Renee Roberts

Renee Roberts

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N/A N/A (8.265)

Owner Basil Fawlty, his wife Sybil, a chambermaid Polly, and Spanish waiter Manuel attempt to run their hotel amidst farcical situations and an array of demanding guests.
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What Became of Jack and Jill? 1972 (4.625)

Two young people plot to get their hands on grannie's money, but rather than simply pushing her down the stairs they hatch an elaborate plot to convince her that radical youth have taken over England are planning to do away with "oldies" like her.
Irene Roberts

Irene Roberts

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Parsifal 2013 (8)

The Met assembled an ideal cast for François Girard’s acclaimed new production of Wagner’s final masterpiece: Jonas Kaufmann in the title role of the fool “made wise by compassion”, René Pape as Gurnemanz, the veteran Knight of the Grail, Katarina Dalayman as Kundry, Peter Mattei is Amfortas, the anguished ruler of the Grail’s kingdom, and Evgeny Nikitin sings the evil magician Klingsor.
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Les Contes d'Hoffmann 2018

The “superb, sinister” Tales of Hoffmann at the Dutch National Opera with “excellent soloists, the impressive John Osborn” (Theaterkrant) and “Christine Rice, a vocally and physically voluptuous Giulietta” (bachtrack.com), “mezzosoprano Irene Roberts, who plays and sings brilliantly” (Groene Amsterdammer) and “Erwin Schrott, singing the four villains for the first time, made it look like a blast.” (bachtrack.com) “Les Contes d'Hoffmann is a parade of golden voices”. (Volkskrant) Maestro Rizzi conducted with elegance and momentum the chorus and the “excellent playing Rotterdam Philharmonic Orchestra”. (Volkskrant) “Spectacular” (Trouw) “This production effortlessly fascinates from start to finish.” (Theaterkrant)
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My Lover The Killer 2020

My Lover the Killer is the former title of the album by Lydia Lunch & Marc Hurtado released in 2016. The music, first languorous then abrasive, accompanies the verbal flow of the transgressive poetess who comes back to an intimate and violently tragic episode of her own life: her love and death story with Johnny O’Kane. With her long-time collaborator, Lydia Lunch, face to face with the camera, transforms this naked scene full of troubled anger into a deep dark confession. Hurtado’s images are saturated, grainy, willingly experimental and clash with those of an archive of furious performances. Just like the one who seeks to avoid taking part in her own prophecy.