Antonio Pappano
Manacorda’s thrills and spills at Prom 72
At a Hollywood party in the 1940s, the garrulous socialite Elsa Maxwell spotted Arnold Schoenberg, then teaching music at UCLA,…
Shiny, raunchy, heartless spectacular: Platée, at Garsington, reviewed
Fast times on Mount Olympus. Jupiter has been shagging around again and now his wife Juno has bailed on their…
How Ukrainians are making the lives of even anti-Putin Russian artists impossible
Zoe Strimpel talks to the anti-Putin Russian artists who have been cancelled since the invasion of Ukraine
The coronation music was – mostly – a triumph
Sir Hubert Parry was upgraded from knight bachelor to baronet by King Edward VII in 1902, and my goodness he…
A booster shot of sunlight: Unsuk Chin's new violin concerto reviewed
Sir Simon Rattle and the London Symphony Orchestra began the year with a world première. Unsuk Chin’s Second Violin Concerto…
If your instinct is to undermine Beethoven, you’re directing the wrong opera: Fidelio reviewed
‘People may say I can’t sing,’ said the soprano Florence Foster Jenkins, ‘but no one can ever say I didn’t…
Antonio Pappano on diversity, a new Ring cycle and defending Verdi from dodgy directors
After a record 18 years – and counting – as music director, Antonio Pappano talks to Norman Lebrecht about life after Covent Garden and how opera is beyond younger audiences
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…
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…
An unmitigated triumph: Salome at Opera North reviewed
Salome is my favourite opera by Richard Strauss, the only one where there is no danger, at any point, of…
A delicious operatic ragout of horror: Lady Macbeth of Mtsensk reviewed
There is famously no door into the late-night diner of Edward Hopper’s ‘Nighthawks’. Its three silent patrons are trapped behind…
Director’s cut
Much fuss has been made of the title given to Sir Simon Rattle on arrival at the London Symphony Orchestra.…
DIY Bohème
The Royal Opera’s one production that, it has always confidently been claimed, need never be replaced has been replaced. John…
An unqualified triumph: Boris Godunov at the Royal Opera reviewed
The Royal Opera has bitten the bullet so far as Musorgsky’s Boris Godunov goes, and opted to stage the original…
Royal Opera’s Cavalleria rusticana isn’t nearly vulgar enough
How often do you get a chance to see two operas by Leoncavallo in the same city in the same…
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…
‘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…
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 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,…
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…
Manon Lescaut: Puccini’s Anna Nicole?
This season has already seen Manon Lescaut appear in several different operatic guises across the UK, but it was Covent…
Parsifal has anxiety, rage, near-madness — unfortunately the Royal Opera's version doesn't
Debussy’s description of the music of Parsifal as being ‘lit up from behind’ is famous; less so is Wagner’s own…
