Jacob Wohl’s cack-handed attempt to smear Mueller is undoubtedly funny – but it should worry us, too
The wider context of Wohl’s scam attempt is that the far right are trying to appropriate the Me Too movement as a political weapon. That should…
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Alexandra Coghlan
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David McVicar’s new production of Mozart’s first successful opera is a vision innocent of its own Orientalism
Die Entführung aus dem Serail, or The Abduction from the Seraglio, hits the spot when staged at Glyndebourne.
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Rise and Fall of the City of Mahagonny is slick and energetic – but unsuited to the Royal Opera House
The Royal Opera House is a fundamentally unsuitable space for its otherwise impressive production of the satire on capitalism, Rise…
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Topped in translation: two new London operas make a case for English-language productions
The English National Opera’s The Mastersingers of Nuremberg and the Royal Opera’s L’Ormindo show that translated music-theatre can be exceptional.
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Martin Kušej’s Idomeneo at the Royal Opera House is baffling and troubling
The production is alienating, and not a in a sexy, Brecht kind of a way.
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At the Verbier Festival, a lot of music is packed into a small town
From Brahms’s chamber music to Mozart opera, the little Swiss ski-village provides a musical feast.
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Widescreen, blockbuster Mozart at the Bregenz Festival’s The Magic Flute
A small Austrian town tucked almost against the Swiss and German borders on the magnificent Lake Constance, Bregenz has…
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La Finta Giardiniera is one piece of juvenilia opera houses should grow out of
Alexandra Coghlan finds Glyndebourne’s glossy and irreverant reworking of Mozart’s teenage opera ultimately lacking.
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Uneasy futility at the opera: Manon Lescaut and In the Penal Colony
Alexandra Coghlan reviews Jonathan Kent’s new production of Manon Lescaut at the Royal Opera House and Shadwell Opera’s In…
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