Allan Clayton
Comes so close to greatness but succumbs to prejudice: Royal Opera's Peter Grimes reviewed
No question, the Royal Opera is on a roll. Just look at the cast list alone for Deborah Warner’s new…
A new opera that deserves more than one outing: Royal Opera's New Dark Age reviewed
It’s quite a title sequence. Puccini swells on the soundtrack and words flash before your eyes. ‘Ecstatic!’ ‘Spellbound!’ ‘Passionate!’ ‘Dazzled!’…
Life-enhancing achievement: ENO's Magic Flute reviewed
Centre stage, there’s an industrial-looking black platform, secured by cables. The Three Ladies snap the unconscious Tamino on a mobile…
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…
Is Anna Nicole’s absurd life worth our while? Not as much as Otello’s
So how did London’s two big opera companies launch their new seasons last week? Not perhaps in the way you…
