A mischievous, daring production that produces the goods: Iolanthe reviewed
‘Welcome to our hearts again, Iolanthe!’ sings the fairy chorus in Gilbert and Sullivan’s fantasy-satire, and during this exuberant new…
More than ever, this was Ulysses’ show: Royal Opera’s Return of Ulysses reviewed
Spoiler alert: the final image of John Fulljames’s production of Monteverdi’s The Return of Ulysses at the Roundhouse is haunting.…
The National Youth Orchestra showed that they’re the equal of any professional band
Everyone knows — don’t they? — that the National Youth Orchestra of Great Britain is the UK’s youngest world-class symphony…
Debussy, Tippett and Wagner: the musical treats of 2018
Claude Debussy died on 25 March 1918 to the sound of explosions. Four days earlier, the Kaiser’s army had deployed…
Gorgeous but exhausting: Jurowski/LPO at Royal Festival Hall reviewed
To get a flavour of Joseph Marx’s An Autumn Symphony, picture the confectionery counter in a grand Viennese café. Beneath…
Embarrassing – but electrifying: Bernstein 100 reviewed
‘There is something enviable about the utter lack of inhibition with which Leonard Bernstein carries on,’ wrote the critic of…
Hearts and minds
Debussy’s Prélude à l’après-midi d’un faune begins with a sigh: a long, languorous exhalation played on the lower notes of…
Irish ayes
Luigi Cherubini is the pantomime villain of French romantic music. As head of the Paris Conservatoire in the 1820s he…
Mad Men – The Opera
Leonard Bernstein’s Trouble in Tahiti begins not with a prelude, but a jingle. In Matthew Eberhardt’s production a trio of…
Pole position
Did you know that they used to make the Fiat 126 in the Eastern bloc? They did, apparently. There was…
The sound of no hands clapping
‘We’re going to live for ever!’ declares Robert Powell as Gustav Mahler at the end of Ken Russell’s 1974 biopic.…
Viennese whirl
‘First performance: Vienna, October 3, 1880’ declares the programme for Opera della Luna’s new production of Johann Strauss’s The Queen’s…
Twin peaks
Schoenberg began Gurrelieder in 1900, but he didn’t hear it until 1913. By then, he’d moved on, and he ostentatiously…
Wilson’s sparkle and snap
Back in the period-instrument wars of the 1980s and ’90s, when the forces of historically informed performance smashed out of…
Classy and classic
The Edinburgh International Festival began with a double helping of incest. Curiously, Greek — Mark-Anthony Turnage’s East End retelling of…
High and low
‘Besides feeble writing, there is a mixture of tragic-comedy and buffoonery in it, which Apostolo Zeno and Metastasio had banished…
This new opera had the audience in tears
‘So you’re going to see the gay sex opera?’ exclaimed my friend, open-mouthed. People certainly seem to have had some…
Scottish Opera could have a hit on its hands with this new Mikado
You have to be quite silly to take Gilbert and Sullivan seriously. But even sillier not to. G&S is still…
The greatest British opera after Dido and Grimes? Vaughan Williams’s Riders to the Sea
In a remote fishing village a lone figure confronts an unexplained death, standing tormented but unbroken against fate, the community…
WNO reminds us Figaro's a comedy – which is no bad thing
Near the end of Elena Langer’s new opera Figaro Gets a Divorce, as the Almaviva household — now emigrés in…
Life-enhancing achievement: ENO's Magic Flute reviewed
Centre stage, there’s an industrial-looking black platform, secured by cables. The Three Ladies snap the unconscious Tamino on a mobile…
Conductor and orchestra played as if in love: Royal Opera’s Eugene Onegin reviewed
It’s scene five of Kasper Holten’s production of Tchaikovsky’s Eugene Onegin and Michael Fabiano’s Lensky is alone with a snow-covered…
A devastating Jenufa - if you could hear it
About 15 minutes into act one of Jenufa, the student in the next seat leaned over to her companions and…
Opera in Edinburgh: even the best Stravinsky can’t beat mediocre Mozart
Is Stravinsky’s The Rake’s Progress anything more than an exercise in style? ‘I will lace each aria into a tight…
