Handel’s drama of madness and lust lights up the Barbican
In this concert staging of Orlando, Iestyn Davies was peerless as the eponymous knight, surrounded by unhappy lovers and conniving magic-men
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In this concert staging of Orlando, Iestyn Davies was peerless as the eponymous knight, surrounded by unhappy lovers and conniving magic-men
Opera grandee Stephen Barlow on his unusual pre-concert routine, why conducting has nothing to do with emotion – and his distinctive hair
The Merry Widow in this most rarified of country-house settings? She may not entirely belong here, but this staging sweeps you along even so
There is little innovation in this new production – but that’s no bad thing when the leads are as strong as this
A solid production, infectiously rhythmic conducting and some remarkable young talent on stage make for a hugely enjoyable evening
Melly Still’s staging of Mozart’s masterpiece at beautiful Nevil Holt is bristling with ideas – which is both its strength and its weakness
The mezzo-soprano on the joy of comic operas, her new role at Grange Park, and her difficult relationship with the late novelist
This gaudy 1896 drama is an odd choice for the swansong of Covent Garden’s great music director, but he just about pulls it off
Rameau’s opera has a deeply unpleasant plot, but Garsington’s exuberantly vulgar, expertly sung staging makes it fly
One of Britain’s finest conductors talks about the crisis at ENO and saying goodbye to the Hallé Orchestra after nearly quarter of a century
The founder of Opera Holland Park on arrogance in the industry, getting children into classical music and high-level philistinism
This biting new production wrenches the piece into the present, displaying a struggle for women’s autonomy in the face of male oppression
Thanks to devastating funding cuts from both the English and Welsh art councils, the future of this brilliant company is now at stake
Russian director Kirill Serebrennikov’s unforgettable, dream-like adaptation won’t please everyone – but it demands to be seen
Premiering in Riyadh, this international collaboration hinges on a strong Saudi narrative and is well sung, but the music lets it down
This performance of the lesser-known original version was a testament to music director Mark Elder’s magnificent 24-year period at the Halle
The Festival’s innovative production – led by three world-class singers – is underpinned by an unchanging commitment to musical excellence
Duke Ellington heard her as Lady Macbeth and telephoned to introduce himself. ‘Yeah, and I’m the president of the United States,’ she said
Aigul Akhmetshina is riveting in the title role, but Antonello Manacorda seems ill-at-ease with the fantastic flexibility of Bizet’s score
‘I have a strongly ambivalent attitude towards authority… my basic tendency is to sabotage it, and satire is my favourite literary genre’