There are few operas which, at once, give some insight into the history of the current UK opera scene, the sexual pol…
Opera
Review: Così fan tutte, ENO
Phelim McDermott is among the very top tier of opera directors and, with this welcome revival of his 2014 interpretat…
Review: Fever Pitch, The Opera (Union Chapel)
Is it 1-0 to the Arsenal or another disappointing outing?
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Review: The Importance Of Being Earnest (The Barbican)
When Gerard Barry chose to dress up one of Oscar Wilde’s most famous plays as an avant-garde opera, did he know what …
Review: La Traviata (Royal Opera House)
La Traviata, the most performed opera in the world, has returned to Covent Garden in breathtaking style. Richard Eyre…
Review: Jonathan Miller’s Mikado (ENO)
In an age when the internet frequently loses its collective shit over mooted film remakes or sequels to old favourite…
Review: Morgen und Abend (Royal Opera House)
Georg Friedrich Haas’s new opera, Morgen und Abend, is a relentless sensory assault over 90 wailing, gnashing m…
Review: Mike Leigh’s Pirates of Penzance (ENO, London Coliseum)
The choice of Mike Leigh to direct the latest revival of Gilbert & Sullivan’s operetta The Pirates Of Penzance (c…
Review: The Rise And Fall Of The City Of Mahagonny (Royal Opera House)
It’s not often that opera causes a riot. But when The Rise And Fall Of The City Of Mahagonny was first staged in 1930…
Review: La Traviata (ENO, London Coliseum)
Ever fallen in love with someone you weren’t meant to fall in love with? That’s the crux of Giuseppe Verdi’s opera La…