Gilbert & Sullivan
Meet the king of comic opera
John Savournin has been busy. That comes with the territory for a classical singer – things often get a little…
Fails to ignite: Royal Opera’s Tales of Hoffmann reviewed
I couldn’t love anyone who didn’t love Offenbach’s The Tales of Hoffmann. Everything – everything – is stacked against this…
In defence of Gilbert & Sullivan’s The Grand Duke
Artistic partnerships are elusive things. The best – where two creative personalities somehow inspire or goad each other to do…
A sugar rush for the eyes: Glyndebourne’s The Merry Widow reviewed
In 1905, shortly before the world première of The Merry Widow, the Viennese theatre manager Wilhelm Karczag got cold feet…
Juicy solution to the Purcell problem: Opera North’s Masque of Might reviewed
Another week, another attempt to solve the Purcell problem. There’s a problem? Well, yes, if you consider that a composer…
A euphoric meat-and-two-veg programme: Tonhalle-Orchester Zürich/Paavo Jarvi, at the Proms, reviewed
We used to call it a ‘meat and two veg’ programme, back in my concert planning days: the reliable set…
Imagine a school concert hosted by Bela Lugosi: Budapest Festival Orchestra and Ivan Fischer, at the Proms, reviewed
‘Audience Choice’ was the promise at the Budapest Festival Orchestra’s Sunday matinee Prom, and come on – who could resist…
To die for: Grange Park Opera’s Tristan & Isolde reviewed
There are a lot of corpses on stage at the end of Charles Edwards’s production of Tristan & Isolde for…
An electrifying, immersive thrill: Scottish Opera's Candide reviewed
The first part of the adventure was getting there. Out of the subway, past the tower blocks and under the…
Had the air of a Blue Peter Christmas special: Grange Festival's The Yeomen of the Guard reviewed
The Yeomen of the Guard has been called the ‘English Meistersinger’ but the more you think about that, the dafter…
This is how G&S should be staged: ENO's HMS Pinafore reviewed
Until 1881, HMS Pinafore was the second-longest-running show in West End history. Within a year of its première it had…
Very much NSFW: Jean-Efflam Bavouzet/Quatuor Danel at Wigmore Hall reviewed
‘Drammatico’, wrote César Franck over the opening of his Piano Quintet, and you’d better believe he meant it. The score…
The joy of going to a real concert: OHP's Heart of Delight reviewed
I went to a concert! Not a livestream or download: a real concert, with real musicians, a real conductor, a…
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…
Debussy, Tippett and Wagner: the musical treats of 2018
Claude Debussy died on 25 March 1918 to the sound of explosions. Four days earlier, the Kaiser’s army had deployed…
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…
Do you see me laughing? Mike Leigh’s Pirates of Penzance at the ENO reviewed
Forget the pollsters and political pundits — English National Opera called it first and called it Right when it programmed…
