Ariadne shows the operetta composer Richard Strauss could have been
‘Oh, those Greeks! They knew how to live. What is required for that is to stop courageously at the surface,…
Please let's have more musicals like this Kiss Me, Kate at Opera North
Opera North’s new production of Cole Porter’s masterwork Kiss Me, Kate has been so widely and justly praised that I…
Rainer Werner Fassbinder’s films verge on the incomprehensible — but that doesn’t stop him being a genius
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
Bellini belongs to that category of not-quite-great operatic composers whose works are also very difficult to perform adequately, and don’t…
As with so many Strauss operas, Daphne's one redeeming feature is its end
Richard Strauss’s Daphne is one of the operas he wrote during the excruciatingly long Indian summer of his composing life,…
Glyndebourne’s Ravel double bill comes close to perfection
When I saw the first performance of this production of Ravel’s two operas at Glyndebourne three years ago, I thought…
The finest Tristan since Siegfried Jerusalem
Which of Wagner’s mature dramas is the most challenging, for performers and spectators? The one you’re seeing at the moment,…
The Heckler: my decades-long campaign against Dietrich Fischer-Dieskau
For anyone who has been interested in classical vocal music since the middle of the last century, whether choral, operatic…
Was Glyndebourne right to revive Donizetti’s Poliuto? No, says Michael Tanner
It’s been a busy operatic week, with a nearly great concert performance of Parsifal in Birmingham on Sunday (reviewed by…
OperaUpClose’s production of Elixir of Love is by far the best update of an opera Michael Tanner has ever seen
Three staples of the Italian repertoire, performed and seen in very different circumstances, have confirmed my view that they deserve…
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,…
Royal Opera's Rise and Fall of the City of Mahagonny review: far too well behaved
Brecht/Weill’s Rise and Fall of the City of Mahagonny was premièred in 1930, Auden/Stravinsky’s The Rake’s Progress in 1951. Twenty-one…
Mastersingers of Nuremberg, ENO, review: ‘a triumph’
ENO’s new production of Wagner’s The Mastersingers of Nuremberg is a triumph about which only the most niggling of reservations…
An artistic crime is committed at the Royal Festival Hall
In one of the more peculiar concerts that I have been to at the Royal Festival Hall, Vladimir Jurowski conducted…
Royal Opera’s Tristan und Isolde: an absurd production - but still a magnificent night
Any adequate performance of Tristan und Isolde, and the first night of the Royal Opera’s production was at least that,…
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…
Royal Opera’s Idomeneo: get seats but make sure they’re facing away from the stage
Mozart’s first great opera, Idomeneo, is not often performed, and perhaps it’s better that way. It should be seen as…
Met Opera Live's Macbeth: Netrebko's singing stirred almost as much as her décolletage
This season of live Met relays got off to a most impressive start, with an electrifying account of Verdi’s tenth…
Royal Opera's Rigoletto: your disbelief may wobble but your excitement won't
One of the greatest tests of how an opera house is functioning is the quality of its revivals. Both the…
Michael Tanner: Why I prefer Donizetti to Strauss
Three operas this week, each of them named after its (anti-)heroine: one of the heroines (the most sympathetic) murders her…
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…
I think I’ve found the new Maria Callas
Some of my most enjoyable evenings, when I reviewed opera weekly for The Spectator, were spent at the Royal College…
In Norwich, a director is caught trying to murder Wagner’s Tannhäuser
Seventeen years ago the Norwegian National Opera staged two cycles of the Ring in Norwich’s Theatre Royal, performances that have…
Opera North's Götterdämerung is astounding (nearly)
It seems a very short time since I interviewed Richard Farnes about Opera North’s planned Ring cycle, the dramas to…
Dialogues des Carmélites brings out the best in Poulenc – and the Royal Opera House
Poulenc’s Dialogues des Carmélites is an audacious work, much more so than many others that advertise their audacity. It deals…
