Le nozze di Figaro
By Editorial Staff
BBC Proms at the Royal Albert Hall It’s difficult to know what it was about Glyndebourne’s transfer of Michael Grandage’s new Le nozze di Figaro to the Royal Albert Hall th
Grimeborn Double Bill
By Editorial Staff
Bastien & Bastienne and Susanna’s Secret. Grimeborn Festival at the Arcola Theatre. This year’s Grimeborne Festival at The Arcola Theatre has a somewhat different look to previous y
Peter Grimes
By Editorial Staff
BBC Proms at the Royal Albert Hall Take an opera out of the opera house and put it into the concert hall and a number of things can happen.  An indifferent production that detracts from the
The Francis Bacon Opera
By Editorial Staff
Tete a Tete: The Opera Festival 17 August Blowing its own trumpet as a laboratory for new opera, the Riverside Studios’ festival prides itself on presenting a heaving amount of new work to a
Ravel Double Bill
By Editorial Staff
Ravel’s only two operas, L’heure espagnole and L’enfant et les sortilèges, are perfect companion pieces but are all too seldom seen, either separately or toge
Director Annilese Miskimmon’s new staging of Verdi’s comic masterpiece for Opera Holland Park has more than a whiff of Carry on Windsor about it, but charts a rather uncertain course thr
Les Troyens
By Editorial Staff
BBC Proms at the Royal Albert Hall What a difference a venue and a change of format can make.  Following its underwhelming run at the Royal Opera House, and freed from both orchestra pit an
The Fairy Queen
By Editorial Staff
'O Showes! Showes! Mighty Showes! The Eloquence of Masques! What need of prose Or Verse, or Sense...' Ben Jonson's ironic lines sum up this gloriously absurd yet moving production of Purcell's 's
Il viaggio a Reims
By Editorial Staff
A group of international travellers are unable to get to a special occasion due to transport problems beyond anyone’s control.  Not a portent of things to come over the next few weeks, s
Pelléas et Mélisande
By Editorial Staff
BBC Proms at the Royal Albert Hall When I interviewed him a few years ago, John Eliot Gardiner told me that he sees the future of opera as “beyond the proscenium arch,” with concert perfo