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Bare light bulbs, dazzling lighting rigs and handheld torches dominate Jenny Ogilvie’s new staging of Pelléas et Mélisande at Longborough Festival Opera. The production fulfils a long-held dream by the festival founder Martin Graham whose
Unrelenting, raucous animation was the salient characteristic that pervaded Opera Theatre of Saint Louis’ lively version of that evergreen favorite, Die Fledermaus (The Bat), and the capacity audience roared in approval. Prima la musica: It is
Making his debut with the Monteverdi Choir and English Baroque Soloists, Masaaki Suzuki directed an all-Bach concert celebrating the 300th anniversary of five works (four cantatas and a Sinfonia) written in 1725 when the composer was
Of Camille Saint-Saëns’s thirteen operas, only Samson and Dalila remains a regular part of the repertory. So, the enterprising New Sussex Opera must be congratulated on presenting the UK premiere of the composer’s first opera,
The Viennese critic Edward Hanslick once compared Brahms’ Fourth Symphony to “a dark well”, and declared “the longer we look into it, the more brightly the stars shine back”. Such an observation might be levelled
Grange Festival’s new production of Verdi’s tragedy brings magnificent singing and much superb playing from the Bournemouth Symphony Orchestra under Richard Farnes who makes his house debut. Director Maxine Braham, also a first timer at
When Tchaikovsky’s card-game opera first appeared at London’s Drury Lane Theatre in 1915, it was announced by The Times as ‘a romance’. That’s marketing for you and pushing things a bit far, even with Pushkin’s
Recalling a very dark moment in San Francisco’s history, Michael Korie and Stewart Wallace’s Harvey Milk Reimagined [for small operatic forces], arrived, via St. Louis, finally in San Francisco. This 1978 massacre remains, still, an open
Having presented Lalo’s Le roi d’Ys, based on a Breton legend, back in March, Chelsea Opera Group now gave another opera set in Britanny, Bellini’s La straniera (1829). It’s another story (set in the Middle
The matter of Wagner's antisemitism – or, more to the point, whether it permeates his work, and its influence upon subsequent German cultural and social history – is a debate likely to last as long as his
It seems entirely appropriate that Holland Park Opera’s first venture into Richard Wagner should be Der fliegende Holländer. And where better in London to experience its storm-tossed drama within an open-sided auditorium where you felt
Some composers, like Dvořák for instance, seemed at home in whichever genre they chose to write. Mahler, by contrast, though he repeatedly wrote for the human voice, never attempted an opera. As chief conductor at