Opera

WNO reminds us Figaro's a comedy – which is no bad thing

5 March 2016 9:00 am

Near the end of Elena Langer’s new opera Figaro Gets a Divorce, as the Almaviva household — now emigrés in…

The cast of ‘Suor Angelica’

Vocally and theatrically strong: Il trittico at the Royal Opera reviewed

5 March 2016 9:00 am

The setting for Il tabarro, the first drama in Puccini’s 1918 triptych of one-act operas, is not the Paris of…

Choristers from the English National Opera (Photo: Getty)

ENO must go

27 February 2016 9:00 am

Last week Darren Henley, chief executive of Arts Council England, revealed that opera receives just under a fifth of the…

Norma at the ENO (Photo: Alastair Muir)

Long live ENO!

27 February 2016 9:00 am

The three most moving, transporting death scenes in 19th-century opera all involve the respective heroines mounting a funeral pyre —…

Nicholas Lester as Figaro and Nico Darmanin as Count Almaviva

Cruel and absurd: WNO’s Barber of Seville reviewed

20 February 2016 9:00 am

‘Forget Downton Abbey!’ exhorts David Pountney in the programme for Figaro Forever, Welsh National Opera’s season of Beaumarchais operas, The…

World-weary rather than carefree: Peter Coleman-Wright as Papageno

Life-enhancing achievement: ENO's Magic Flute reviewed

13 February 2016 9:00 am

Centre stage, there’s an industrial-looking black platform, secured by cables. The Three Ladies snap the unconscious Tamino on a mobile…

Unlikely to win converts: Royal Opera's L'Étoile reviewed

6 February 2016 9:00 am

It’s widely agreed that the most difficult form of opera to bring off is operetta, whether of the Austro-German or…

Annemarie Kremer as Maddelena. Photo Credit: Robert Workman

Miserable libretto, music to match: Andrea Chénier reviewed

30 January 2016 9:00 am

Opera North continues to be the most reliable, inspiring, resourceful and enterprising opera company in the United Kingdom, and all…

Powerful and upsetting: Pelléas et Mélisande at the Barbican reviewed

16 January 2016 9:00 am

There are some operas, as there are some people, that it is impossible to establish a settled relationship with, and…

Conductor and orchestra played as if in love: Royal Opera’s Eugene Onegin reviewed

9 January 2016 9:00 am

It’s scene five of Kasper Holten’s production of Tchaikovsky’s Eugene Onegin and Michael Fabiano’s Lensky is alone with a snow-covered…

Royal Opera’s Cavalleria rusticana isn’t nearly vulgar enough

12 December 2015 9:00 am

How often do you get a chance to see two operas by Leoncavallo in the same city in the same…

A devastating Jenufa - if you could hear it

5 December 2015 9:00 am

About 15 minutes into act one of Jenufa, the student in the next seat leaned over to her companions and…

Anna Devin as Alcina and Nick Pritchard as Ruggiero in ‘La Liberazione di Ruggiero’ at Brighton Early Music Festival

Has there ever been a better time to be a lover of Baroque opera?

28 November 2015 9:00 am

Time was when early music was a 6 p.m. concert, Baroque began with Bach and ended with Corelli’s Christmas Concerto,…

Morgen und Abend: the kind of opera that gives opera a bad name

21 November 2015 9:00 am

The Royal Opera House seemed nervous about Georg Friedrich Haas’s world première Morgen und Abend. They sent out a pdf…

ENO’s production of ‘The Force of Destiny’ has a large, fidgety set and a projection of a vast horse’s head

That Force of Destiny isn’t a great evening is the fault of Verdi not ENO

14 November 2015 9:00 am

The Force of Destiny, ENO’s latest offering to its ‘stakeholders’, as its audiences are now called thanks to Cressida Pollock,…

Northern Ireland Opera’s Turandot will fill you with awe and revulsion

7 November 2015 9:00 am

Chords as bright and sweet as pomegranate seeds burst and spill in Turandot, a splinter of bitterness at their centre.…

Going ape: Bertie Carvel as Yank

Glyndebourne caters to the lower-middle classes not past-it toffs

7 November 2015 9:00 am

What is Glyndebourne? A middle-aged Bullingdon. That’s a common view: a luxury bun fight for past-it toffs who glug champagne,…

I doubt Goethe intended Werther's sorrows to be as unremitting as this

24 October 2015 9:00 am

There are some things the French do better than everyone else. Cheese, military defeats and extra-marital affairs are a given,…

Please let's have more musicals like this Kiss Me, Kate at Opera North

10 October 2015 9:00 am

Opera North’s new production of Cole Porter’s masterwork Kiss Me, Kate has been so widely and justly praised that I…

'A glittering concentrate of fury in her dark eyes': Patricia Racette as Katerina Ismailova in 'Lady Macbeth of Mtsensk'

Thank god for bored wives: Lady Macbeth of Mtsensk at the ENO reviewed

3 October 2015 9:00 am

‘Kiss me, Sergei! Kiss me hard! Kiss me until the icons fall and split!’ sings Katerina Ismailova, adulterous antiheroine of…

Margit Carstensen as Petra, downing gin and grovelling on her deep-pile carpet, in ‘The Bitter Tears of Petra von Kant’

Rainer Werner Fassbinder’s films verge on the incomprehensible — but that doesn’t stop him being a genius

3 October 2015 8:00 am

London’s Goethe-Institut has a two-month season of films of Rainer Werner Fassbinder (whose 70th anniversary it’s celebrating), but only five…

As good a treatment of a Bellini opera as we are likely to see: WNO's I puritani reviewed

19 September 2015 8:00 am

Bellini belongs to that category of not-quite-great operatic composers whose works are also very difficult to perform adequately, and don’t…

Magic in the air: Berlin Comic Opera’s exuberant ‘Magic Flute’ at Edinburgh’s Festival Theatre

The Magic Flute has never made more cartoonish sense - an Edinburgh Festival roundup

5 September 2015 9:00 am

London may cry foul over Hamlet’s misplaced to-be-ing and not-to-be-ing but Edinburgh is in raptures over a Magic Flute which…

As with so many Strauss operas, Daphne's one redeeming feature is its end

29 August 2015 9:00 am

Richard Strauss’s Daphne is one of the operas he wrote during the excruciatingly long Indian summer of his composing life,…

Animal magic: François Piolino as the Frog in ‘L’enfant et les sortilèges’

Glyndebourne’s Ravel double bill comes close to perfection

15 August 2015 9:00 am

When I saw the first performance of this production of Ravel’s two operas at Glyndebourne three years ago, I thought…