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From an early age I loved the ritual of Catholicism. I revelled in the symbolism and the mysteries.
This production is exercise in style, some sort of post-modern universe where everything is signified but nothing means anything.
Though they seem like odd bedfellows, these two operas make for one of the best evenings this endlessly enterprising open air opera house has ever fielded.
A haunting fable with a dramatic score and a cumulative power, it is perhaps not surprising that Rusalka is Dvorák’s most successful opera.
This production reminds one that opera can be the supremely expressive performing art.
It is inconceivable that anyone unfamiliar with the work could have the slightest idea what is going on.
It was 1965; I was a 16-year-old schoolboy besotted by classical music but only, so far, on record.
The V&A's exhibition is not only a celebration, but a cause for celebration.
My week in Prague sent me back to the past, from shooting Amadeus to my own Catholic upbringing.