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Yanki Yau (Anna II) and Stephanie Wake-Edwards (Anna I) in The Seven Deadly Sins © Julian Guidera

Double bleak: Opera Prelude compares and contrasts Bernstein and Weill

Von David Karlin, 20 August 2026

Opera Prelude’s emerging artists bring out both contrasts and similarities in Trouble in Tahiti and The Seven Deadly Sins.

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London

20 Aug 2026

Opera Prelude compares and contrasts Bernstein and Weill

Von David Karlin

Madison Leonard (Violetta) and Oleksiy Palchykov (Alfredo) © Clive Barda

High Wycombe

Garsington’s new La traviata ticks every musical and dramatic box

Von David Karlin, 27 Mai 2026

Music Director Douglas Boyd conducts a performance of exceptional musical quality, and Louisa Muller's uncontroversial but passionate direction makes this Traviata one for the ages.

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High Wycombe

27 Mai 2026

Garsington’s new La traviata ticks every musical and dramatic box

Von David Karlin

Fionn Ó hAlmhain (Zuniga) and Zixin Tang (Carmen) © Craig Fuller

London

Sliding doors moments: the Royal Academy's Carmen has too many what-ifs

Von Dominic Lowe, 18 November 2025

Presenting a work like Carmen is a punchy move by a conservatoire. The Royal Academy of Music's production has conceptual weaknesses, but features some good singing.

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***11

London

18 Nov 2025

The Royal Academy's Carmen has too many what-if moments

Von Dominic Lowe

High Wycombe

Three card trick: staging, direction and singing compel in Garsington’s Queen of Spades

Von Roy Westbrook, 29 Mai 2025

Jack Furness directs a terrific new Queen of Spades at Garsington – haunting and harrowing.

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High Wycombe

29 Mai 2025

Three card trick: compelling new Queen of Spades at Garsington

Von Roy Westbrook