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Joining OHP's 2019 production of Wolf-Ferrari's charming domestic comedy, a blazing new production of Pagliacci delivers everything that one could want from Leoncavallo's infamous opera. 

Axel Ranisch's staging of Ermanno Wolf-Ferrari's one-acter confounds with visual chaos.

Wolf-Ferrari's Il segreto di Susanna provides an airy bon-bouche to Tchaikovsky's Iolanta, brilliantly sung by Natalya Romaniw and David Butt Philip and conducted to fairy-tale perfection by Sian Edwards

Two different variations of the female conditions: one of 1909 and now utterly out-of-date, the second of 1959 much more ut-to-date.

A light and sassy comedy from Wolf-Ferrari showcases the latest crop of talent from the Guildhall in a stylish 1960s production from Yannis Thavoris with video by Dom Baker, directed by Stephen Barlow.

Emerging artists to the fore as each of these two-handers engage us in differing exposés of puzzles, one comic, one tragic.

Ermanno Wolf-Ferrari is a bit of a strange fish: a recluse, a self-described mystic, and proud enough of his hybrid German-Italian identity that he appended his mother’s maiden name to his own at the age of nineteen.

Bonn is all about Beethoven. His image is everywhere – on one of the first statues built in Germany for a musician in 1845 in the main Munsterplatz by the cathedral, in the tourist office regalia, in directions to the house where he was born in 1770 (now a museum), in the month-long, annual Beethoven Festival, in the 2,000-seat Beethovenhalle, and, most especially, in the orchestra.