Glyndebourne
The final scenes are a knockout: Glyndebourne’s Don Giovanni reviewed
Are you supposed to laugh at the end of Don Giovanni? Audiences often do, and they did at the end…
A classic in the making: Glyndebourne's Poulenc double bill reviewed
One morning in the 20th century, Thérèse wakes up next to her husband and announces that she’s a feminist. Hubby,…
Glyndebourne goes gender neutral
Angela Rayner caused a bit of a stir a few weeks ago when she rocked up at the Glyndebourne opera…
Serves Ethel Smyth's opera magnificently: Glyndebourne's The Wreckers reviewed
You’ve got to hand it to Dame Ethel Smyth. Working in an era when to be a British composer implied…
The central performances are tremendous: Glyndebourne's Luisa Miller, reviewed
Opera buffs enjoy their jargon. We all do it, scattering words like ‘spinto’ and ‘Fach’ like an enthusiastic pizza waiter…
World-class music, heavily symbolic staging: Glyndebourne's Katya Kabanova reviewed
At the first night of Glyndebourne Festival 2021 there was relief and joyful expectation as Gus Christie made his speech…
A silly, bouncy delight: Glyndebourne's In the Market for Love reviewed
Offenbach at Glyndebourne! Short of Die Soldaten with a picnic break or a period-instrument revival of Jerry Springer: The Opera,…
Dear Mary: How do we explain being in Jeffrey Epstein’s little black book?
Q. We often have friends coming to stay before (and after) we all head off for Glyndebourne, a 20-minute drive…
An overcooked blowout: Glyndebourne’s Die Zauberflöte reviewed
Think back to when you were 12, and the sensation of re-opening your favourite book. (This is The Spectator; I’m…
If opera survives, it’ll be thanks to artists and curators, not opera houses
It was bucketing it down in Venice, yet the beach was heaving. Families, lovebirds, warring kids, a yappy mutt, all…
Magnificent: Vanessa at Glyndebourne reviewed
‘Outside this house the world has changed. Life is swifter than before; there is no time for idle gestures.’ Anatol,…
Vexing reading of a perplexing opera: Glyndebourne’s Pelléas et Mélisande reviewed
The femme fatale was invented in France. A giddy, greedy child in her first incarnation, as the antiheroine of Abbé…
Glyndebourne’s Der Rosenkavalier never forgets to be funny
‘Comedy for music by Hugo von Hofmannsthal. Music by Richard Strauss.’ That’s what the creators of Der Rosenkavalier wrote on…
A champion actor and fully paid-up member of the human race: Roger Allam interviewed
A most excellent fellow, Roger Allam. On the stage he brings dignity to all he does, in the noblest traditions…
Much is routine – and a fair amount is worse: Glyndebourne’s Madama Butterfly reviewed
There is no such thing as a moderately good performance of Madama Butterfly, or, to be more precise, it’s not…
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…
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…
The Heckler: those behind the Proms this year have the imagination of a dead fish
BBC Proms 2016 is about as exciting as my sock drawer. But it’s unclear who exactly is to blame. The…
Reading the Mirror’s new newspaper makes me want to throw myself on a bonfire
On Monday I went to the newsagent to buy the newspapers and picked up the first issue of a new…
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,…
How the Germans made Glyndebourne
This is hardly the time of year for picnics on the lawn, but I have nevertheless had a week dominated…
Glyndebourne caters to the lower-middle classes not past-it toffs
What is Glyndebourne? A middle-aged Bullingdon. That’s a common view: a luxury bun fight for past-it toffs who glug champagne,…
Glyndebourne’s Ravel double bill comes close to perfection
When I saw the first performance of this production of Ravel’s two operas at Glyndebourne three years ago, I thought…
Startling and sublime - even the candles got a round of applause: Glyndebourne’s Saul reviewed
Caius Gabriel Cibber’s statues of ‘Melancholy’ and ‘Raving Madness’, their eyes staring blindly into the void, petrified in torment, once…
When is a rape not a rape? Fiona Shaw's Rape of Lucretia at Glyndebourne reviewed
When is a rape not a rape? It’s an unsettling question — far more so than anything offered up by…
