Chorus of approval
Within the space of a few weeks we have had the rare chance of seeing the two great torsos of…
Character differences
I remain puzzled that, so far as I know, no daily or weekly paper carries reviews of the New York…
Musical feasts
I wasn’t going to write about Handel’s Rodelinda, wasn’t even intending to go, but thanks to the kindness of the…
What’s it all about?
Every time there’s a new production of Mozart’s Don Giovanni I have to ask the same question: why is this…
The voices of Firestone
Anyone who frequents the internet will have come across YouTube and soon learned that what may have been planned as…
The genius of Gluck
This is the first of my more-or-less monthly columns, the idea of which is to report on operatic events other…
The year in opera
I’ve been hoping that in this, the last of my weekly columns on opera, I would be able to strike…
Underpowered Wagner
Debussy’s description of the music of Parsifal as being ‘lit up from behind’ is famous; less so is Wagner’s own…
Who are they?
There aren’t many operas from which you can extract a single act and make a concert of it, in fact…
Great Britten
Of this year’s three musical birthday boys, Wagner has fared, in England, surprisingly well, Verdi inexplicably badly, and Britten, as…
Baroque brilliance
Visits by English Touring Opera are always to be looked forward to, but this autumn it has surpassed itself with…
Flawed Flute
A new production of The Magic Flute is something to look forward to, if with apprehension. How many aspects of…
Third time lucky
When Keith Warner’s production of Berg’s Wozzeck was first produced at the Royal Opera, nine years ago, it made me…
Disturbed by Britten
This week chanced to give me a fascinating study in contrasts and comparisons: Mark-Anthony Turnage’s Greek at the Linbury Studio,…
Vocal heroes
Verdi’s Les vêpres siciliennes is his least performed mature opera, even in its more familiar version as I vespri siciliani.…
Slav flavour
This year’s live relays of New York Met performances have a markedly Slav flavour, with Shostakovich’s rare The Nose next…
Divine comedy
Johann Strauss’s Die Fledermaus (but if it’s given in English, why not The Bat? Does that somehow sound too unglamorous?)…
Sensational Strauss
It’s been a sensational week for opera in London, with a sensationally good performance of Strauss’s Elektra at the Royal…
Messing around with Berg
Why would anyone want to adapt Berg’s Lulu, a masterpiece even if a problematic one? According to John Fulljames, who…
Beyond redemption
It’s a cynical start to the Royal Opera’s season to have this 1984 production of Puccini’s last opera Turandot. Not…
Reincarnations of Wagner
The many opera performances at the Proms this year have all been so successful, especially the Wagner series, that I…
On the beach
With a tidal wave of Peter Grimeses about to engulf us — performances in London, Birmingham and Leeds in September…
Elder’s evening
The Proms season of Wagner operas — pity they didn’t do them all; Die Meistersinger would have been specially welcome,…
Exuberant genius
Whenever Michael Tippett’s first opera, The Midsummer Marriage, is revived, there is a chorus of voices, including mine, complaining that…
Wagner’s dream
It would be interesting to know why Tristan und Isolde was placed in the Proms programme in between Siegfried and…
