(3 of 3)
Like Serban, Strehler introduces anachronisms into his production — the commedia dell'arte for the comic duo of Trinculo and Stephano, for example, and a hint of Peking opera mannerism for Ariel — but they effectively underscore the contrasts between the spirit and human worlds, making the confrontation even more pointed. This is a Tempest of clarity, strength and purpose — exactly what was lacking in the Royal Opera's Turandot. The cross-cultural irony is inescapable: the English company presenting the Italian opera had failed, but the Italians staging an English classic had made a glorious success.
— By Michael Walsh