Strauss
Striking but not altogether successful: ENB’s Our Voices reviewed
Aaron S. Watkin, an affable bearded Canadian, is the new artistic director of English National Ballet. He arrives from Dresden,…
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:…
![A woman-child of dangerous assurance: Allison Cook as Salome in Adena Jacobs’s new production for English National Opera. [Catherine Ashmore]](https://www.spectator.com.au/wp-content/uploads/2018/10/6Octopera.jpg?w=410&h=275&crop=1)
A fascinating failure, but a failure nonetheless: ENO’s Salome reviewed
Yes, Oscar Wilde never wrote it. No, Strauss didn’t intend it. In fact, the composer famously demanded the Dance of…
Garsington makes as good a case as you can for Strauss’s frothy Capriccio
‘Is there an end [to this opera] that is not trivial?’ asks the Countess in her final bars of Richard…
Glyndebourne’s Der Rosenkavalier never forgets to be funny
‘Comedy for music by Hugo von Hofmannsthal. Music by Richard Strauss.’ That’s what the creators of Der Rosenkavalier wrote on…
An unmitigated triumph: Salome at Opera North reviewed
Salome is my favourite opera by Richard Strauss, the only one where there is no danger, at any point, of…
This Hansel and Gretel has ‘classic’ stamped all over it
It’s been a good couple of weeks for cuddly toys in opera. A big floppy Eeyore is the only comfort…
Make mine a double
If two concert pianists are performing a work written for two grand pianos, there are two ways you can position…
What really happened in the Berlin Philharmonic election
The morning after the Berlin Philharmonic Orchestra failed to elect a music director, I took a call from Bild-Zeitung, Berlin’s…
The Nazi origins of the Vienna Phil’s New Year’s Day concert
Vienna’s New Year’s Day concert is still tarnished by its Nazi origins, says Norman Lebrecht
Michael Tanner: Why I prefer Donizetti to Strauss
Three operas this week, each of them named after its (anti-)heroine: one of the heroines (the most sympathetic) murders her…
Sorry, Tara Erraught, but the age of the fat lady singing is over
London’s opera critics have been roundly condemned for suggesting that a female singer’s personal appearance could make her unsuitable for…
Robin Ticciati interview: ‘Glyndebourne is a festival where the established and the fresh exist together’
Michael Henderson talks to Glyndebourne’s fresh-faced new music director, Robin Ticciati
A formidable cast for Covent Garden’s Capriccio
Richard Strauss’s operatic swansong Capriccio made an elegant and untaxing conclusion to the Royal Opera’s season. It was done in…
