Why we should revel in the empty virtuosity of Handel's pasticcios
Before the jukebox musical, back when Mamma Mia!, Jersey Boys and Viva Forever! were still dollar-shaped glints in an as-yet-unborn…
ENO's Indian Queen reviewed: Peter Sellars's bold new production needs editing
When is an opera not an opera? How much can you strip and peel away, or extend and graft on…
Royal Opera’s Orfeo, Roundhouse: shouts its agenda so loudly the music struggles to be heard
What a week to stage an opera about art’s power to challenge institutional authority, oppression — even death itself. Orfeo’s…
This Winter Journey goes far beyond expectation
You can tell a lot about a book from its bibliography. It’s the non-fiction equivalent of skipping to the final…
ENO’s Gospel According to the Other Mary: great music weighed down by a worthy staging
Terrorism; East-West diplomacy; nuclear war: John Adams’s operas have poured music into the faultlines of 21st-century global politics, and the…
Glyndebourne’s Turn of the Screw: horrors of the most innocent and creepy kind
We all know that ‘They fuck you up your mum and dad’, but nowhere is this more reliably (and violently)…
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‘I feel an uncontrollable
urge to meddle.’
Target seat
‘So, that’s unanimous — we’re not going to attempt to be relevant.’
‘Oi, what you not lookin’ at?’
The new city cycle
