Donizetti
ENO’s Peter Grimes shows a major international company operating at full artistic power
In David Alden’s production of Peter Grimes, the mob assembles before the music has even started – silhouetted at the…
Too affectionate, not enough cruelty: Don Pasquale, at the Royal Opera House, reviewed
There are many things to enjoy in the Royal Opera’s revival of Donizetti’s Don Pasquale, but perhaps the most surprising…
A coherent evening of real opera: GSMD's Triple Bill reviewed
Covid has been many things to the arts — most of them unprintable. A plague, a scourge, a disaster from…
Tame and drowning in detail: Royal Opera’s Lucia di Lammermoor reviewed
Lucia di Lammermoor is one of the two or three Donizetti operas that have never fallen out of the repertoire,…
Was Glyndebourne right to revive Donizetti's Poliuto? No, says Michael Tanner
It’s been a busy operatic week, with a nearly great concert performance of Parsifal in Birmingham on Sunday (reviewed by…
OperaUpClose’s production of Elixir of Love is by far the best update of an opera Michael Tanner has ever seen
Three staples of the Italian repertoire, performed and seen in very different circumstances, have confirmed my view that they deserve…
Royal Opera’s Idomeneo: get seats but make sure they’re facing away from the stage
Mozart’s first great opera, Idomeneo, is not often performed, and perhaps it’s better that way. It should be seen as…
Michael Tanner: Why I prefer Donizetti to Strauss
Three operas this week, each of them named after its (anti-)heroine: one of the heroines (the most sympathetic) murders her…
Alexander Chancellor: A slice of Italy in Milton Keynes
Back home from a week in Italy, I almost feel that I haven’t left. For I go almost at once…
