JonathanKent

/
Director
Scroll for more

Contact

Keiron Cooke

Keiron Cooke

Associate Director

Representation

Worldwide management for Opera with Askonas Holt

Follow Jonathan

About Jonathan

Jonathan Kent’s opera productions include Mozart’s Don Giovanni, Britten’s The Turn of the Screw (Glyndebourne Festival Opera and Los Angeles Opera), Purcell’s The Fairy Queen (Glyndebourne, Opéra-Comique, Paris, and BAM, New York), Thomas Adès’s The Tempest, Janáček’s Kát’a Kabanová, Mozart’s Lucio Silla and Le nozze di Figaro , Moravec’s The Letter (Santa Fe Opera), Puccini’s Tosca (Royal Opera House, Covent Garden), Tippett’s A Child of our Time (English National Opera), Strauss’s Elektra and Die Frau ohne Schatten (Mariinsky Theatre, St Petersburg).

His most recent opera productions include Rameau’s Hippolyte et Aricie for the Glyndebourne Festival, Wagner’s The Flying Dutchman for the Royal Danish Opera and Puccini’s Manon Lescaut for the Royal Opera House, Covent Garden.

Representation

Worldwide management for Opera with Askonas Holt

Follow Jonathan

Press

  • Gypsy

    Savoy Theatre, London
    Apr 2015

    • Jonathan Kent’s production of this fabulous musical, unseen in the West End for over 40 years, has got even better since its Chichester debut last autumn. Since the show is about Momma Rose’s attempt to turn her progeny into vaudeville stars, it sits perfectly in a traditional proscenium theatre.

    • The musical is a genuine treat from start to finish, with excellent songs, a flawless orchestra and one of the most emotionally powerful performances you're like to see all year in Imelda Staunton.

      • Tom Eames, DigitalSpy
      • 16 April 2015

    • However, this latest interpretation, a transfer from Chichester Festival Theatre to London's West End, may change that. Showcasing a finely calibrated belter of a performance by Imelda Staunton as Momma Rose, this ecstatically well-received production (which reteams the star with her Sweeney Todd director Jonathan Kent), looks set to run for miles. Cannily splitting the difference between traditional showmanship and the bleaker undertones of recent interpretations like the 2003 Sam Mendes-Bernadette Peters version on Broadway, it's a work that will appeal to theater geeks, camp followers and casual viewers alike.

      • Leslie Felperin, The Hollywood Reporter
      • 16 April 2015

Discography