Jeffrey Skidmore and Daniel Barenboim rise to the formidable challenge of staging Stockhausen and Wagner at The Proms.
The Swiss Verbier Festival does epic, polyphonous music well - but it's real gift is for intimate chamber recitals.
The Quasi front man on two decades in indie rock, noise and the coming apocalypse.
The annual Schubertiade festival is held annual to celebrate the music of Franz Schubert. This year there was plenty to enjoy, but also cause to be concerned about the future.
A musical adaptation of <em>War and Peace</em> could easily have become sprawlingly shallow. But director Rachel Chavkin and writer-composer David Malloy are unafraid to let Tolstoyan complexity play out onstage.
Akala’s "Hip-Hop History Live": an exploration of black history like no other I've seen before.
The first complete Georgian-language production of Eve Ensler's feminist performance piece <em>The Vagina Monologues</em> caused substantial controversy. Tara Isabella Burton meets two of the women behind it.
A wise first choice for the Royal Court's new artistic director Vicky Featherstone.
Whatever happened to the charismatic, effeminate, mysterious frontman?
The effect of seeing Bacharach live at the Royal Festival hall was to be hit by more top-40 songs that you'd think a single act could be capable of producing.
The Kenneth Branagh/Rob Ashford production of <em>Macbeth</em> for the Manchester International Festival presents an enthralling portrait of sickening, desire-fuelled ambition.
Alexandra Coghlan reviews <em>Hippolyte et Aricie</em> and <em>La rondine</em>.
Willy Wonka, like God, supplies temptation to his children and punishes them if they fail to resist it. Sam Mendes's crime is a failure of imagination.
With the Aldeburgh Festival's production of Peter Grimes on the Beach, director Tim Albery has created a site-specific opera that avoids cliché to provide an allusive blur of fact and fiction.
2013 was an easy one for festival programmers. Wagner, Verdi and Britten all have major anniversaries this year. But doesn't organising a festival around something as arbitrary as a composer's birthday undermine the fundamental value of the work?
Six months ago Rihanna looked like she was losing it, and now she looks to be in complete control.
Matt Trueman reviews three productions which deal with the idea of cold, hard cash.
Alexandra Coghlan assesses the English National Opera's production of <em>The Perfect American</em> and Grange Park Opera's <em>Eugene Onegin.</em>
Alexandra Coghlan explores two very different productions that share a certain whimsical aesthetic: <em>The Importance of Being Earnest</em> and <em>Gloriana</em>.
The violin was the start of modern music celebrity - Lindsey Stirling is following in the footsteps of Paganini, Nigel Kennedy and Vanessa Mae.
On how I went to a all-female comedy night raising funds for women's charities - and it was awkward, but needn't have been.
Live music is great. But you know what's also great? Bands not sounding like they’re shouting into saucepans.
Cardiologist Hywel Davies describes the origins of the syphilis claim from Paul Kildea's biography of Benjamin Britten, which began as an "ordinary conversation" in a colleague's house in the late 1980s.
Alexandra Coghlan reviews new productions of La donna del lago and Ariadne auf Naxos.
Watching Swan Lake through 3D glasses might feel strange at first, but the Mariinsky Theatre's live 3D broadcast from St Petersburg provides an affordable way to go to the ballet in Russia.
Reviewed: Life and Times: Episodes 1-5; Patoral; Moth.
Burt Bacharach’s songs have an inconvenient habit of catching even the most committed cynic unawares and leaving them – about three minutes later – blubbing like the mother of the bride. How does he do it?
Review: Then She Fell.
The promise of a one-man Macbeth, particularly as performed by such a winkingly self-aware performer as Alan Cumming, is rife with the potential for self-indulgence. Yet the chilling motif of a minimalist asylum ward is used to illuminate how definitively