Anna Nicole – reviews of 'flamboyant' opera revival
Royal Opera's 'terrific' revival of Anna Nicole Smith story balances pathos, humour and sleaze
What you need to know
A revival of 2011 opera Anna Nicole has opened at the Royal Opera House, Covent Garden. Mark-Anthony Turnage's opera features a libretto by Richard Thomas, co-creator of the hit Jerry Springer: the Opera.
It tells the story of the life and tragic death of Anna Nicole Smith, a young single mother from Texas, whose desire to be famous leads her to become a stripper, wed an octogenarian billionaire and become a Playboy model. She soon learns that her celebrity comes at the price of exploitation, media intrusion and a dependence on pills.
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.
Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
Richard Gerard Jones directs a cast starring Dutch opera singer Eva-Maria Westbroek as Anna Nicole Smith. Runs until 24 September.
What the critics like
This "terrific" revival is, if anything, musically stronger and emotionally deeper than the original, says Rupert Christiansen in the Daily Telegraph. This is a high-octane helter-skelter ride through dangerous but exhilarating territory that "hits a bullseye, which other modern operas are missing by a mile".
This "flamboyant and brilliant" production, vigorously revived, keeps us visually riveted, says Hilary Finch in The Times. Eva-Maria Westbroek gives her considerable all in the title role, while Antonio Pappano conducting Turnage's artful score, activates the vortex of dark humour, absurdity and exploitation that whirls through the evening.
Westbroek brings out the pathos of Nicole magnificently and "Richard Thomas's libretto tells the abject story indecently well", says Kate Kellaway in The Guardian. But what gives the opera its power is the persistent disconnect between score and subject: intelligent urgency in contrast to dismaying mindlessness and the sleazily grotesque.
What they don't like
It's extremely well done, but time has not been kind to this scabrous tale, says Tim Ashley in The Guardian. Richard Thomas's libretto can no longer provoke the shock-and-titter response it once did, so "we're more aware of the opera as a prurient, rather conventional morality tale" on the supposedly ruinous combination of sex, money and ambition.
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
Why Bhutan hopes tourists will put a smile back on its face
Under The Radar The 'kingdom of happiness' is facing economic problems and unprecedented emigration
By Chas Newkey-Burden, The Week UK Published
-
7 beautiful towns to visit in Switzerland during the holidays
The Week Recommends Find bliss in these charming Swiss locales that blend the traditional with the modern
By Catherine Garcia, The Week US Published
-
The Week contest: Werewolf bill
Puzzles and Quizzes
By The Week US Published
-
The Count of Monte Cristo review: 'indecently spectacular' adaptation
The Week Recommends Dumas's classic 19th-century novel is once again given new life in this 'fast-moving' film
By The Week UK Published
-
Death of England: Closing Time review – 'bold, brash reflection on racism'
The Week Recommends The final part of this trilogy deftly explores rising political tensions across the country
By The Week UK Published
-
The Marriage of Figaro: 'lively' revival of Mozart's comedy 'zings along'
The Week Recommends David McVicar's 'ever-fresh' production is back at the Royal Opera House
By Irenie Forshaw, The Week UK Published
-
Sing Sing review: prison drama bursts with 'charm, energy and optimism'
The Week Recommends Colman Domingo plays a real-life prisoner in a performance likely to be an Oscars shoo-in
By The Week UK Published
-
Kaos review: comic retelling of Greek mythology starring Jeff Goldblum
The Week Recommends The new series captures audiences as it 'never takes itself too seriously'
By The Week UK Published
-
Blink Twice review: a 'stylish and savage' black comedy thriller
The Week Recommends Channing Tatum and Naomi Ackie stun in this film on the hedonistic rich directed by Zoë Kravitz
By The Week UK Published
-
Shifters review: 'beautiful' new romantic comedy offers 'bittersweet tenderness'
The Week Recommends The 'inventive, emotionally astute writing' leaves audiences gripped throughout
By The Week UK Published
-
How to do F1: British Grand Prix 2025
The Week Recommends One of the biggest events of the motorsports calendar is back and better than ever
By Rebekah Evans, The Week UK Published