Opera
Talent show
La Donna del Lago, based on a poem by Sir Walter Scott, is one of the nine serious, dramatic operas…
Master class
ENO’s new production of Wagner’s The Mastersingers of Nuremberg is a triumph about which only the most niggling of reservations…
Farewell, ENO
It’s easy to forget what a mess of an art form opera once was. For its first 100 years it…
Crime and punishment
In one of the more peculiar concerts that I have been to at the Royal Festival Hall, Vladimir Jurowski conducted…
Heads will roll
Who on earth could have predicted that a hoary old operatic melodrama set in revolutionary France would find resonance in…
To hell and back
What a week to stage an opera about art’s power to challenge institutional authority, oppression — even death itself. Orfeo’s…
Where to start…
Whether by chance or bold design, the Royal Opera’s two Christmas shows were written at precisely the same moment, between…
Delusions of grandeur
Any adequate performance of Tristan und Isolde, and the first night of the Royal Opera’s production was at least that,…
A star is born
The Royal Academy of Music’s end-of-term opera can always be looked forward to because it never disappoints: the repertoire is…
Rameau resurrected
The poor French. When we think of classical music, we always think of the Germans. It’s understandable. Instinctive. Ingrained. But…
From the sacred to the secular
Terrorism; East-West diplomacy; nuclear war: John Adams’s operas have poured music into the faultlines of 21st-century global politics, and the…
Don’t look now
Mozart’s first great opera, Idomeneo, is not often performed, and perhaps it’s better that way. It should be seen as…
Russian revelation
Anyone who thinks opera singers and orchestral players are overworked should spare a thought for the Mariinsky Opera on its…
Sexy ladies
This season of live Met relays got off to a most impressive start, with an electrifying account of Verdi’s tenth…
Screwed up
We all know that ‘They fuck you up your mum and dad’, but nowhere is this more reliably (and violently)…
Blood and lust
Virtue, hide thyself! The Coronation of Poppea opens with a warning and closes with a love duet for a concubine…
Golden hearted
Puccini’s La fanciulla del West is, one suspects, one of those works that modern audiences struggle to keep a straight…
Revival MOT
One of the greatest tests of how an opera house is functioning is the quality of its revivals. Both the…
Robo-Tell
Is there a fundamental, insuperable problem with staging Rossini’s Guillaume Tell on a budget, without the resources to conjure up…
Douchebags and dartboards
So how did London’s two big opera companies launch their new seasons last week? Not perhaps in the way you…
Femmes fatales
Three operas this week, each of them named after its (anti-)heroine: one of the heroines (the most sympathetic) murders her…
Bad night for Berlioz
I wonder whether grand opéra really takes war as seriously as this year’s Edinburgh Festival wanted it to. These vast…
Small is not beautiful
Neither OperaUpClose’s La traviata nor Finborough Theatre’s production of Boughton’s The Immortal Hour quite cut it
Tainted love
During my opera-going lifetime the most sensational change in the repertoire has, of course, been the immense expansion of the…
Work in progress
The Salzburg Festival’s reputation might largely be one of cultural conservatism, but it made an impressive commitment to new works…
