Opera
Richard Jones’s Boris Godunov feels like a parody
Mussorgsky’s Boris Godunov is back at Covent Garden, and there are ninjas. This isn’t a spoiler. There hasn’t been a…
Rattle’s glorious Janacek
The Czech author Karel Capek is probably best known for his plays: high-concept speculative dramas such as R.U.R. and The…
This Royal Opera Traviata is no ordinary revival
First opera of the year, first night back in London, and the jolly old metrop was already springing surprises. A…
The magnificence of Beare’s Chamber Music Festival
The quartet is the basic unit of string chamber music. Two violins, a viola and a cello: subtract any one…
An opera that will actually make you laugh
‘What we want is proper comedy!’ bellows the male chorus in the opening seconds of Prokofiev’s L’amour des trois oranges…
Intoxicating Elgar from the London Phil
By all accounts, the world première of Elgar’s Sea Pictures at the October 1899 Norwich Festival made quite a splash.…
The orchestra that makes pros go weak at the knees
Stravinsky’s The Firebird begins in darkness, and it might be the softest, deepest darkness in all music. Basses and cellos…
In defence of Katie Mitchell
Janacek’s The Makropulos Case is a weird and very wonderful opera, but its basic plot isn’t hard to follow. Still,…
A cracking little 1967 opera that we ought to see more often
Ravel’s L’heure espagnole is set in a clockmaker’s shop and the first thing you hear is ticking and chiming. It’s…
A Magic Flute that will make you weep
English Touring Opera has begun its autumn season and the miracle isn’t so much that they’re touring at all these…
Handel was derided in his own time – particularly by us, for which belated apologies
Here’s a patriotic thought for you: baroque opera, as we now know it, was made in Britain. Sure, there are…
Pure feelgood: ENO’s Cinderella reviewed
‘Goodness Triumphant’ is the alternative title of Rossini’s La Cenerentola, and you’d better believe he meant it. Possibly my reaction…
A visit from the left-whingers
The Americans wanted an argument and they weren’t going to take no, or indeed yes, for an answer. They arrived…
The decline of Edinburgh International Festival
Edinburgh International Festival was established to champion the civilising power of European high culture in a spirit of postwar healing.…
A Brigadoon better than most of us ever hoped to see
The village of Brigadoon rises from the Scotch mists once every 100 years, and revivals of Lerner and Loewe’s musical…
The drama of an Irish supermarket car park
The woman pushing a wheelchair was causing such a rumpus in the supermarket that whichever aisle I was in I…
Brilliant rewrite of Shakey: Hamlet, at Buxton Opera House, reviewed
‘There is good music, bad music, and music by Ambroise Thomas,’ said Emmanuel Chabrier, but then, Chabrier said a lot…
Why has the world turned on the Waltz King?
On 17 June 1872, Johann Strauss II conducted the biggest concert of his life. The city was Boston, USA, and…
Brave and beautiful: Longborough’s Pelléas et Mélisande reviewed
King Arkel, in Debussy’s Pelléas et Mélisande, is almost blind, and he rules over a kingdom of darkness. Debussy’s score…
I’ve rarely seen a happier audience: Grange Festival’s Die Fledermaus reviewed
‘So suburban!’ That’s Prince Orlofsky’s catchphrase in the Grange Festival’s new production of Die Fledermaus, and he gets a lot…
The cheering fantasies of Oliver Messel
Through the grey downbeat years of postwar austerity, we nursed cheering fantasies of a life more lavishly colourful and hedonistic.…
Summer opera festivals have gone Wagner mad
Another week, another Wagner production at a summer opera festival. This never used to happen. When John Christie launched Glyndebourne…
Thrilling: Garsington’s Queen of Spades reviewed
Tchaikovsky’s The Queen of Spades is one of those operas that under-promises on paper but over-delivers on stage. It’s hard…
Sincere, serious and beautiful: Glyndebourne’s Parsifal reviewed
‘Here time becomes space,’ says Gurnemanz in Act One of Parsifal, and true enough, the end of the new Glyndebourne…
The forgotten story of British opera
British opera was born with Purcell’s Dido and Aeneas, and then vanished for two-and-a-half centuries, apparently. Between the first performance…
