The Turn of the Screw
“Properly haunting...extraordinary”
Guardian - Rian Evans
★★★★
“unforgettable...with a top-notch cast, from whom Kettle coaxes the most subtle, almost conspiratorial acting...”
Operalogue - Hugh Canning
“thoroughly chilling Britten”
Times - Rebecca Franks
★★★★
Seven Deadly Sins / Mahagonny Songspiel
The Turn of the Screw
Susanna
‘Kettle’s acutely observed production rightly eschews humour, tapping into the gravity of Handel’s musical setting.’
Evening Standard - Barry Millington
★★★★★
Otello
‘a truly compelling...revival’
Guardian - Martin Kettle
★★★★
‘what we’ve been waiting for from the Royal Opera this last pandemic year: a production conceived for filming, harnessing the company’s young artists team and making imaginative use of the theatre.’
Guardian - Erica Jeal
★★★★
‘carried off with...exhilarating theatrical panache and intelligence’
Telegraph - Ivan Hewett
★★★★★
‘all credit to Isabelle Kettle...for making these hitherto intractable works so fruitful. Wit and insight took precedence over easy, wearisome sleaze’
Guardian - Fiona Maddocks
★★★★
‘as theatre it’s timelessly harrowing and bang up to date.’
Bachtrack - Mark Valencia
‘stunning revival’
Financial Times
★★★★
Marriage of Figaro
The Turn of the Screw
“Properly haunting...extraordinary”
Guardian - Rian Evans
★★★★
“Thoroughly chilling Britten”
Times - Rebecca Franks
★★★★
“unforgettable...with a top-notch cast, from whom Kettle coaxes the most subtle, almost conspiratorial acting...”
Operalogue - Hugh Canning
Seven Deadly Sins/Mahogonny Songspiel
"carried off with...exhilarating theatrical panache and intelligence"
Telegraph - Ivan Hewett
★★★★★
"all credit to Isabelle Kettle...for making these hitherto intractable works so fruitful. Wit and insight took precedence over easy, wearisome sleaze"
Guardian - Fiona Maddocks
★★★★
"as theatre it’s timelessly harrowing and bang up to date."
Bachtrack - Mark Valencia
Dido and Aeneas
“a fresh and powerful reading of Purcell’s opera”
Opera Magazine - Rupert Christiansen
“a stark, stylised staging that’s well worth seeing”
The Times - Rebecca Franks
★★★
‘what we’ve been waiting for from the Royal Opera this last pandemic year: a production conceived for filming, harnessing the company’s young artists team and making imaginative use of the theatre.’
Guardian - Erica Jeal
★★★★
“a stylish, intelligent Dido and Aeneas”
The Telegraph - Alexandra Loghlan
★★★
Dido and Aeneas
“a fresh and powerful reading of Purcell’s opera”
Opera Magazine - Rupert Christiansen
“a stark, stylised staging that’s well worth seeing” The Times - Rebecca Franks
★★★
“a stylish, intelligent Dido and Aeneas”
The Telegraph - Alexandra Loghlan
★★★
‘this is a Figaro to be savoured and treasured…and an evening of pure delight’
Daily Info
‘highly impressive and accomplished’
Opera Scene
‘a fabulously daring, witty and innovative take on a mozart classic’
Ox in a Box
Otello (revival director)
“a truly compelling... revival”
Guardian - Martin Kettle
★★★★
“stunning revival”
Financial Times
★★★★
Susanna
‘Kettle’s acutely observed production rightly eschews humour, tapping into the gravity of Handel’s musical setting.’
Evening Standard - Barry Millington
★★★★★
The Marriage of Figaro
‘this is a Figaro to be savoured and treasured…and an evening of pure delight’
Daily Info
a fabulously daring, witty and innovative take on a mozart classic’
Ox in a Box
‘highly impressive and accomplished’
Opera Scene