Sophie Hunter’s First Real Opera Job Is A Failure and Once Again, She Ripped Off Someone Else’s Work.

Thanks to  for finding the article. The Report has debunked the lies Hunter tells the press about her supposed career as a director of opera when there is no evidence she ever directed one. It appears she’s just co-directed her first one with a little-known, off-pitch opera singer: it bombed.

The article may be found here.

Here are some excerpts where the critic tears the production to bits and appears to be laughing at the idea of the opera having “conceivers” especially when another opera company in Lyon, France did an identical concept “brilliantly”:

Unfortunately this setting, straight from Aldeburgh, isn’t exactly that for what its “conceivers” describe as “not a conventionally staged production… not ‘semi-staged’, nor… a concert performance”. It’s static and hems in the imagination rather than letting it flow as power play between the characters shifts, or ought to.

The latticed cube within which most of the performers exist, designed by those “conceivers”, Sophie Hunter, Andrew Staples – the most imaginative of tenors, too, singing ghost Quint and the Prologue here too – and William Reynolds, refers both to the child Flora’s cat’s cradle and to the labyrinth in which the protagonist finds herself lost at the beginning of the second act. The concept has been executed, and brilliantly, by La Fura dels Baus’s Valentina Carrasco in Lyon.

Both ghosts, Staples and Jane Irwin as the former governess complicit in his nameless malignity, projected some wonderful sounds but weren’t note or rhythm perfect last night.

Something’s wrong when in the bedroom scene Staples’ seducer hovers above the boy while the Governess is stuck at her post way behind (pictured below, Staples and a distant Bevan).

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