Artikel von Mark Valencia

The co-existence of amateurs and professionals is weighted firmly towards the latter.

An exquisitely matched pair of sopranos as Susanna and the Countess make up for some quirky casting elsewhere. 

Mezzo-soprano Rachel Kelly and soprano Susanna Hurrell were the eponymous pair and, my, how they chewed the scenery.

Gaitanou’s direction of the singers is so exact that it becomes impossible to separate them from their characters.

Best of all is the self-effacing pianism of Lada Valešová, a constant yet discreet onstage presence.

Classical Opera takes a break from Mozart with two short operas by Gluck.

As a hybrid of brilliance and disappointment, this Don Giovanni is in a class of its own.

A post-mortem fantasy that’s as compelling as it is confusing.

Director Purni Morell sandpapers every trace of spikiness from Purcell's Dido and Aeneas, leaving the production a victim of its own good intentions. 

Janowski's concept rang consistently true and the musicians did him proud.

What a day to hear an all-French programme, and with this fragile moment at its heart criticism feels futile, disrespectful even.

The musicians of MusicAeterna were impassioned, engaged and energised into a single force in this performance of Verdi's Requiem at the Aix Easter Festival.

A dashing, captivating concert, lacking only a few mood-changers to stimulate the audience’s eager receptors.

The 20th century completely passed Parry's Judith by completely... and it isn't difficult to see why.

Daniel Kramer’s direction is a model of restraint compared to some of his earlier work for the company.

The pairing of Mahler’s Fifth Symphony with the Violin Concerto of Brahms felt conspicuously like a calling card from an orchestra that sees itself as a contender for wider recognition, on this showing with good reason.

As the Governess Alison Rose was the ideal suffering soprano, her eyes an imbroglio of psychological disturbances.

There are brilliant visual touches in Aylin Bozok’s stylish concept for Bury Court Opera and the monochrome aesthetic is clearly realised.

With Malcolm Martineau, the Latvian mezzo delivered poise and polish and transcendent Rückert Lieder. 

Musically, WNO gets it right. Straightforward brilliance is the order of the day, and plenty of it.