Hugh Cutting on Handel and good storytelling

Hugh Cutting

Hugh Cutting (Arsace) and Nardus Williams (Partenope)

Hugh Cutting (Arsace) in *Partenope(

Hugh Cutting (Unulfo) in Rodelinda

Tim Mead (Giulio Cesare) and Hugh Cutting (Tolomeo)

By Eleanor Knight, 24 November 2025

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“we have to think more deeply about how we tell stories on stage, beyond big dresses, divas and stuff”

Danny Riley, 14th January

Lute player and guitarist Élodie Brzustowski talks about the challenges of the two-metre long theorbo, rediscovering guitar music of the 1830s, and the multifaceted Early music scene in France.

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With so many talented young artists appearing in this season, editor Mark Pullinger selects ten we’re particularly excited to follow this year.

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From Henry Purcell to George Benjamin, a set of ten operas to demonstrate that English is not just a language for prose and poetry, but also a vibrant language for opera.

A family of choruses: RSNO Chorus celebrates 180 years

Ben Lunn, 30th September

One of the longest-running choral organisations in the UK, director Stephen Doughty talks about how the RSNO Chorus now boasts a panoply of other community choruses under its umbrella.

Eleanor Knight

Eleanor is a writer and librettist. Her work has appeared in all kinds of places from the Royal Opera House to the foot tunnels beneath the Elephant and Castle roundabout, and she has written arts reviews and features for British papers and magazines. Having begun her working life in theatre, she switched to publishing and later taught creative writing at the University of Brighton and Birkbeck. Currently based in the Netherlands, she teaches at the University of Utrecht. Eleanor plays violin and sings, though not usually at the same time, and has recently taken up speed-skating.

Aiming high: Hugh Cutting on Handel, good storytelling and countertenor appeal