Mary Bevan
Fraser Nelson: What categories should we include in our Parliamentarian of the Year awards?
The night before our last issue went to press, I received a message from the Prime Minister saying that he…
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…
Vice and virtue
‘Can the ultimate betrayal ever be forgiven?’ screams the publicity for The Judas Passion, transforming a Biblical drama into a…
ENO's Indian Queen reviewed: Peter Sellars's bold new production needs editing
When is an opera not an opera? How much can you strip and peel away, or extend and graft on…
Royal Opera’s Orfeo, Roundhouse: shouts its agenda so loudly the music struggles to be heard
What a week to stage an opera about art’s power to challenge institutional authority, oppression — even death itself. Orfeo’s…
