Eno
British opera companies and orchestras must start investing in native talent
Brexit and Covid have pushed us out of the common musical market and thrown us back on homegrown sprouts. Good, says Norman Lebrecht
The grotesque unevenness of Mozart’s Requiem
It is amazing what fine performances you can get beamed to your computer these days. Slightly less amazing is the…
I pounded my car horn like a Neapolitan cabbie: ENO's drive-in Bohème reviewed
The email from English National Opera was blunt: ‘Your arrival time is 18.25. If you arrive outside your allocated time…
Eurotrash Verdi: ENO’s Luisa Miller reviewed
Verdi’s Luisa Miller is set in the Tyrol in the early 17th century, and for some opera directors that’s a…
A triumph: ENO’s Mask of Orpheus reviewed
ENO’s Mask of Orpheus is a triumph. It’s also unintelligible. Even David Pountney, who produced the original ENO staging in…
More misogynistic than the original: ENO’s Orpheus in the Underworld reviewed
It’s Act Three of Emma Rice’s new production of Offenbach’s Orpheus in the Underworld, and Eurydice (Mary Bevan) is trapped…
Deft, elegant and genuinely chilling: Garsington’s Turn of the Screw reviewed
Think of the children in opera. Not knowing sopranos and mezzos, pigtailed and pinafored or tightly trousered-up to look child-like,…
Cringingly vulgar, brainless and lacking heart: ENO’s Merry Widow reviewed
Garrick Ohlsson is one of the finest pianists of his generation. Why, then, was the Wigmore Hall not much more…
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…
Often baffling but ultimately entertaining: Britten’s Paul Bunyan reviewed
‘I feel I have learned lots about what not to write for the theatre…’ There’s a prevailing idea that the…
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 mischievous, daring production that produces the goods: Iolanthe reviewed
‘Welcome to our hearts again, Iolanthe!’ sings the fairy chorus in Gilbert and Sullivan’s fantasy-satire, and during this exuberant new…
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…
Pole position
Did you know that they used to make the Fiat 126 in the Eastern bloc? They did, apparently. There was…
Scottish Opera could have a hit on its hands with this new Mikado
You have to be quite silly to take Gilbert and Sullivan seriously. But even sillier not to. G&S is still…
I didn’t enjoy it but I couldn’t help loving it: Sunset Boulevard reviewed
Sunset Boulevard is a tale of fractured glory with Homeric dimensions. The movie presents Hollywood as a never-ending Trojan War…
ENO must go
Last week Darren Henley, chief executive of Arts Council England, revealed that opera receives just under a fifth of the…