Opera
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…
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…
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…
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…
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…
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…
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…
![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…
This Boccanegra is not what you’d expect from UK’s best-funded opera company
The People are angry. In fact, they’re bloody furious. As the lights flash up on David Pountney’s production of Prokofiev’s…
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…
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…
Magnificent: Vanessa at Glyndebourne reviewed
‘Outside this house the world has changed. Life is swifter than before; there is no time for idle gestures.’ Anatol,…
Thrilling energy & humour from Longborough Festival Opera: Ariadne auf Naxos reviewed
‘They’ve dined well, they’ve drunk their fill, their brains are dull and slow. They’ll sit snoozing in the dark until…
Vexing reading of a perplexing opera: Glyndebourne’s Pelléas et Mélisande reviewed
The femme fatale was invented in France. A giddy, greedy child in her first incarnation, as the antiheroine of Abbé…
Sexy hints of affluence with top notes of fascism: Grange Park’s Roméo et Juliette reviewed
Patrick Mason’s new production of Gounod’s Roméo et Juliette reminded me of something, but it took a while to work…
A fun evening that finished early enough for dinner – neither a given in Handel
On a sward of AstroTurf somewhere off Silicon Roundabout, Mountain Media is hosting its summer party and, well, it’s the…
Longborough continues to be a refuge for British Wagnerians fleeing idiotic productions
Longborough Festival Opera, refuge for British Wagnerians fleeing unidiomatic musical performances and idiotically irrelevant and insulting productions, has rounded off…
Glyndebourne’s Der Rosenkavalier never forgets to be funny
‘Comedy for music by Hugo von Hofmannsthal. Music by Richard Strauss.’ That’s what the creators of Der Rosenkavalier wrote on…
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…
