Opera
Testosterone and passion: Royal Opera’s Marriage of Figaro reviewed
Another turn around the block for David McVicar’s handsome 1830s Figaro at the Royal Opera — the sixth since the…
Can an Offenbach production be too silly? Garsington’s Fantasio reviewed
The tears of a clown have often fallen on fertile operatic ground. Think of Rigoletto and I Pagliacci; or The…
Easily the best thing I’ve seen at the Grange Festival: Falstaff reviewed
‘Tutto nel mondo e burla’ sings the company at the end of Verdi’s Falstaff — ‘All the world’s a joke’…
If opera survives, it’ll be thanks to artists and curators, not opera houses
It was bucketing it down in Venice, yet the beach was heaving. Families, lovebirds, warring kids, a yappy mutt, all…
The Holy Grail of concert-going: I Fagiolini deliver serious musicianship that never takes itself too seriously
We’ve all read the article. It does the rounds with the dispiriting regularity of an unwanted dish on a sushi…
An abdication of interpretative responsibility: Royal Opera’s Billy Budd reviewed
The climactic central scene of Benjamin Britten’s Billy Budd ends unexpectedly. The naval court has reached a verdict of death,…
ENO’s Jack the Ripper needs to decide if it wants to be a gore-fest or social history
Is it possible to write a feminist opera about Jack the Ripper? Composer Iain Bell thinks it is, and his…
The most glorious singing anyone born after 1970 will ever have heard: La forza del destino reviewed
To stage Verdi’s Il Trovatore, they say, is easy: you just need the four greatest singers in the world. The…
Deft humour and daft imagery: WNO’s Magic Flute reviewed
Operas are like buses. Both are filled with pensioners and take ages to get anywhere, but more importantly they always…
Cringingly vulgar, brainless and lacking heart: ENO’s Merry Widow reviewed
Garrick Ohlsson is one of the finest pianists of his generation. Why, then, was the Wigmore Hall not much more…
David Cairns explains how we learned to love Berlioz
According to his friend and fellow-composer Ernest Reyer, the last words Berlioz spoke on his deathbed were: ‘They are finally…
Opera North’s Rite of Spring shows the advantages of confining the music to the pit
It was Stravinsky himself who suggested that, in order to preserve its difficulty, the opening bassoon solo of The Rite…
How good really was Berlioz?
Hector Berlioz was born on 11 December 1803 in rural Isère. ‘During the months which preceded my birth my mother…
Dau is not just a pretentious fraud – it’s rather disgusting
The best booers, in my experience, are the Germans. There’s real purpose and thickness to their vocals. Italians hiss. The…
One of the greatest operatic experiences of my life: Royal Opera’s Katya Kabanova reviewed
Janacek’s upsetting opera Katya Kabanova, which hasn’t been seen in the UK for some time, turned up in two different…
Only adults struggle with The Magic Flute. Kids get it
Spoiler alert: it’s all a dream. At least, I think that’s what we’re meant to take away from the business…
Never quite pivots from thesis to drama: Royal Opera’s Queen of Spades reviewed
We increasingly accept the collision between life and art. Whether we’re puzzling over the real identity of Elena Ferrante, choosing…
![Gaelle Arquez as Carmen in Barrie Kosky's production at the Royal Opera. [Photo: ROH / Bill Cooper]](https://www.spectator.com.au/wp-content/uploads/2018/12/Opera.jpg?w=410&h=275&crop=1)
Kosky’s Carmen is still the smartest show in town – and the most fun
It’s December, and while musical theatre is busy celebrating ‘warm woollen mittens’, opera, as usual, is far more interested in…
As a symphonist, Mieczyslaw Weinberg was a master: Weinberg Weekend reviewed
It’s a strange compliment to pay a composer — that the most profound impression their music makes is of an…
One of the last living avant-gardists speaks – Gyorgy Kurtag on his new Beckett opera
Arriving in Budapest, I receive a summons I cannot refuse. Gyorgy Kurtag wants to see me. Famously elusive, the last…
Real psychological horror and a mesmerising heroine: ENO’s Lucia di Lammermoor reviewed
How do you solve a problem like Lucia? Murder, madness, abuse, possibly even incest, all set to a soundtrack of…
In praise of the English Touring Opera — a minor miracle of the arts world
Wolverhampton; Workington; Blackburn; Sheffield; Lancaster; Hackney. Every year English Touring Opera does what our national opera company doesn’t: packs up…
Thrilling, heartbreaking music drama – you need to see it: ENO’s Porgy and Bess reviewed
Gershwin’s Porgy and Bess springs to life fully formed, and pulls you in before a word has been sung. A…
I genuinely liked Siegfried – which almost never happens: Royal Opera’s Ring cycle reviewed
‘On Brünnhilde’s rock I drew the breath that called your name; so swift was my journey here.’ It’s Act Two…
![A woman-child of dangerous assurance: Allison Cook as Salome in Adena Jacobs’s new production for English National Opera. [Catherine Ashmore]](https://www.spectator.com.au/wp-content/uploads/2018/10/6Octopera.jpg?w=410&h=275&crop=1)
A fascinating failure, but a failure nonetheless: ENO’s Salome reviewed
Yes, Oscar Wilde never wrote it. No, Strauss didn’t intend it. In fact, the composer famously demanded the Dance of…
