Articles by Mark Pullinger

“Throwing paint at the canvas”: Ryan Wigglesworth on composing his first opera

By , 24 February 2017
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“It’s not a Cinderella story”: Kristine Opolais on returning to Rusalka

By , 24 February 2017
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Good hunting and friendly conversation: Artemis Quartet and Anna Vinnitskaya at Wigmore Hall

By , 24 February 2017
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Black Angels: Kopatchinskaja and Jurowski brush with death

By , 23 February 2017
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Brian Jagde on flawed characters and finding his voice

By , 23 February 2017
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Blank canvas: Pallid Berlioz from the Orchestra of the Age of Enlightenment

By , 21 February 2017
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No cookie cutter soprano: Joyce El-Khoury on Violetta… and why Musetta is such fun

By , 21 February 2017
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“On stage, your soul is naked”: Ermonela Jaho on her heartbreaking soprano roles

By , 17 February 2017
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“It boggles my mind!" Stuart Skelton on opera direction and tackling Tristan

By , 15 February 2017
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Telling Tales: Danyal Dhondy's Shahrazad unveiled at Leighton House

By , 12 February 2017
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A tale of two tenors as Méhul is celebrated by the OAE

By , 11 February 2017
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Meaning behind every note: A Turkish première for Der Rosenkavalier

By , 10 February 2017
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Sink or swim: soprano Sydney Mancasola on diving into new roles

By , 08 February 2017
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Finding release among the poppy fields: Dmitri Tcherniakov's powerful Prince Igor reaches Amsterdam

By , 08 February 2017
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“Violetta is my life's work”: Corinne Winters on Traviata and taking on new roles

By , 07 February 2017
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Riotous journey to the Underworld: Royal Academy's Orphée in Hackney

By , 04 February 2017
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“The discomfort is actually the point”: Kate Lindsey on Così fan tutte... and playing boys

By , 02 February 2017
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A weekend in Barcelona: an operatic trip to the Liceu

By , 01 February 2017
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Defying dictators: Soviet blockbusters given the St Petersburg Philharmonic treatment

By , 29 January 2017
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Karina Canellakis skippers a French voyage with the Oxford Philharmonic

By , 29 January 2017
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