The London Philharmonic Orchestra and their Principal Conductor Vladimir Jurowski open their new series "Changing Faces: Stravinsky's Journey" in grand imperial style.
A newly-orchestrated version of Jonathan Dove’s chamber opera drew some impressive performances from Heritage Opera in this pared-down adaption of Jane Austen’s third novel.
There’s nothing new or inventive about Leigh’s revived production, which in itself is not a crime, but neither is there an abundance of energy; it's all a bit nice.
“If music be the food of love, play on, give me excess of it.” There was certainly plenty of Shakespeare-inspired music on the bill for the London Philharmonic Orchestra's celebration of The Bard.
As director of the film Topsy-Turvy, Mike Leigh seemed like a natural choice to turn his hand to The Pirates of Penzance at English National Opera. Sadly, this proved not to be the case.
Royal Academy Opera's thoroughly competent Suor Angelica precedes a fabulously entertaining Gianni Schicchi, with a top drawer performance from Haobin Wang in the title role.
Drawing a line of suffering from ancient Rome to Golgotha to the concentration camps, Britten’s blank postcard from Belsen strikes to the heart of humanity. The Rape of Lucretia is brilliantly realised by the Royal Academy of Music.
It is a truth, universally acknowledged, that a Handel opera in pursuit of a happy ending must have a few twists and turns, and Ariodante has everything you would expect.
Tête à Tête: The Opera Festival is an amazing opportunity for emerging opera companies and performers, giving valuable time and attention to bold and strange new works.
A landmark in Trafalgar Square, St Martin-in-the-Fields was London’s first free-lending library, is home to one of the world’s foremost chamber ensembles (The Academy of St Martin in the Fields), and puts on hundreds of classical music concerts each year.
