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An awesome and ridiculous film that leaves you thrilled beyond the point of your natural endurance
2012
Theatre
The show has suddenly become quite wonderful, and the galvanising factor is the terrific stage debut of Melanie C
Blood Brothers
Music
The British pop music industry may be eating itself but if Muse are the pick of what it can offer the world in 2010 then British music is in rude health indeed
Muse
I was smitten by both Gilberts enormous luxuriant moustache and the intelligence and nuance of this highly entertaining play
I totally recommend Babbo to anyone who is looking for really good and traditional Italian food
Always been a fan but never seen them live. I was ecstatic to be part of this epic event. WOW!
London,
Barry Millington's rating
Reader rating
Nobody could accuse Ravel of resorting to slapstick in his one-act opera L’Heure Espagnole.
The humour, precise and restrained, lies in the subtlety of the score, which is as intricate as the craftsmanship of the clockmaker, Torquemada, whose temporary absence from his shop precipitates the action.
What the score lacks, however, is genuine theatricality and Richard Jones is hard put to it to bring it alive. Ruxandra Donose, the new Concepcion in this revival, is suitably randy as the clockmaker’s wife and the rugged good looks and musculature — not to mention the alluring baritone — of Christopher Maltman serve him well as Ramiro, the muleteer who humps first grandfather clocks to Concepcion’s bedroom and
then the oversexed housewife herself.
As soon as the curtain goes up on the second leg of the double-bill, Puccini’s Gianni Schicchi, we know this is going to be dramatically far more satisfying. The antics of the rapacious will-hunting Florentine family are depicted with a broad brush by Puccini and his librettist, and Jones responds with his own brilliantly surreal, anarchic take.
Thomas Allen is the new Schicchi, making up in stage artistry for what he now lacks in tonal lustre. Another great survivor is Gwynne Howell, celebrating his 40th anniversary with the company. The baffled authority of his Simone is ideal, as are the ardour of Stephen Costello’s Rinuccio and the venomous avarice of Zita. Maria Bengtsson, whose Lauretta is condemned to spend most of the opera out on the terrace feeding the pigeons, seizes her moment of glory with an appealing O mio Babbino Caro.
Antonio Pappano conducts with zest and inspiration.
Until 28 October (020 7304 4000, www.roh.org.uk).
Details are correct at the time of publication - please check with venue before booking.
