Double entendres, extra dialogue and sight gags ensure that Cal McCrystal’s new staging entertains, but it’s at the expense of emotional power. In the pit, John Wilson is superlative, likewise Germán ...
When Annabel Arden’s staging of Rossini’s Il barbiere di Siviglia first appeared at Glyndebourne in 2016, it marked the bicentenary of the opera’s premiere. It consequently felt like an important ...
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