operetta
Meet the king of comic opera
John Savournin has been busy. That comes with the territory for a classical singer – things often get a little…
Fails to ignite: Royal Opera’s Tales of Hoffmann reviewed
I couldn’t love anyone who didn’t love Offenbach’s The Tales of Hoffmann. Everything – everything – is stacked against this…
In defence of Gilbert & Sullivan’s The Grand Duke
Artistic partnerships are elusive things. The best – where two creative personalities somehow inspire or goad each other to do…
A sugar rush for the eyes: Glyndebourne’s The Merry Widow reviewed
In 1905, shortly before the world première of The Merry Widow, the Viennese theatre manager Wilhelm Karczag got cold feet…
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…
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…
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…
More depravity, please: Salome, at the Royal Opera House, reviewed
The first night of the new season at Covent Garden was cancelled when the solemn news came through. The second…
An electrifying, immersive thrill: Scottish Opera's Candide reviewed
The first part of the adventure was getting there. Out of the subway, past the tower blocks and under the…
Had the air of a Blue Peter Christmas special: Grange Festival's The Yeomen of the Guard reviewed
The Yeomen of the Guard has been called the ‘English Meistersinger’ but the more you think about that, the dafter…
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…
Opera della Luna is a little miracle: Curtain Raisers at Wilton’s Music Hall reviewed
Arthur Sullivan knew better than to mess with a winning formula. ‘Cox and Box, based on J. Maddison Morton’s farce…
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…
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,…
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…
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,…
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…
Can an Offenbach production be too silly? Garsington’s Fantasio reviewed
The tears of a clown have often fallen on fertile operatic ground. Think of Rigoletto and I Pagliacci; or The…
Hearing Gilbert & Sullivan on period instruments was a revelation
‘I consider that music is, by its very nature, essentially powerless to express anything at all,’ wrote Stravinsky in one…
The most glorious singing anyone born after 1970 will ever have heard: La forza del destino reviewed
To stage Verdi’s Il Trovatore, they say, is easy: you just need the four greatest singers in the world. The…
Cringingly vulgar, brainless and lacking heart: ENO’s Merry Widow reviewed
Garrick Ohlsson is one of the finest pianists of his generation. Why, then, was the Wigmore Hall not much more…
Thrilling, heartbreaking music drama – you need to see it: ENO’s Porgy and Bess reviewed
Gershwin’s Porgy and Bess springs to life fully formed, and pulls you in before a word has been sung. A…
Operetta is serious business in Bad Ischl – and seriously glorious
It’s the lederhosen that grabs you first. Two gents were walking down the street ahead of us in full Alpine…
Music’s Brexit
It’s October 1895 and the spirit of Music has been absent from Britain for exactly 200 years. Why she fled,…
