Opera
Astonishing, if unnecessary, grandstanding: Barbara Hannigan's La voix humaine reviewed
I think it was when she leaned forward and balanced on one leg that Barbara Hannigan jumped the shark. It…
Deserves to become an ENO staple: The Cunning Little Vixen reviewed
Spoiler alert. The last words in Janacek’s The Cunning Little Vixen come from a child playing a frog. The story…
Old-school excess, star power and spectacle: Royal Opera's Tosca reviewed
London felt like its old self on Friday night. Possibly it was just me; when you visit the capital once…
Turns Handel into a Netflix thriller: Royal Opera's Theodora reviewed
The Royal Opera has come over all baroque. In the Linbury Theatre, they’re hosting Irish National Opera’s production of Vivaldi’s…
Clear, complex and gripping: Opera North's Rigoletto reviewed
Say what you like about that Duke of Mantua, but he’s basically an OK sort of bloke. A bit of…
Not pleasant, and not in tune, but unarguably compelling: Royal Opera's Nabucco reviewed
Nabucco, said Giuseppe Verdi, ‘was born under a lucky star’. It was both his last throw of the dice and…
A booster shot of sunlight: Unsuk Chin's new violin concerto reviewed
Sir Simon Rattle and the London Symphony Orchestra began the year with a world première. Unsuk Chin’s Second Violin Concerto…
40 per cent sublime, 60 per cent ridiculous: ENO's The Valkyrie reviewed
It’s the final scene of The Valkyrie and Wotan is wearing cords. They’re a sensible choice for a hard-working deity:…
Hockney’s Rake’s Progress remains one of the supreme achievements
With Glyndebourne’s The Rake’s Progress, the show starts with David Hockney’s front cloth. The colour, the ingenuity, the visual bravura:…
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…
We'll be talking about Royal Opera's Jenufa two decades from now
Leos Janacek cared about words. He’d hang about central Brno, notebook in hand, eavesdropping on conversations and trying to capture…
Hits you where it hurts: Welsh National Opera's Madam Butterfly reviewed
‘It’s generally agreed that in contemporary practice, this opera proposes significant ethical and cultural problems,’ says the director Lindy Hume…
A terrific night of opera: Zanetto/Orfeo ed Euridice, Arcola Theatre, reviewed
For a one-hit composer, we hear rather a lot of Pietro Mascagni. His reputation rests on his 1890 debut Cavalleria…
Neither Tristan nor Isolde quite convinced: Glyndebourne's Tristan und Isolde reviewed
Glyndebourne is nothing if not honest. ‘In response to the ongoing Covid-19 restrictions our 2021 performances of Tristan und Isolde…
Springtime for Putin: Grange Park's The Life and Death of Alexander Litvinenko reviewed
Alexander Litvinenko lies in a London hospital, dying of polonium poisoning. That photograph from 2006 haunts the memory: the medical…
A short history of millionaire composers
Art is supposed to emerge from poverty but extreme wealth does not preclude talent, as the history of composers proves. By Richard Bratby
Zips along with enormous vim: Malcolm Arnold's The Dancing Master reviewed
Malcolm Arnold composed his opera The Dancing Master in 1952 for BBC television. It never appeared, the problem being the…
Comedy genius: Garsington Opera's Le Comte Ory reviewed
Melons. An absolutely cracking pair of melons, right there on a platter: the centrepiece of the banquet that the chaste,…
The finest Falstaff you’ll see this summer
Comedy’s a funny thing. No, seriously, the business of making people laugh is as fragile, as mercurial as cryptocurrency —…
You'll shrug where you should marvel: Garsington's Amadigi reviewed
When you think of Handel’s Amadigi (in so far as anyone thinks about the composer’s rarely staged, also-ran London score…
Wow, this is good: Grange Park Opera's Ivan the Terrible reviewed
There are worse inconveniences than having to wear a face mask to the opera. But there’s one consequence that hadn’t…
Lush, elegant and vivid: Der Rosenkavalier at Garsington reviewed
At the turning point of Richard Strauss and Hugo von Hofmannsthal’s Der Rosenkavalier, all the clocks stop. Octavian has arrived…
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…
Where to start with the music of Ethel Smyth
I’m reminded of an old Irish joke. A tourist approaches a local for directions to Dublin. The local, after much…
