Puccini
I pounded my car horn like a Neapolitan cabbie: ENO's drive-in Bohème reviewed
The email from English National Opera was blunt: ‘Your arrival time is 18.25. If you arrive outside your allocated time…
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…
Opera North’s Tosca will leave you quivering
At the end of Act Two of Tosca there are some 30 bars of orchestral music — accompaniment to a…
Much is routine – and a fair amount is worse: Glyndebourne’s Madama Butterfly reviewed
There is no such thing as a moderately good performance of Madama Butterfly, or, to be more precise, it’s not…
Royal Opera’s Tosca is a sloppy affair
One of the Royal Opera’s greatest virtues is the care it takes with its revivals, even those that are virtually…
Why we love unfinished art
An unfinished painting can provide a startling glimpse of the artist at work. But the common tendency to prefer it to a finished work is being taken to extremes, says Philip Hensher
Vocally and theatrically strong: Il trittico at the Royal Opera reviewed
The setting for Il tabarro, the first drama in Puccini’s 1918 triptych of one-act operas, is not the Paris of…
Miserable libretto, music to match: Andrea Chénier reviewed
Opera North continues to be the most reliable, inspiring, resourceful and enterprising opera company in the United Kingdom, and all…
Northern Ireland Opera’s Turandot will fill you with awe and revulsion
Chords as bright and sweet as pomegranate seeds burst and spill in Turandot, a splinter of bitterness at their centre.…
Puccini’s villain as swashbuckling hero
You don’t need to know the opera Tosca to understand and enjoy this book about Puccini’s most notorious villain, Vitellio…
Tippett’s triumphant failure: Birmingham Opera Company’s The Ice Break reviewed
The Ice Break is Michael Tippett’s fourth opera, first produced at Covent Garden in 1977 and rarely produced anywhere since,…
Opera North's Gianni Schicchi and La vida breve reviewed: a flawless double helping of verismo
Is there a more beautiful aria than ‘O mio babbino caro’ from Puccini’s Gianni Schicchi? There are more overwhelming moments…
Agents will be queuing up to sign this 26-year-old baritone from Sichuan
The Royal Academy of Music’s end-of-term opera can always be looked forward to because it never disappoints: the repertoire is…
ENO’s The Girl of the Golden West is irresistibly seductive
Puccini’s La fanciulla del West is, one suspects, one of those works that modern audiences struggle to keep a straight…
In defence of Puccini
During my opera-going lifetime the most sensational change in the repertoire has, of course, been the immense expansion of the…
ENO's Rodelinda: near-perfect singing, perfectly gimmicky direction
I wasn’t going to write about Handel’s Rodelinda, wasn’t even intending to go, but thanks to the kindness of the…
Manon Lescaut is twerking — should we applaud or shudder?
Last seen clambering over the MDF wheelchair ramps of Laurent Pelly’s Royal Opera House production of Jules Massenet’s opéra comique,…
Let's make Andre Rieu the leader of the world
‘Please, I beg of you, take me to see André,’ was my mother’s heartfelt plea. And so it was that…
Turandot is a disgusting opera that is beyond redemption
It’s a cynical start to the Royal Opera’s season to have this 1984 production of Puccini’s last opera Turandot. Not…
