Emily Howard's new opera, an Aldeburgh Festival commission, takes an ambitiously modernist approach to a dystopian story of loneliness: a tough, but thought-provoking work.
Clou du festival Présences qui lui est consacré, George Benjamin dirige un Written on skin bouleversant à la Philharmonie, qui rappelle avant tout la richesse de l'écriture orchestrale du compositeur.
At the Metropolitan Opera, Innocence proves a gripping and perhaps divisive piece which feels real because it is a reflection of our reality, with no realistic hope of finding peace.
Charlotte Valori read Classics at Christ Church, Oxford. As a classicist, her main interest is Greek tragedy and its reception by later cultures, which has led to a continuing passion for theatre and opera. Charlotte reviews for several online magazines, and won the Bachtrack Opera Award 2015 for Best Written English Review. Follow her on Twitter @operissima.
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