The facts are all in opera’s favour but that doesn’t solve its persistent image problem, writes Alexandra Coghlan.
Will Self's "Madness of Crowds" column.
With Rihanna, Beyonce, Lady Gaga, Robyn, La Roux, M.I.A and Janelle Monae, we just see further examples of women excelling at electronic music – just like they always have.
Alexandra Coghlan takes a trip to Austria to sample the delights of this year's Grafenegg Festival, curated by the pianist Rudolf Buchbinder.
Freedom of choice for women is central to the idea of gender equality, but that doesn’t make every choice a woman makes inherently feminist.
From Miley grinding Robin Thicke to smacking her backing dancer's buttocks, the VMAs showed that, once again, white men run the show, black men play support, all the women get mostly naked, and black women get to hold up the bottom of the objectification
Nick Payne's new play The Same Deep Water As Me fails to capture its audience's sympathies, writes Andrew Billen.
Kate Mossman catches the heavy metal giants on their "Maiden England" tour, and is perplexed by their nationalist aesthetic.
A serious music journalist, Lloyd Bradley's history of black music in the nation's capital is captivating and well crafted, writes Bim Adewunmi.
An interview with the director of <em>Nirbhaya</em>, a new play about the Delhi rape case that shocked the world.
As far as Morrissey concerts go, the one immortalised in his latest film Morrissey: Live isn't the best. It saddens me to say it, but my love affair with Mozza is well and truly over.
Karl Marx and Gordon Brown unravel on stage in two political gems at this year's Edinburgh Fringe.
The Edinburgh Festival Fringe has swelled to an untameable 2,871 shows, most of them well-behaved and aspiring. Matt Trueman gives his pick of the shows brave enough to stick their heads above the parapet.
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?