Author: Gary Hoffman

There’s not much point in presenting Lully’s Psyché (in its North American premiere no less) unless you’re going to give it something vaguely like the grandeur Louis XIV could command in 1678.

An increasing lack of substance and imagination behind ENO’s season scheduling means that a revival of a theatrically impressive recent production of a repertoire piece is to be welcomed, especially when that production comes with a cast of superior calibre.

When opera is the subject, there’s an uneasy embarrassment at Leipzig’s annual 10-day Bach Festival, for opera is a genre that the city’s most famous musical son never embraced.