Christian Curnyn
You'll shrug where you should marvel: Garsington's Amadigi reviewed
When you think of Handel’s Amadigi (in so far as anyone thinks about the composer’s rarely staged, also-ran London score…
Never quite pivots from thesis to drama: Royal Opera’s Queen of Spades reviewed
We increasingly accept the collision between life and art. Whether we’re puzzling over the real identity of Elena Ferrante, choosing…
Excellent but there’s too much larking about: ENO’s Rodelinda reviewed
ENO has revived Richard Jones’s production of Handel’s Rodelinda. It was warmly greeted on its first outing in 2014, though…
Has there ever been a better time to be a lover of Baroque opera?
Time was when early music was a 6 p.m. concert, Baroque began with Bach and ended with Corelli’s Christmas Concerto,…
