operetta

In defence of Gilbert & Sullivan’s The Grand Duke

17 August 2024 9:00 am

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

22 June 2024 9:00 am

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

21 October 2023 9:00 am

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

19 August 2023 9:00 am

‘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

29 July 2023 9:00 am

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

17 June 2023 9:00 am

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

24 September 2022 9:00 am

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

20 August 2022 9:00 am

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

2 July 2022 9:00 am

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

6 November 2021 9:00 am

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

11 September 2021 9:00 am

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

21 August 2021 9:00 am

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

17 October 2020 9:00 am

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

23 May 2020 9:00 am

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

28 March 2020 9:00 am

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

12 October 2019 9:00 am

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

22 June 2019 9:00 am

The tears of a clown have often fallen on fertile operatic ground. Think of Rigoletto and I Pagliacci; or The…

Richard Ayres' The Garden at the Queen Elizabeth Hall. Image: © Mark Allan

Hearing Gilbert & Sullivan on period instruments was a revelation

27 April 2019 9:00 am

‘I consider that music is, by its very nature, essentially powerless to express anything at all,’ wrote Stravinsky in one…

Jonas Kaufmann and Anna Netrebko in Royal Opera's La forza del destino. Photo: Bill Cooper

The most glorious singing anyone born after 1970 will ever have heard: La forza del destino reviewed

30 March 2019 9:00 am

To stage Verdi’s Il Trovatore, they say, is easy: you just need the four greatest singers in the world. The…

Sarah Tynan, Nicholas Lester and Andrew Shore in ENO's new Merry Widow. Photo: Clive Barda

Cringingly vulgar, brainless and lacking heart: ENO’s Merry Widow reviewed

9 March 2019 9:00 am

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: Sarah-Jane Lewis as Annie with the chorus in ENO’s Porgy and Bess

Thrilling, heartbreaking music drama – you need to see it: ENO’s Porgy and Bess reviewed

20 October 2018 9:00 am

Gershwin’s Porgy and Bess springs to life fully formed, and pulls you in before a word has been sung. A…

Bad Ischl: the spiritual home of Viennese operetta, and where Franz Joseph signed the declaration of war on Serbia

Operetta is serious business in Bad Ischl – and seriously glorious

25 August 2018 9:00 am

It’s the lederhosen that grabs you first. Two gents were walking down the street ahead of us in full Alpine…

Before the dawn: Sir Edward Elgar, Sir Dan Godfrey, Sir Alexander Mackenzie and Sir Charles Stanford, seated. Standing: Sir Edward German and Sir Hubert Parry. Bournemouth Centenary Festival, 1910

Music’s Brexit

11 August 2018 9:00 am

It’s October 1895 and the spirit of Music has been absent from Britain for exactly 200 years. Why she fled,…

A mischievous, daring production that produces the goods: Iolanthe reviewed

24 February 2018 9:00 am

‘Welcome to our hearts again, Iolanthe!’ sings the fairy chorus in Gilbert and Sullivan’s fantasy-satire, and during this exuberant new…