Il Trovatore (London)

by Giuseppe Verdi

Co-production between Royal Opera House and Opernhaus Zürich

Cast: Jamie Barton / Marina Rebeka / Riccardo Massi / Ludovic Tezier / Roberto Tagliavini / Gabrielė Kupšytė / Michael Gibson

Dance Ensemble: Michael Larcombe / Dak Mashava / Gareth Mole / Sean Moss/ Daniel Perry / Yasset Roldan

Conductor: Antonio Pappano / Designer: Annemarie Woods / Lighting Designer: Franck Evin / Movement Director: Emma Woods / Fight Director: Jonathan Holby / Photographer: Camilla Greenwell

The Guardian ★★★★★
The Observer ★★★★

The Times ★★★★
The Independent ★★★★

The Stage ★★★★
The Express ★★★★

Broadway World ★★★★
Culture Whisper ★★★★

No, there’s not a lot of reason in this Trovatore, but its storytellers Thomas and Pappano are both razor-sharp.

The Guardian *****

Director Adele Thomas has deftly lassoed the work’s wildness into a new coherence and invited us into a parallel world of storytelling […] The approach is fresh, highly professional and nothing like any other Trovatore you might have encountered.
The Observer ★★★★

Thomas’ finely tuned artistic vision balances the paradoxes of desire effortlessly so that both sides can blossom with full blooded feeling.
Broadway World ★★★★

The dreamlike flow of the narrative is heightened, and in stressing the force of the irrational and the chaotic Thomas articulates the plight of the characters rather skilfully.
The Times ★★★★

Adele Thomas throws myth, mysticism and some marvellously devilish costumes into the mix to make the whole thing look like something from the works of Hieronymous Bosch, which is strangely appropriate in bringing out the glory and power of Verdi's music.
The Express ★★★★

Whenever a forthcoming production features the name of theatre, music theatre and opera director Adele Thomas audiences know that that something interesting, or, even, at best, brilliant, is in store.

Culture Whisper

fast moving, visually sumptuous, and at times refreshingly irreverent. […] Thomas’s take won’t please the conventionally minded, and it may not sit well with the purist, but this is one of the most interesting productions of the year.

Limelight

Semele

Il Trovatore (London)

No, there’s not a lot of reason in this Trovatore, but its storytellers Thomas and Pappano are both razor-sharp.

The Guardian *****

Whenever a forthcoming production features the name of theatre, music theatre and opera director Adele Thomas audiences know that that something interesting, or, even, at best, brilliant, is in store.

fast moving, visually sumptuous, and at times refreshingly irreverent. […] Thomas’s take won’t please the conventionally minded, and it may not sit well with the purist, but this is one of the most interesting productions of the year.

Limelight

fast moving, visually sumptuous, and at times refreshingly irreverent. […] Thomas’s take won’t please the conventionally minded, and it may not sit well with the purist, but this is one of the most interesting productions of the year.

Apollo e Dafne

Apollo e Dafne was one of four short pieces performed as part of The Royal Opera’s 4/4 project.

In the Realms of Sorrow

Raw, muscular, visceral, haunting – this was Handel as you’ve never experienced him before.
Arts Desk *****

Bodies in space, tumbling, rolling, hurtling; at the same time singing, playing, dancing […] unforgettable
Observer *****

I’ve never seen or heard those early Handel works brought to life so vividly.
The Times *****

Will I ever forget it? Not a chance.

The Guardian ****

Berenice

The best night I’ve had at the theatre so far this year

Berenice lasted only four performances in 1737. It probably was not half as much fun as this

★★★★

Semele

Il Trovatore (London)

No, there’s not a lot of reason in this Trovatore, but its storytellers Thomas and Pappano are both razor-sharp.

The Guardian *****

Whenever a forthcoming production features the name of theatre, music theatre and opera director Adele Thomas audiences know that that something interesting, or, even, at best, brilliant, is in store.

fast moving, visually sumptuous, and at times refreshingly irreverent. […] Thomas’s take won’t please the conventionally minded, and it may not sit well with the purist, but this is one of the most interesting productions of the year. Limelight

fast moving, visually sumptuous, and at times refreshingly irreverent. […] Thomas’s take won’t please the conventionally minded, and it may not sit well with the purist, but this is one of the most interesting productions of the year.

Apollo e Dafne

Apollo e Dafne was one of four short pieces performed as part of The Royal Opera’s 4/4 project.

In the Realms of Sorrow

Raw, muscular, visceral, haunting – this was Handel as you’ve never experienced him before. Arts Desk *****

Bodies in space, tumbling, rolling, hurtling; at the same time singing, playing, dancing […] unforgettable Observer *****

I’ve never seen or heard those early Handel works brought to life so vividly.The Times *****

Will I ever forget it? Not a chance.

The Guardian ****

Berenice

The best night I’ve had at the theatre so far this year

Berenice lasted only four performances in 1737. It probably was not half as much fun as this

★★★★

fast moving, visually sumptuous, and at times refreshingly irreverent. […] Thomas’s take won’t please the conventionally minded, and it may not sit well with the purist, but this is one of the most interesting productions of the year.

Limelight

Raw, muscular, visceral, haunting – this was Handel as you’ve never experienced him before.
Arts Desk *****

Bodies in space, tumbling, rolling, hurtling; at the same time singing, playing, dancing […] unforgettable
Observer *****

I’ve never seen or heard those early Handel works brought to life so vividly.
The Times *****