Cecilia Bartoli and Rolando Villazon, Barbican ****

Classical superstars Bartoli and Villazon have graced the Barbican with an evening of Classical and bel canto arias, duets, and excerpts. Supported by the excellent Orchestra La Scintilla of the Zurich Opera, the pair bring joy and energy. Rolando Villazon may not be the most able of tenors, even without the cold he had on this evening which haltered his head voice and passagio, yet he is certainly the most energetic and lively tenor, with a likability that makes his documentaries so compelling. Cecillia Bartoli without doubt is one of the greatest mezzos and also has a charm and a rapport with Rolando that is just wonderful to see. The evening's programme tackled lovein all its forms from unrequited to requited to tragic. Whilst Villazon's arias were damaged because of his cold, he still brought the energy and passion which made them easy to listen to. Bartoli had no illness so soared through the evening, seeing off difficult Rossini arias as if they were 'twinkle, twinkle, little star'. The finale of Otello was moving and perfect. Rossini writes the final scene better than Shakespeare, making Desdemona a far stronger mezzo and the end is far grittier and less romanticised than in the play so, whilst there were some lighting effects which were unneccesary, the performance of this scene was spellbinding from both of them. This was certainly an evening which deserved the three encores this duo received.

Henry V, Barbican Theatre ***

Greg Doran's history cycle is completed by Alex Hassell returning to the role of Hal post-adolescence as a serious and focussed Henry, signalled by the death of Falstaff at the beginning of the play. Doran really needs to drop the apparent reverence for Shakespeare as it is resulting in academic and dated productions that make no attempt to engage or excite an audience. There seems to be little change here with some soliloquies feeling like a drab recital of verse and even the highly comedic scene between Katherine and Henry feeling laboured and a touch plodding. On the other hand, the ponderous nature of this cycle of history plays suit Henry V better than Henry IV. Alex Hassell lacked the youthful energy that a good Prince Hal must have but is a greater Henry because of it. His tone may not be quite right for the big speeches yet his detached and aloof style of acting works in showing the isolation of the king. The older actors are the better ones here, injecting life into the play. Oliver Ford Davies is wonderfully comic as the chorus and he sounds like he has properly understood and interpreted Shakespeare's text unlike many of the cast. Jane Lapotaire is also a delight as Queen Isobel. Paul Englishby's music is probably the finest in straight theatre at the moment, with his Te Deum here creating extremely powerful theatre whilst his continuation of Prince Hal's theme from Henry IV is rousing and special to listen to. His music is the highlight of the evening along with Stephen Brimson Lewis' design which both exposes the mechanics of the operation for chorus scenes and has a sense of grandure and elegance which makes the evening special. This play show signs of breaking free from the restrictive and dated staging of Shakespeare, creating an evening not without it's exciting moments.

BBC Singers- Montiverdi Vespers, Milton Court **

Having never heard any Montiverdi before, I was taken aback by his religious Vespers of 1610 at Milton Court. Loving Baroque music, I was fascinated by the richness and complexity to his music. The soloists in particular have music as difficult as any Rossinni opera. I Fagiolini are a marvellously talented ensemble that take this task on well. With the BBC Singers, the two groups are powerful at times, especially during the Magnificat. However, at other times the music seems deadened and lacks the beauty and tone that one would expect from a first-class choir. St James's Baroque ensemble are splendid and have an elegance and fluidity. The almost constant movement of the soloists to the balcony and back felt messy and, for me, slightly took away from the sacred and delicate aesthetic with no real effect on the music. Whilst the music is at times explosive, it lacks a dynamic and engaging quality that all concerts should have.

Hamlet, Barbican *****

When I was at the Young Vic to see A Number, I saw Benedict Cumberbatch and a friend walking in to see The Trial. As they gave their tickets to the young steward who clocked them and, after they had gone, proceeded to flap her hands with excitement and jump in the air. A split second later, a much older steward had joined her and together they excitedly enthused about how they had seen this living legend in the flesh. It is truly astonishing that one man can have such universal appeal so that both young and old adore him and his work. It is therefore some achievement that I was able to grab a ticket for his return to the stage, even if it cost the same as the last 5 theatre outings combined.

