Die Entführung aus dem Serail, or The Abduction from the Seraglio, hits the spot when staged at Glyndebourne.
The Royal Opera House is a fundamentally unsuitable space for its otherwise impressive production of the satire on capitalism, Rise and Fall of the City of Mahagonny.
The English National Opera’s The Mastersingers of Nuremberg and the Royal Opera’s L’Ormindo show that translated music-theatre can be exceptional.
The piece is an attempt to see the Passion through the eyes of the women who surrounded Jesus, with particular emphasis on Mary Magdalene.
The production is alienating, and not a in a sexy, Brecht kind of a way.
From Brahms’s chamber music to Mozart opera, the little Swiss ski-village provides a musical feast.
Opera’s ultimate problem-child heroine returns to the Royal Opera House in a production somewhat lacking in warmth.
Neither Verdi’s <em>Les Vêpres Siciliennes</em> nor Britten’s <em>The Rape of Lucretia</em> are straightforward.
This autumn, there's a generous helping of dark, psychological drama available in London's opera houses.
The facts are all in opera’s favour but that doesn’t solve its persistent image problem, writes Alexandra Coghlan.