George Hall
Recent articles by George Hall
Hauntings, gambling, tragic death: the strange tale of Tchaikovsky's favourite work
Based on a dark short story, Tchaikovsky's The Queen of Spades is an operatic thriller about a soldier's obsession with a Countess's secret cards
Review: Salieri – Cublai, gran kan de’ Tartari
In his review, George Hall enjoys this stylish, studio take on Salieri’s colourful banned opera, ‘Cublai, gran kan de’ Tartari’
Luigi Cherubini's Médée... Is this the most shockingly bloody opera of all time?
With its blood-spattered ending and challenging title role, this Greek tragedy-inspired opera is not for the faint-hearted, George Hall reveals
Beethoven Ninth Symphony: a monumental, life-affirming work
We delve into the revolutionary genius and lasting impact of Beethoven's Ninth Symphony
Rihm: Jakob Lenz (Review)
Small numbers make a big impact in this recording of the late Wolfgang Rihm’s Jakob Lenz, says George Hall in his review
Giuditta Pasta: the legendary Italian soprano who blazed a trail a century before Maria Callas
A century before Maria Callas caught the world’s attention, there was another singer wielding immense power both on and off stage, Giuditta Pasta. George Hall tells the story of the Italian soprano
Contemplation (Huw Montague Rendall)
Rising star baritone Huw Montague Rendall impresses in this glorious debut recital, says George Hall in his review
Langgaard: Antikrist
George Hall is impressed by this Berlin production of Langgaard’s complex and apocalyptic masterpiece, Antikrist, in this review
Mezzo Mozart (Marina Viotti)
How one transgender baritone changed the story of opera in America
In May 2019, as Don Giovanni for Tulsa Opera, Lucia Lucas became the first transgender artist to take a leading role with an American company. She tells her story to George Hall
Bertin: Fausto
Puccini: Symphonic Suites (arr. Carlo Rizzi)
Berlioz: The Damnation of Faust
Puccini: orchestral songs and works
Why are concert overtures no longer a part of concert programmes?
Overtures were once considered an essential feature of a typical orchestral concert. So, George Hall asks three of today’s leading conductors, why have they largely fallen out of favour?
Wagner: Die Meistersinger von Nürnberg
Rodwell: Jack Sheppard
Who was Dame Joan Sutherland, the acclaimed soprano?
George Hall salutes the great Australian singer Dame Joan Sutherland, so peerless in the bel canto roles of Donizetti, Bellini and others
Wagner: Siegfried
Smyth: Der Wald
Rodgers & Hammerstein: Oklahoma!
Nathaniel Hackmann, Sierra Boggess, Louise Dearman et al; Sinfonia of London/John Wilson (Chandos)
Mozart • Pergolesi: La servante maîtresse etc
Adèle Carlier, Marc Scoffoni, David Tricou; Orchestre de l’Opéra Royal/Gaétan Jarry (Versailles)
Fabrice Bollon • Janáček: The Cunning Little Vixen etc
Samantha Gaul, Irina Jae-Eun Park (soprano) et al; The Lily’s Project/Fabrice Bollon (Naxos)
You Did Not Want for Joy (Sampson/Wadsworth)
Carolyn Sampson (soprano), Matt Wadsworth (lute) (Deux-Elles)