Opera
When is a rape not a rape? Fiona Shaw's Rape of Lucretia at Glyndebourne reviewed
When is a rape not a rape? It’s an unsettling question — far more so than anything offered up by…
The gang rape was the least offensive thing about Royal Opera's new William Tell
There’s no such thing as a tasteful rape scene — or there certainly shouldn’t be. It’s an act of grossest…
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,…
Hans Werner Henze: the Ed Miliband of opera
We opera critics love gazing into crystal balls. We’re particularly good at discovering Ed Milibands and backing them to the…
ENO’s Queen of Spades: I wanted to grab David Alden’s production by the neck and shake out its silly clutter
The opera director David Alden has never been one to tread the straight and narrow. Something kinky would emerge, I’m…
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…
Half-brilliant, half-bewildering: Peter Pan at Welsh National Opera reviewed
In Beryl Bainbridge’s novel An Awfully Big Adventure the producer Meredith Potter issues a doughty injunction on the subject of…
Do you see me laughing? Mike Leigh’s Pirates of Penzance at the ENO reviewed
Forget the pollsters and political pundits — English National Opera called it first and called it Right when it programmed…
‘Bewitching’: Krol Roger at the Royal Opera reviewed
‘What gives your lies such power?’ asks the bewildered Sicilian leader in Szymanowski’s opera Krol Roger. The question is addressed…
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…
Il turco in Italia, Royal Opera House, reviewed: bring sunglasses
Big slats of orange, burning yellows, an Adriatic in electric blue: I wish I’d bought my sunglasses to the Royal…
ENO's Between Worlds at the Barbican reviewed: too respectful
This week, some 200 years since Goya’s ‘The Disasters of War’, almost 80 years after Picasso’s ‘Guernica’, and over 50…
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,…
Why we should revel in the empty virtuosity of Handel's pasticcios
Before the jukebox musical, back when Mamma Mia!, Jersey Boys and Viva Forever! were still dollar-shaped glints in an as-yet-unborn…
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…
Alice in Wonderland at the Barbican reviewed: too much miaowing
Charles Lutwidge Dodgson loved little girls. He loved to tell them stories, he loved to feed them jam, he loved…
ENO's Indian Queen reviewed: Peter Sellars's bold new production needs editing
When is an opera not an opera? How much can you strip and peel away, or extend and graft on…
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…
La Donna del Lago, Metropolitan Opera, review: Colm Toibin on a night of masterful singing
La Donna del Lago, based on a poem by Sir Walter Scott, is one of the nine serious, dramatic operas…
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…
Why we should say farewell to the ENO
It’s easy to forget what a mess of an art form opera once was. For its first 100 years it…
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…
Andrea Chénier, Royal Opera House, review: like a Carry On - but without the jokes
Who on earth could have predicted that a hoary old operatic melodrama set in revolutionary France would find resonance in…
Royal Opera’s Orfeo, Roundhouse: shouts its agenda so loudly the music struggles to be heard
What a week to stage an opera about art’s power to challenge institutional authority, oppression — even death itself. Orfeo’s…
Royal Opera's Un ballo in maschera: limp, careless and scrappy
Whether by chance or bold design, the Royal Opera’s two Christmas shows were written at precisely the same moment, between…
