Tim Albery
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…
One of the greatest operatic experiences of my life: Royal Opera’s Katya Kabanova reviewed
Janacek’s upsetting opera Katya Kabanova, which hasn’t been seen in the UK for some time, turned up in two different…
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…
Royal Opera’s Tannhäuser is one of the ugliest stagings I have set eyes on
Cursed, or perhaps blessed, with almost no visual memory at all, I had almost completely forgotten what the Royal Opera’s…
Predictably meh: Scottish Ballet’s new Swan Lake reviewed
Every ballet company wants a box-office earner. But why Scottish Ballet’s leader Christopher Hampson kept on at David Dawson until…
Life-enhancing achievement: ENO's Magic Flute reviewed
Centre stage, there’s an industrial-looking black platform, secured by cables. The Three Ladies snap the unconscious Tamino on a mobile…
Mastersingers of Nuremberg, ENO, review: ‘a triumph’
ENO’s new production of Wagner’s The Mastersingers of Nuremberg is a triumph about which only the most niggling of reservations…
Opera North’s Coronation of Poppea: a premium-rate sex-line of an opera
Virtue, hide thyself! The Coronation of Poppea opens with a warning and closes with a love duet for a concubine…
ENO's Rodelinda: near-perfect singing, perfectly gimmicky direction
I wasn’t going to write about Handel’s Rodelinda, wasn’t even intending to go, but thanks to the kindness of the…
