The Return of Ulysses
By Editorial Staff
English National Opera’s collaboration with the Young Vic is now in its fourth year and, with a string of hits behind them, it’s tempting to think that this little and large duo are due
By Editorial Staff
Cod-Egyptian hokum it may be, dramatically flat it most certainly is, but Verdi’s Aida has plenty to say about the human condition. David McVicar recognises this, and in a staging that le
Dialogues des Carmélites
By Editorial Staff
Poulenc’s opera Dialogues des Carmélitesis rarely performed in this country so any chance to see it is worth grabbing, especially when it’s performed as well as it here is by
Madam Butterfly
By Editorial Staff
Puccini’s most passionate opera is not the obvious candidate for a ‘pile ’em high’ Albert Hall extravaganza. Aida or Carmen, yes, but the delicate tale of Cio-Cio
The Mikado
By Editorial Staff
Here’s a how-de-do! Twenty-five years on, Jonathan Miller’s prime slice of Gilbert and Sullivan still scrubs up a treat. It’s fresh, full of style and replete with inventive, audienc
Anna Nicole
Few contemporary operas have received such pre-performance hype and column inches in the press as The Royal Opera’s latest commission, Anna Nicole. Given all the publicity and ballyhoo su
Twelve years have passed since ENO last presented Nikolaus Lehnhoff’s thoughtful, probing staging of Wagner’s last opera. The wait has been long, but given the paucity of ideas on show in
Troy Boy
Troy Boy - Kit Hesketh-Harvey’s adaptation of Offenbach’s fruity romp, La Belle Helene, opened in a suitably camp fashion last week at The Gatehouse, Highgate. Pub ope
Die Zauberflöte
By Editorial Staff
David McVicar’s much-loved production of Die Zauberflöte is receiving its fourth revival at the Royal Opera House, and its appeal hasn’t yet faded, judging by the absence of
Lucrezia Borgia
By Editorial Staff
Since his Oscar nomination for Leaving Las Vegas,  Mike Figgis’s films have tended towards the gothic and experimental. Versions of Miss Julie and The Duchess of Malfi