die Entführung aus dem Serail can compete for beauty), but it is rather difficult to stage because of its highly complicated story and abstruse and rather ambiguous masonic symbolism. But the music sweeps all before it with its extraordinary beauty, quality and variety.
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