Originally from New Zealand, Sarah Noble is an arts administrator and freelance writer whose articles and reviews have appeared in Limelight, Opera, NZ Opera News and The Opera Critic. After stints in Sydney, Orlando, London and Manchester, she's now based in Macclesfield but travels frequently in pursuit of live performance – operatic and otherwise. Sarah was previously the producer of the International Opera Awards and now works as production co-ordinator for a classical music filming company.
Mozart's early opera seria may not be his greatest achievement – but lightness of touch from all involved highlight its charms in Jack Furness' new production.
Top notch singing, judicious pruning and production which prioritises human drama over camp spectacle make for an illuminating take on Handel's most frequently staged opera.
A top notch ensemble brings Coult’s first opera luminously to life at the Buxton International Festival, finding renewed relevance in the post-pandemic era.
Earlier this year, English National Opera launched its own cinema broadcasts and, to my extreme delight, chose to begin with David Alden’s staging of Peter Grimes, starring my very own other half, Stuart Skelton, in the title role. By my count, of the thirty-odd performances of Peter Grimes I’ve seen in my life, very nearly half of them have been in Alden’s production
