Lloyd’s imaginatively frugal production, revived by Daniel Dooner, seems tighter than ever. Anthony Ward’s minimal but handsome sets – a study in black, gold and splashes of red – are skilfully lit by Paule Constable.
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Macbeth is an opera that can show off the strengths of a good ensemble, and orchestra, chorus and cast were all on good form – but the evening belonged to Keenlyside, whose performance elevated both the music and the drama.
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