Framed at the centre of the platform by bass violist Reiko Ichise and theorbo player Lynda Sayce,...
Reviews
Review: Purcell’s Dido and Aeneas; Rolfe’s Aeneas and Dido, Oct. 21, 2017
To open its 17/18 farewell season on October 21, Toronto Masque Theatre presented a double bill of...
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...
Written on Skin review – spare staging highlights richness of Benjamin’s opera
West Road Concert Hall, Cambridge The Melos Sinfonia’s thrilling concert performance of George...
La Traviata review – McVicar’s Verdi is a gorgeous but stilted visual treat
By: Rowena Smith for the Guardian (UK) Theatre Royal, Glasgow David McVicar’s staging of La...
Lucy Worsley’s Nights at the Opera review – dressing up, singing and sex
This brilliant show flitted from Covent Garden to Venice to Vienna and Milan in pursuit of the...
The Guardian view on the ‘yellowface’ casting row: classical music has a diversity problem | Editorial
The pulling of Peter Eötvös’s opera The Golden Dragon from the Hackney Empire must provoke some...
Les Vêpres Siciliennes review – an electrifying night at the Opéra
Royal Opera House, London Stefan Herheim’s take on Verdi is restless, lurid and saturated with the...
Review: The Elixir of Love at the Four Seasons Centre for the Performing Arts, Toronto, Oct. 11 2017
Smalltown Canada setting Donizetti’s rustic melodramma giocoso (comic opera) The Elixir of...
The Devil Came Up to Boston for Cerise Lim Jacobs’ New Opera, “REV. 23”
REVIEW of REV. 23, a new comic opera that sees beyond the End of Days, conceived and written by...