Do we need to know the political context in which a work was created in order to fully appreciate...

Do we need to know the political context in which a work was created in order to fully appreciate...
There have been dozens of capable, and more than capable, recordings of Lohengrin. Among the...
Barbican, London Daisy Evan’s bold new version – reflecting on national identity – was strongly...
On a day when events in Las Vegas cast a shadow over much of the news this was not the most...
Keith Warner's frenetic, conceptually driven production of Richard Strauss's Elektra (1909)...
No sooner had I drafted my review of Simon Mayr’s Medea in Corinto, recently posted ...
What did Alexander Scriabin have in common with Donald J. Trump? Small hands, that’s what....
Writing of McDermott’s Satyagraha in 2010, one of my colleagues wrote, ‘There are so many amazing...
Coliseum, London Phelim McDermott’s new production for ENO features some virtuoso turns and...
Romanian soprano Aurelia Florian sings Violetta in all ten performances (through October 17). She...