George Hall writes widely on opera and has contributed regularly to The Stage since 2000. He has also contributed to such publications as The New Penguin Opera Guide and the Oxford Companion to Music

Recent Articles

Larmes de Couteau/Full Moon in March review

ReviewsApr 29, 2024

Entertaining double bill of rare 20th-century operas from the Jette Parker Young Artists Programme

Lucia di Lammermoor review

ReviewsApr 22, 2024

Breathtaking singing in an overworked production

The Dragon of Wantley review

ReviewsApr 15, 2024

John Frederick Lampe’s comic opera of 1737, based on a libretto by Henry Carey, proves well worth reviving

Carmen review

ReviewsApr 8, 2024

Damiano Michieletto’s production disappoints despite strong performances from Aigul Akhmetshina and Piotr Beczała

Duke Bluebeard’s Castle review

ReviewsMar 22, 2024

Joe Hill-Gibbins’ staging of Bartók’s troubling opera hits home

Madama Butterfly review

ReviewsMar 15, 2024

Puccini’s opera is electrified by the star power of soprano Asmik Grigorian’s Butterfly

Jenůfa review

ReviewsMar 14, 2024

Powerful performance of Janáček’s hard-hitting opera

Death in Venice review

ReviewsMar 8, 2024

Britten’s final opera proves an exceptional vehicle for WNO and its circus-artist partners

The Rake’s Progress review

ReviewsMar 4, 2024

Polly Graham’s staging of Stravinsky’s morality tale sends out mixed visual messages

The Flying Dutchman review

ReviewsMar 1, 2024

Wagner’s Gothic horror opera is staged at the Royal Opera House with its lead performers offering dramatic commitment

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George Hall

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