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Nation rejoices as King Charles reveals Queen's funeral WILL be a Bank Holiday - meaning UK will have had TEN national days off this yearĬara Delevingne's bankers register 'unexpected' charge against her company despite assets of £41.1million Prince Andrew tells crowds 'we've been allowed a day, now we start the process of handing her on': Duke of York waves and bows after rushing to comfort his crying daughters 'I felt a lot of pressure to withhold my sexuality': Erin Doherty admits it was 'gutting' to question whether going public with her girlfriend would jeopardise her career 'Finally got hitched!' Grange Hill's Zammo actor Lee MacDonald marries his girlfriend Jess - two YEARS after getting engaged The Princess Royal's grief: Anne is teary-eyed as she is supported by her children Peter Phillips and Zara Tindall while looking at floral tributes to the Queen Teary-eyed King Charles III waves to crowds shouting 'God save the king' as he arrives at Buckingham Palace after being proclaimed sovereign
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'It'll be some time before life without Grannie will feel real': Prince William releases tribute to Queen for being 'at my side during happiest and saddest days of my life' Her Majesty's last journey through Scotland: Balmoral staff pay their final respects before the Queen's coffin is taken to Edinburgh Tears for a beloved mother and grandmother: Royals led by Princess Anne, Princes Edward and Andrew share emotional moment of unity It’s a hymn of praise to the Enlightenment and to man’s necessary and constant quest for knowledge and self-improvement.Ī truly first-class show that really ought to be in the cinemas. And this one is.īut The Magic Flute in essence is a serious piece, a point McVicar and his team totally grasp. Of course, Flute has to be fun and a lot of laughs (because the piece, after all, was composed for a suburban Vienna music hall). McVicar puts Mozart at the heart of his production. Glyndebourne’s absurd nonsense, set in a grand hotel, had nothing whatsoever to do with Mozart’s intentions. This is the eighth incarnation of McVicar’s show, and after that turkey at Glyndebourne this summer, it’s worth analysing why this one is so good. But the audience loved her, and she will surely settle down as the run progresses. I had some reservations about Tuuli Takala’s Queen of the Night – a bit too much of a nervy high-wire act for me. The Magic Flute works at every level with a polished cast including the 2016 Operalia winner Elsa Dreisig (above), making her Covent Garden debut, as a delightful Pamina