Opera
Most artistic careers end in failure. Why does no one talk about this?
Rosie Millard dispels the myth that persistence is always rewarded
There’s no better sonic hangover cure: New Year’s Day Concert reviewed
The best moment in the Vienna Philharmonic’s annual New Year’s Day Concert comes after the end of the advertised programme.…
Hear the greatest Parsifal of our time sing like a Muppet: Jonas Kaufmann’s Christmas album reviewed
In classical music circles, Christmas arrives with the overture to Handel’s Messiah. Or so they’ll tell you. In truth, festivities…
The grotesque unevenness of Mozart’s Requiem
It is amazing what fine performances you can get beamed to your computer these days. Slightly less amazing is the…
A coherent evening of real opera: GSMD's Triple Bill reviewed
Covid has been many things to the arts — most of them unprintable. A plague, a scourge, a disaster from…
Unobtrusively filmed, powerfully performed but still unsatisfying: LSO's Bluebeard reviewed
The timing couldn’t be better. Just as the gates clang shut on another national lockdown, trapping us all indefinitely with…
A new opera that deserves more than one outing: Royal Opera's New Dark Age reviewed
It’s quite a title sequence. Puccini swells on the soundtrack and words flash before your eyes. ‘Ecstatic!’ ‘Spellbound!’ ‘Passionate!’ ‘Dazzled!’…
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,…
The trainer who sings opera to her racehorses
Wetumpka Racing? When your yard is running at a handsome strike rate of 40 per cent wins to runs you…
I pounded my car horn like a Neapolitan cabbie: ENO's drive-in Bohème reviewed
The email from English National Opera was blunt: ‘Your arrival time is 18.25. If you arrive outside your allocated time…
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…
‘Where I grew up, classical music was diversity’: an interview with conductor Alpesh Chauhan
Richard Bratby talks to Birmingham Opera Company’s new music director Alpesh Chauhan about his Brummie roots, Bruckner and how his BAME heritage is a non-story
Why imperfect operas like Don Carlo are more interesting than perfect ones
In the 62 years since I first heard and saw Don Carlo, in the famous and long-lasting production by Visconti…
After weeks of silence, Royal Opera reopened with a whimper
It was the fourth time, or maybe the fifth, that I found myself reaching for the tissues that I began…
The best recordings of Ravel’s L’enfant et les sortilèges
‘I don’t want to do my work. I want to go for a walk. I want to eat all the…
Swanky, stale and sullen, the summer music festival has had its day
The summer music festival has had its day, says Norman Lebrecht
Drunk singers, Ravel on film and prime Viennese operetta: the addictive joys of classical YouTube
The full addictive potential of classical YouTube needs to be experienced to be understood. And let’s be honest, there are…
No one understood the ennui of lockdown better than Louis XIV and his courtiers
A few years ago I interviewed an eminent baroque conductor. Prickly and professorial, tired after a day of rehearsals, he…
It costs a lot of money to look this cheap: Metropolitan Opera’s At-Home Gala reviewed
Desperate times call for desperate measures. With the world’s opera houses currently dark, the New York Metropolitan Opera tackled the…
Michael Tanner remembers the greatest musical experience of his life
No surprise: the greatest musical experience of my life was Parsifal at Bayreuth in 1962. I thought at the time…
Bleak humour, resourcefulness and wit: Budapest Festival Orchestra’s Quarantine Soirées reviewed
There’s a certain merit in bluntness. ‘Quarantine Soirées’ was what the Budapest Festival Orchestra called its response to the crisis,…
Bigamists, lunatics and adventurers: the raucous world of 19th century British music
The world of 19th-century British music was raucous, but are there any masterpieces waiting to be rediscovered? wonders Richard Bratby
Letters: We need career detectives, not fast-tracked officers
We need career detectives Sir: Your lead article (Trial and error, 29 February) rightly condemns Tom Watson for pressurising police…
If your instinct is to undermine Beethoven, you’re directing the wrong opera: Fidelio reviewed
‘People may say I can’t sing,’ said the soprano Florence Foster Jenkins, ‘but no one can ever say I didn’t…
Antonio Pappano on diversity, a new Ring cycle and defending Verdi from dodgy directors
After a record 18 years – and counting – as music director, Antonio Pappano talks to Norman Lebrecht about life after Covent Garden and how opera is beyond younger audiences
