Philip Glass' hypnotic opera returns in Phelim McDermott's outstanding production that respects the solemn, statuesque grandeur and epic ritual of the score.
A convincing outing for Leoncavallo's rarely performed tale of adultery, populated by characters who are flesh and blood and are immediately recognisable today.
Scottish Opera’s boutique touring production of The Elixir of Love is a fun-filled delight. Fine singing, perfect comic timing, all to a score for just five players. It worked a treat.
Phelim McDermott tackles Philip Glass's ancient Egypt in a production that's totally absorbing visually and aurally, with a star performance by Anthony Roth Costanzo.
At Garsington Opera, Richard Strauss' Intermezzo presents an utterly compelling picture of a mature marriage with its joys and trials; Mary Dunleavy brings it to life with a top class piece of acting.
Military service brutalises. If you’re in any doubt about this, Berg’s short opera Wozzeck should dispel them, and particularly so in Carrie Cracknell’s new production for ENO.
Among the fourteen Gilbert and Sullivan operettas, it must be acknowledged that there are glimpses of weakness. The Gondoliers maintains one of Gilbert’s typically insane plots, which is best described as ‘topsy-turvy’ until the final scene, when order is restored. Likewise the music is far from Sullivan’s strongest score, but there are moments of inspired vocal writing.
Hijacking, murder and terror on the high seas: you might expect that The Death of Klinghoffer, John Adams's 1991 opera about the Palestinian hijacking of the cruise liner Achille Lauro has all the makings of a pot-boiling thriller. But you would be wrong: Adams and his librettist Alice Goodman have other fish to fry.
