Eno

Eloquent: Allan Clayton as Cassio in Otello

Is Anna Nicole’s absurd life worth our while? Not as much as Otello’s

20 September 2014 9:00 am

So how did London’s two big opera companies launch their new seasons last week? Not perhaps in the way you…

The busyness of it all is tiring: it feels like not just one West End musical, but several crammed together on to the same stage

Terry Gilliam turns to eye-watering excess for his staging of Berlioz’s Benvenuto Cellini

14 June 2014 8:00 am

Operas about artists are not rare. However — perhaps for obvious reasons — those artists tend to be musicians, singers,…

Octavian (Tara Erraught), Baron Ochs (Lars Woldt) and the Marschallin (Kate Royal)

A Rosenkavalier without a heart ain’t much of a Rosenkavalier

24 May 2014 9:00 am

In all its minute details, Der Rosenkavalier is rooted in a painstakingly stylised version of Rococo Vienna that, paradoxically, is…

More woe for Oedipus

10 May 2014 9:00 am

I had high hopes for Julian Anderson’s first opera, Thebans. Premièred at the Coliseum last Saturday, it promised to mark…

Amanda Roocroft as the Duchess in ‘Powder Her Face’

Mixed results from the ENO and ROH in their seasonal away games

12 April 2014 9:00 am

It’s been a spring tradition for several years now for English National Opera to present small-scale productions in various venues…

Kelly Cae Hogan (Lady Macbeth) and Béla Perencz (Macbeth)

ENO's Rodelinda: near-perfect singing, perfectly gimmicky direction

8 March 2014 9:00 am

I wasn’t going to write about Handel’s Rodelinda, wasn’t even intending to go, but thanks to the kindness of the…

The state of opera today (it's not good)

4 January 2014 9:00 am

I’ve been hoping that in this, the last of my weekly columns on opera, I would be able to strike…

The ENO's Magic Flute ignores everything that makes Mozart's opera great

16 November 2013 9:00 am

A new production of The Magic Flute is something to look forward to, if with apprehension. How many aspects of…

A Fledermaus worth seeing for all its inadequacies

12 October 2013 9:00 am

Johann Strauss’s Die Fledermaus (but if it’s given in English, why not The Bat? Does that somehow sound too unglamorous?)…

A sensational week for opera: sensationally good and sensationally bad

5 October 2013 9:00 am

It’s been a sensational week for opera in London, with a sensationally good performance of Strauss’s Elektra at the Royal…