This production may not be too forgiving to a Shakespeare newbie, however Lyndsey Turner's production lives up to the hype and then some. Es Devlin achieved wonders with Headlong's comparatively tiny production of The Nether and has done the same with a far larger stage of the Barbican and presumably a largely inflated budget. In what could be the most lavish set in theatre history, Devlin makes full use of the breadth and depth of the Barbican stage to host this palace complete with chandelier, a deer head and oil paintings. Luke Halls, in another collaboration with Devlin, orovides excellent video along with Jane Cox's lighting to make the outdoor scenes fit the set and create a supernatural dimension to proceedings. As much as Cumberbatch leads a stellar lineup of actors, the creative team are equally impressive with some of the best CV's in the business and they are firing on all cylinders here. As far as I am aware, there is no fault to be found in this production. Cumberbatch owns his Hamlet, creating a believable character whose madness isn't overdone and, by the end, seems perfectly sane in the absurdity of the tragic events that unfold. However, it isn't his performance that lingers in the mind but that of the two leading ladies. Siân Brooke's Ophelia and Anastasia Hillie's Gertrude left me a blubbering mess. Considering how little time is given between Hamlet and Ophelia, Brooke creates this likeable character whose despair is felt throughout the auditorium which is hard to do in the vast space of this auditorium. Hellie's Gertrude is also gets more sympathy and feels more down to earth than Ciarán Hinds' aloof Claudius. Whilst I think that the attention being given to this is utterly ridiculous yet this is a truly great example of perhaps Shakespeare's greatest play.

Note: I saw this when still in preview so it may have changed by press night. However, there was no mention of this performance being a preview and there is no price difference so I think early reviews seem fair game, especially since there have been examples of early reviews being published with no backlash from the show (Quentin Letts reviewing Kristin Scott Thomas in The Audience after being barred from press night).

To Kill a Mockingbird, Barbican Theatre ****

With sequel 'Go Set a Watchman' out in book shops, the time is perfect to revisit the much beloved gem of Harper Lee about life in the Deep South. This book, much like Ah Wilderness at the Young Vic, creates this warm, homely feeling yet achieved the impossible by addressing the issues of racism and naive childhood. This production captures this feeling and more. As well as telling Lee's story well, it captures the brilliance and beauty of reading. Watching this ensemble taking it in turn to read from the book, it reminded me of when my father used to read to me and the excitement that caused each evening. It explores the idea of how reading can create a picture in your mind and that, by switching between British and American accents, shows that you can be transported to a different world through books. Sheader's production uses a Brechtian style that, unlike Findlay's Merchant, is effective in creating this idea of an image being created through story telling. Jon Bausor's design strikes a balance between minimalistic and cheap very well and Phil King's music gives a nice atmosphere to the piece. The three actors playing Dill, Jem and Scout were extraordinary. For those children to be as talented as they are is brilliant to see. They steal the show with fully three dimensional characters and brilliant stage presence. They are surrounded by a capable ensemble who tell the story well. Robert Sean Leonard's Atticus is delightful to watch. This is probably the last image of Atticus I will have before it being altered by Lee's sequel and I was glad for it to be as faithful to the book as possible. Whilst I'm not sure the stage in no way beats the experience of reading this classic, it captures the heart and emotion of Lee's writing to create a fulfilling and wonderful experience.

Nico Muhly: Sentences, Barbican *****

As I always confess when talking about concerts is that I know nothing about music. Despite this, you couldn't help but adore the sublime array of pieces at this world premiere of Muhly's meditation about Alan Turing. The first half consisted of Dowland's If my complaints could passions move, Brittens reflection on the piece with Lachrymae, and Vicaldi's Stabat mater, which looks at Mary's grief at the Passion of Christ. The Dowland is wonderfully conflicting with both melancholy and joy evoked. It is rare, even for me, to cry at the first piece, yet Davies' voice is so exquisite that my eyes began to water towards the end. Whilst I could not see the similarities in the following piece, Britten's Lachrymae is nonetheless an astonishing composition astonishingly performed by the sinfonia with Lawrence Power giving a masterclass in the viola. The years of jokes this man must have had to endure was worth it to see the precision and extraordinary skill present to perform what must be a hellish piece to perform at times. The highlight of the first half was, without a shadow of a doubt, Vivldi's Stabat mater. The baroque piece captures the pain and anguish felt by someone for the loss of a loved one and is,for my money,one of the best pieces of art around to capture this story. The tierce de picardie at the end hints at the hope of the resurrection whilst Iestyn Davies sings this melody that conveys the utter despair of Christ's mother whilst maintaining grace, elegance and beauty. This neatly links to the main attraction and to the organist's very own composition. Both Stabat mater and Sentences use the grief and love of the mother as a vehicle to explore different things. In Sentences, this is used to explore the life of Alan Turing. This composition is so many things. It is clever without being gimmicky or arrogant. At times it is rather amusing yet isn't at all facetious. It is heartbreaking yet not sentimental. This relies on four factors that need to be spot on. First, and most importantly, Muhly's score is the closest that contemporary music has come to perfection. He doesn't underestimate the power of melody whilst also creating an edge to the piece through interesting uses of percussion (eg. typewriters and knitting needles). Secondly, the librettist Adam Gopnick is wonderful at both providing a coherent story and helps to provide the suppressed feeling that is released through the music. Davies is also astonishing, providing hearty performance, showing both the hurt and the joy of Turing and lastly, the sinfonia's accompaniment is rich and heart felt. The evening was an utter delight and pleasure.

