This season opener brought together something new, rare and familiar – and with it, in the first half, a clear plea for freedom explicit in the choice of music by…
Year: 2023
Tête à Tête: The Opera Festival 2023
From a sonic walk to a football-inspired opera, works based on ancient classics to murder mysteries, Tête à Tête continues to hold a safe space for artists to boldly tell…
Ballets Russes at the Aix Festival
Not to be confused with Sergei Diaghilev’s Ballets Russes or Wassily de Basil’s Ballet Russe de Monte Carlo, it was Igor Stravinsky’s trilogy of ballet scores created for Paris based,…
A magnificent Philip II rescues Covent Garden’s revival of Don Carlo
Irrespective of the version of Don Carlo used, or the language in which it is sung, this is an uneven opera. The Verdi of the first two acts is, in…
L’Opéra de Quat’Sous at the Aix Festival
That’s The Three Penny Opera. While four “sous” wouldn’t get you in the door, the price of admission was far less than the usual offering at this lofty altar to…
Rolling River from Clare College, Cambridge
The Choir of Clare College, Cambridge has an impressive CD back catalogue, and this recent release of American choral music from harmonia mundi is no exception. Recorded in 2022 in…
Songs of nostalgic love from Marie-Laure Garnier, Célia Oneto Bensaid and the Hanson Quartet
– This disc, released on the B-records label earlier this year, preserves a live performance given by the French-Guianan soprano Marie-Laure Garnier, the French pianist Célia Oneto Bensaid and the…
The Bartered Bride still charms at Garsington
Paul Curran’s 2019 The Bartered Bride, set in late 1950s Britain, makes a welcome return to the Wormsley Estate in Rosie Purdie’s likeable revival. With a new cast, this folksy…
Woman at Point Zero at the Royal Opera House
Nawal El Saadawi’s 1975 novel, Woman at Point Zero, presents an ‘eve of death-row’ narrative which is a chilling indictment of patriarchal society. An Egyptian woman, Firdaus, has been convicted…
In conversation with the Brazilian baritone, Vitor Bispo
When I attended Royal Academy Opera’s Figaro back in March, Vitor Bispo’s authoritative Count Almaviva caught my ear and eye. Subsequently, it was not surprising to learn that the Brazilian…