Opera
Stepmother superior
Leos Janacek cared about words. He’d hang about central Brno, notebook in hand, eavesdropping on conversations and trying to capture…
Such sweet sorrow
‘It’s generally agreed that in contemporary practice, this opera proposes significant ethical and cultural problems,’ says the director Lindy Hume…
Grateful for large mercies
Glyndebourne is nothing if not honest. ‘In response to the ongoing Covid-19 restrictions our 2021 performances of Tristan und Isolde…
Springtime for Putin
Alexander Litvinenko lies in a London hospital, dying of polonium poisoning. That photograph from 2006 haunts the memory: the medical…
Too bawdy for the Beeb
Malcolm Arnold composed his opera The Dancing Master in 1952 for BBC television. It never appeared, the problem being the…
Bring me sunshine
Comedy’s a funny thing. No, seriously, the business of making people laugh is as fragile, as mercurial as cryptocurrency —…
Spelling disaster
When you think of Handel’s Amadigi (in so far as anyone thinks about the composer’s rarely staged, also-ran London score…
Tsar quality
There are worse inconveniences than having to wear a face mask to the opera. But there’s one consequence that hadn’t…
Coming up roses
At the turning point of Richard Strauss and Hugo von Hofmannsthal’s Der Rosenkavalier, all the clocks stop. Octavian has arrived…
The caged bird sings
At the first night of Glyndebourne Festival 2021 there was relief and joyful expectation as Gus Christie made his speech…
From screen to stage
It’s my new lockdown ritual. Switch on the telly, cue up the menu and scroll down to where the vintage…
The rise of opera film
I’m still waiting for the Royal Opera to step up. Nearly a year into the Covid crisis and what do…
Ambassador, you are really spoiling us
In classical music circles, Christmas arrives with the overture to Handel’s Messiah. Or so they’ll tell you. In truth, festivities…
Kitchen-table opera
Covid has been many things to the arts — most of them unprintable. A plague, a scourge, a disaster from…
Born of the moment
It’s quite a title sequence. Puccini swells on the soundtrack and words flash before your eyes. ‘Ecstatic!’ ‘Spellbound!’ ‘Passionate!’ ‘Dazzled!’…
One for the road
The email from English National Opera was blunt: ‘Your arrival time is 18.25. If you arrive outside your allocated time…
Magnificent muddle
In the 62 years since I first heard and saw Don Carlo, in the famous and long-lasting production by Visconti…
Enclosure acts
‘I don’t want to do my work. I want to go for a walk. I want to eat all the…
Versailles lockdown
A few years ago I interviewed an eminent baroque conductor. Prickly and professorial, tired after a day of rehearsals, he…
The Met goes Eurovision
Desperate times call for desperate measures. With the world’s opera houses currently dark, the New York Metropolitan Opera tackled the…
A perfect antidote
Anyone familiar with Joe Hill-Gibbins’s work will brace instinctively when the curtain goes up on his new Figaro. He’s the…
In a class of her own
Who was the most influential figure in 20th-century classical music? Stravinsky? Pierre Boulez? What about Bernstein or Britten? John Cage…
Eurotrash Verdi
Verdi’s Luisa Miller is set in the Tyrol in the early 17th century, and for some opera directors that’s a…
Fellatio-free
Calixto Bieito’s Carmen: three words to make an opera critic’s heart leap. Until quite recently, Bieito was the operatic provocateur…
More misogynistic than the original: ENO’s Orpheus in the Underworld reviewed
It’s Act Three of Emma Rice’s new production of Offenbach’s Orpheus in the Underworld, and Eurydice (Mary Bevan) is trapped…