Between Worlds, Barbican Theatre ***

This is something that has been expected for a long time and now the time has come that the tragedy of 9/11 is being dealt with on stage in Tansy Davie's new opera. It takes the lives of 5 people in the North tower and follows them as this horror unfolds. It is fair to say that the reaction hasn't all been positive and many reviews have been luke warm but I have to say that my experience of this was far better than many critic's experience. The design from Michael Levine is beautiful in it's simplicity, with three floors capturing the grandure of the towers yet poignant and respectful. Warner's direction too helps create an emotional, heart- rendering account. Tansy Davies' music, whilst not the best, makes full use of the ENO's marvellous chorus that help to convey the mundanity of normal life in New York to a choral, mass- like feel towards the end of the opera. I feel that the shaman is somewhat irrelevant here and needed to have a larger role to give him a purpose. Also, the flying dancer needs to be vsible audience and used more often for the meaning he represents to become truly understood by the audience. Lastly, perhaps the magnitude of the atrocity that took place that fateful day and the everyday problems of the characters don't quite gel as they should which may be down to Drake's libretto that, whilst isn't half as bad as many have said, is relatively mundane as only so much can be conveyed operatically from messages from victims which are hardly poetic. Despite this, it still packs a punch and the spirituality of the final moments is truly special to experience.

Measure for Measure, Silk Street Theatre *****

There is no better example of the beauty of theatre than in Cheek by Jowls daring and relevant production of Measure for Measure. It has become a joke within my family that I was going to a Shakespeare play performed in Russian. However, the language it's performed in should not put you off from seeing such a profound piece that enriches Shakespeare's problem play with influences from Russian Culture. The direction is prominent here with Declan Donnellan crafting each scene from a truly artistic perspective (much like Ivo Van Hove). This means that the story is told mainly through the actors more so than the subtitles. This is essential for people who want to observe the true purpose and art of theatre, as a medium that can bridge language to get to the heart of a piece of work. Transitions from scene to scene are effective, with the whole cast remaining as one body for much of the piece that move across the stage to pick up and drop off the characters needed for the following scene. The heavily cut script gives the story a driving force and keeps the audience on their toes. They deal with the sexual aspects of the play in a brutal yet tasteful way and, whilst there was a disclaimer for nudity, you don't really see anything, yet that doesn't mean that aspects of the production are not harrowing. This is a production that pushes the boundaries of what theatre can achieve. Take a look at the live stream if you can't get down to see it as this sort of theatre needs to be supported to prove that a touring production can be as effective and powerful as any other production.

Antigone, Barbican Theatre ***

When I saw Van Hove's last production, it was one of the most incredible experiences I have ever had. His direction was so powerful that a play I had studied to death suddenly seemed fresh and new. So when I found out that he was directing Juliette Binoche in Antigone, I grabbed a ticket as fast as I could.

This is no View from the Bridge. It does not have the same impact yet it is still reasonably powerful with strong direction and design from the Dutch duo. The cast all give strong performances with the exception of Binoche, whose portrayal of Antigone feels fanatical and undignified.The design develops Versweyveld's set for the Young Vic, with video footage from Tal Yarden projected onto  the blank wall. The only bit which jars is the overly cinematic footage of Binoche and Patrick O' Kane which does not fit with the aesthetic of the rest of the piece. Van Hove's direction is on point, showing the work of a true artist. The adaption is also admirable,although towards the end Anne Carson's translation gets slightly confusing. However, this could be to do with role- doubling not being made quite as clear as I would have liked. Overall,whilst it suffers from celebrity casting, Antigone is still an admirable piece of work by the pair from Toneelgroep.

Henry IV Part 1, Barbican Centre ***

The Company of Henry IV part 1

 After being left disappointed by Gregory Doran's take on part 2 of the Bard's play, when I got a day ticket to the first part, my expectations were low. Luckily, the Henry IV part 1 is substantially better then part 2. As it is, in my opinion, Shakespeare's best play, it would have taken a truly terrible performance to put me off liking it. There are still the problems that were present in Stratford. I still found Sher's Falstaff to be too smug and dis-likeable for me and the production feels a bit too safe. However, the jokes still made me chuckle even if they were not as big as the Globe's laughs, and the battle is very effective. One thing I noticed as well was Englishby's score which is superb, with the main theme 'Urbs Beatta Jerusalem' sending shivers up my spine. Whilst this is far from perfection, it is quite a bit better than it's second part.