Rossini’s great 1823 tragedy Semiramide, his last work composed for Italy before he based himself...
Tim Ashley
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Marnie review – Nico Muhly’s psycho thriller sounds beautiful but fails to thrill
Given its world premiere by English National Opera, Nico Muhly’s Marnie is drawn from Winston...
Hamlet review – careers are made in a ferociously powerful trip to Elsinore
By: Tim Ashley for the Guardian (UK) Glyndebourne, Sussex Given its world premiere at Glyndebourne...
Giulio Cesare and Dardanus review – ETO update Handel and make Rameau feel contemporary
Hackney Empire, London English Touring Opera’s ambitious autumn programme features two baroque...
Aida review – power and passion marred by a few duff notes
Coliseum, London Phelim McDermott’s new production for ENO features some virtuoso turns and...
Oedipe review – Jurowski makes case for Enescu’s ‘lost masterpiece’
Royal Festival Hall, London The anti-Freudian Oedipus opera may not flawless, but this performance...
Pagliacci, L’Enfant et les Sortilèges review – Opera North’s ‘Little Greats’ series looks to be well named
Grand Theatre, Leeds The company’s season of short operas is less adventurous than its previous...