Keith McDonnell

Here's everything published by this contributor on musicOMH.


Keith, a former Classical and Opera Editor of musicOMH, studied music at Birmingham University, becoming a Bachelor of Music in 1989. He studied composition with Jonty Harrison and his love of opera, and of Janacek in particular, was influenced by the teachings of the renowned Janacek expert Jan Smaczny. The first opera Keith attended was Peter Grimes in Liverpool, performed by the WNO in 1983. This was swiftly followed by a performance of The Valkyrie, again performed by the WNO and conducted by the legendary Sir Reginald Goodall. This performance was to have a profound effect on him, as he later went on to study Wagner in greater depth, writing a dissertation on "Parsifal, Tristan and Pelleas" as part of his degree. Keith has attended over 500 opera performances, and lists the late Lorraine Hunt Lieberson, Dame Anne Evans, and Alice Coote as his favourite singers; whilst Richard Jones is without doubt the opera director whose productions excite him the most. He cites Jones' 1996 Covent Garden Ring as the single most exciting operatic event in his opera-going experience.
Keith McDonnell

Articles by Keith McDonnell

Total Immersion: Italian Radicals review – Martyn Brabbins and the BBCSO thrill at the Barbican (Opera + Classical Music Reviews)
Intermezzo review – Tobias Kratzer rehabilitates Strauss’ comedy with a pitch-perfect staging (Opera + Classical Music Reviews)
Carmen review – Aigul Akhmetshina triumphs in the Royal Opera’s new production (Opera + Classical Music Reviews)
Orchestra of the Age of Enlightenment review – pushing the boundaries of authenticity (Opera + Classical Music Reviews)
Parsifal review – Wagner’s final opera returns to Munich with a sensational cast (Opera + Classical Music Reviews)
Il trittico review – The Bavarian State Opera revives Puccini’s operatic triptych with thrilling results (Opera + Classical Music Reviews)
Madama Butterfly review – a star soprano revitalises Puccini’s opera at Covent Garden (Opera + Classical Music Reviews)
Jenůfa review – ENO revives Janáček’s masterpiece with thrilling results (Opera + Classical Music Reviews)
Giant review – Sarah Angliss’ taut opera enthrals at the Linbury Theatre (Opera + Classical Music Reviews)
The Flying Dutchman review – a strong cast excels in Wagner’s storm-lashed opera at The Royal Opera House (Opera + Classical Music Reviews)
The Magic Flute review – ENO revives Simon McBurney’s technically challenging staging of Mozart’s singspiel (Opera + Classical Music Reviews)
Parsifal review – Wagner’s final masterpiece casts a hypnotic spell in Berlin (Opera + Classical Music Reviews)
The Barber of Seville review – English National Opera revives Jonathan Miller’s staging of Rossini’s comic masterpiece (Opera + Classical Music Reviews)
Jephte & Dido and Aeneas review – Joyce DiDonato returns to the Barbican as the other Dido (Opera + Classical Music Reviews)
The Faggots and Their Friends Between Revolutions review – an explosive queer odyssey at the Southbank (Opera + Classical Music Reviews)
La bohème review – Puccini’s most popular opera makes a welcome return to Covent Garden (Opera + Classical Music Reviews)
Elektra review – Christof Loy’s staging finally arrives at Covent Garden (Opera + Classical Music Reviews)
Jenůfa review – Rattle returns to conduct the London Symphony Orchestra (Opera + Classical Music Reviews)
Wolf Witch Giant Fairy review – 65 minutes of operatic enchantment at The Royal Opera (Opera + Classical Music Reviews)
Hansel and Gretel review – Hansel and Gretel lacks magic at The Royal Opera (Opera + Classical Music Reviews)
Cavalleria rusticana / Pagliacci review – The Royal Opera revives two of its finest stagings (Opera + Classical Music Reviews)