Opera
Can everyone please shut up about Maria Callas?
Rupert Christiansen on the cult of Callas
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…
ENO’s Peter Grimes shows a major international company operating at full artistic power
In David Alden’s production of Peter Grimes, the mob assembles before the music has even started – silhouetted at the…
Travels in Italy with the teenage Mozart
Jane Glover follows the rapturous Wolfgang around Venice, Bologna, Florence and Naples on three journeys that would change the young composer’s life
Every crumb of Kurtag’s music is a feast: Endgame, at the Proms, reviewed
The fun starts early in Beckett’s Endgame. Within minutes of opening his mouth, blind bully Hamm decides to starve his…
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…
Doesn’t get better than this: The Threepenny Opera, at Edinburgh International Festival, reviewed
It’s the Edinburgh International Festival, and Barrie’s back in town. Once, Edinburgh was pretty much the only place that you…
A brilliantly cruel Cosi and punkish Petrushka but the Brits disappoint: Festival d’Aix-en-Provence reviewed
Aix is an odd place. It should be charming, with its dishevelled squares, Busby Berkeley-esque fountains, pretty ochres and pinks.…
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…
The future of opera – I hope: WNO’s Candide reviewed
Bernstein’s Candide is the operetta that ought to work, but never quite does. Voltaire’s featherlight cakewalk through human misery, set…
The West has much to learn from Hungarian culture
Hungarian culture is living through a golden age, says Igor Toronyi-Lalic, and the West has much to learn from it
Was Vera Brittain really this insufferable? Buxton Festival’s The Land of Might-Have-Been reviewed
‘Ring out your bells for me, ivory keys! Weave out your spell for me, orchestra please!’ It’s lush stuff, the…
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…
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…
How Ukrainians are making the lives of even anti-Putin Russian artists impossible
Zoe Strimpel talks to the anti-Putin Russian artists who have been cancelled since the invasion of Ukraine
Florid flummery: ETO’s Il viaggio a Reims reviewed
Lightning sometimes strikes twice. English Touring Opera hit topical gold last spring when, wholly by coincidence, they found themselves touring…
WNO sinks an unsinkable opera: The Magic Flute, at Birmingham Hippodrome, reviewed
As stage directions go, the The Magic Flute opens with a zinger. ‘Tamino enters from the right wearing a splendid…
Bold, self-assured reimagining of Monteverdi: Opera North's Orpheus reviewed
You wouldn’t like Tamerlano when he’s angry. ‘My heart seethes with rage,’ he sings, in Act III of Handel’s opera…
A miniature rite of a very English spring: a Vaughan Williams rediscovery in Liverpool
Imagine a folk dance without music. Actually, you don’t have to: poke about on YouTube and you’ll find footage from…
Apocalypse chic: Autechre, Last Days and Southbank's Xenakis day reviewed
It was so dark, my friend noted, you could have had sex or done a Hitler salute. No stage lights,…
Grey, grey and more grey: Aida, at the Royal Opera House, reviewed
Grey. More grey. So very, very grey. That’s the main visual impression left by Robert Carsen’s new production of Verdi’s…
