Opera
Our half-time scorecard on the Royal Opera’s Ring cycle
With Die Walküre, the central themes of Barrie Kosky’s Ring cycle for the Royal Opera are starting to emerge, and…
Inspired: Scottish Opera’s Merry Widow reviewed
The Merry Widow was born in Vienna but she made her fortune in the West End and on Broadway. The…
Poulenc’s Stabat Mater – sacred, fervent and always on the verge of breaking into giggles
It’s funny what you see at orchestral concerts. See, that is, not just hear. If you weren’t in the hall…
Devastating: WNO’s Peter Grimes reviewed
Britten’s Peter Grimes turns 80 this June, and it’s still hard to credit it. The whole phenomenon, that is –…
The liberating force of musical modernism
It’s Arvo Part’s 90th birthday year, which is good news if you like your minimalism glum, low and very, very…
Splendid revival of an unsurpassed production: Royal Opera’s Turandot reviewed
Puccini’s Turandot is back at the Royal Opera in the 40-year old production by Andrei Serban and… well, guilty pleasure…
Barbara Hannigan needs to stop conducting while singing
Last week, Barbara Hannigan conducted the London Symphony Orchestra in Haydn, Roussel, Ravel and Britten, though to be honest she…
A dancing, weightless garland of gems: Stephen Hough’s piano concerto reviewed
Stephen Hough’s new piano concerto is called The World of Yesterday but its second ever performance offered a dispiriting glimpse…
I’m the one who needs a carer now
My father was discharged from hospital with a plastic bag containing 13 boxes of pills and a vague promise that…
Regents Opera’s Ring is a formidable achievement
I saw the world end in a Bethnal Green leisure centre. Regents Opera’s Ring cycle, which began in 2022 in…
Opera North’s Flying Dutchman scores a full house in cliché bingo
The overture to The Flying Dutchman opens at gale force. There’s nothing like it; Mendelssohn and Berlioz both painted orchestral…
The thankless art of the librettist
Next week, after the première of Mark-Anthony Turnage’s new opera Festen, the cast and conductor will take their bow. All…
Learning is a lifelong joy
‘I love learning about things’ (Amelia, aged nine). Not all children do, but many who have not experienced the pleasure…
Jolie good: Maria reviewed
Maria is a film by Pablo Larrain, who appears to have a soft spot for the psychodramas of legendary women…
Our verdict on Pappano’s first months at the London Symphony Orchestra
Sir Antonio Pappano began 2024 as music director of the Royal Opera and ended as chief conductor of the London…
Meet the king of comic opera
John Savournin has been busy. That comes with the territory for a classical singer – things often get a little…
Vivid, noble and bouyant: AAM’s Messiah reviewed
More than a thousand musicians took part when Handel’s Messiah was performed in Westminster Abbey in May 1791. It wasn’t…
A keeper: ENO’s new The Elixir of Love reviewed
There was some light booing on the first night of English National Opera’s The Elixir of Love, but it was…
Fails to ignite: Royal Opera’s Tales of Hoffmann reviewed
I couldn’t love anyone who didn’t love Offenbach’s The Tales of Hoffmann. Everything – everything – is stacked against this…
One beauty – one turkey: Wexford Festival Opera reviewed
‘Theatre within Theatre’ was the theme of the 2024 Wexford Festival and with Sir Charles Villiers Stanford’s The Critic, that’s…
A lively and imaginative interpretation of an indestructible Britten opera
Scottish Opera’s new production of Albert Herring updates the action to 1990, and hey – remember 1990? No, not particularly,…
You’re unlikely to see a better case made for this Bernstein double bill
It’s rare nowadays to see a new opera production that’s set in the period that the composer and librettist intended,…
Help! I don’t speak emoji
My friend replied to my text with seven sets of animal paw prints, interspersed with pink hearts and rounded off…
Letters: AI isn’t the only threat to middle-class jobs
Heart of darkness Sir: It would be difficult to describe my disgust at the news that Australia has just received…
