Sadistic and repellent and thrilling: Mascagni’s Iris reviewed
If you’ve ever felt that poor Madama Butterfly had a bit of a raw deal, then you really, really don’t…
Meet the unrivalled Sun King of early music, William Christie
It’s morning in the garden of William Christie, and he’s talking about home improvements. ‘I planted three pines up there…
Ravishing and poignant: ENO’s Orphée reviewed
Billy Wilder, asked for his opinion of Andrew Lloyd Webber’s musical version of his movie Sunset Boulevard, famously replied: ‘Those…
Why are Haydn’s operas so lousy? La fedelta premiata reviewed
There’s a book about musicals that every opera lover should read. Not Since Carrie by Ken Mandelbaum is a history…
Malcolm Arnold was a traumatised wreck of a man at his death but his music was joyous!
Never meet your heroes, they say. But if you grew up with classical music in the 1980s, there was fat…
More misogynistic than the original: ENO’s Orpheus in the Underworld reviewed
It’s Act Three of Emma Rice’s new production of Offenbach’s Orpheus in the Underworld, and Eurydice (Mary Bevan) is trapped…
Simon Rattle’s Messiaen is improving with age
Two flutes, a clarinet and a bassoon breathe a chord on the edge of silence. As they fade, the sound…
Needed a shot of Stolichnaya: The Tchaikovsky Project reviewed
Grade: B+ I’m not sure about ‘Projects’. Aren’t those what ageing rockers produce, in a haze of sedatives, when their…
Why this première felt important: James MacMillan’s Fifth Symphony reviewed
All symphonies were sacred symphonies, once. Haydn began each day’s composition with a prayer, and ended every score with the…
Bracing and provocative – but would Wagner have approved? Arcola’s Rheingold reviewed
When it comes to the opening of Wagner’s Das Rheingold, Mark Twain probably put it as well as anyone: ‘Out…
It’s not fair – I liked Il segreto di Susanna before it was cool: OHP’s double bill reviewed
Should a secret pleasure ever be shared? Spoiler alert: Susanna’s secret, unknown to her husband Gil, is that she smokes.…
An overcooked blowout: Glyndebourne’s Die Zauberflöte reviewed
Think back to when you were 12, and the sensation of re-opening your favourite book. (This is The Spectator; I’m…
A sonic masterclass: the Silesian String Quartet at Wigmore Hall reviewed
Of all the daft notions about the classical music business, the daftest is that it’s a business at all. Seriously:…
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’…
The miracle of Longborough – the company that broke the mould for summer opera
At Longborough Festival Opera, Richard Wagner is on the roof. Literally: his statue stands on top of the little pink…
The ideal summer opera: Garsington’s The Bartered Bride reviewed
So it’s the start of the summer opera season at Wormsley and we’re sitting there in evening dress in the…
This concert proves it is time to take Michael Tippett seriously
In Oliver Soden’s new biography of Michael Tippett, he describes how Tippett wanted to open his Fourth Symphony with the…
Hearing Gilbert & Sullivan on period instruments was a revelation
‘I consider that music is, by its very nature, essentially powerless to express anything at all,’ wrote Stravinsky in one…
Why did Parry’s Judith vanish?
‘When a man takes it upon himself to write an oratorio — perhaps the most gratuitous exploit open to a…
Aurora Orchestra’s Brexit concert nearly turned me into a Leaver
Back when the UK was assumed to be leaving the European Union on 29 March, the Aurora Orchestra was invited…
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…
Raw, frightening, overwhelming: Birmingham Opera’s Lady Macbeth of Mtsensk reviewed
You can see Graham Vick’s work at La Scala or the New York Met. But if you want to be…
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…
