Eugene O’Neill’s Desire under the Elms is a towering, craggy masterpiece of 20th century theatre.  The play draws on themes from Greek drama, power (patriarchal and sexual), retribution and dynastic ties, but nevertheless remains quintessentially American.  This is because the…

Thomas Arne’s Alfred is described by the Northern Opera Group, which is currently performing it at the Leeds Left Bank Opera Festival, as “one of the greatest and most thrilling British operas of all-time”. Well, even allowing for the hype…

Although I am fond of jazz, I do not normally write blogs about it, primarily because I have insufficient knowledge and vocabulary to confidently exercise critical faculties. But I had the urge to communicate my responses to this special occasion:…

The tone for the West Green House Opera is set by the admonition on its website that “the consistent dress code for all evening performances is Black Tie.” Back to the notion of opera for the elite? Or instead a…

After years of neglect, some of Antonio Salieri’s forty or so operas are beginning to find their way onto the modern stage. Fascination with the composer’s historical character, sparked off by Peter Shaffer’s Amadeus, may be largely responsible for this,…

Seeing Mozart’s Lucio Silla at Buxton within a week of La Finta Giardiniera at the Ryedale Festival (see my blog of 16th July) confirmed what an extraordinary musical-dramatist the composer was as a teenager. It is not merely the brilliance…

Hardly necessary to say, but Mozart’s Finta Giardiniera is a remarkable work.  Written at the age of eighteen, it looks forward to Nozze di Figaro not just in the facility of tuneful writing and its boisterous ensembles but, more importantly,…

Plus ça change …? The Grange Park Opera Festival has moved premises. At The Grange, near Alresford in Hampshire, a new entity has arrived, called confusingly the Grange Opera Festival. Some alterations to the auditorium and its surrounds have taken…

Until yesterday evening I had not experienced a wholly satisfying performance of Salome. The problem is, I think, that directors and designers have tended to take too literal an approach to the setting of the opera: Herod portrayed as a…

You have come to see a play which follows the progress of a dementia sufferer as his condition deteriorates. It is likely to be a moving, poignant experience, particularly if you know, or have known, someone with this condition and…

The presentation of continental European drama on the British stage has become too rare for comfort in recent times, so the appearance at York’s Theatre Royal of The Pulverised by the Romanian-French writer Alexandra Badea is to be warmly welcomed….

The idea of the Heidelberg Theatre to bring together in a double bill two short operas by Mieczyslaw Weinberg (Mazel Tov) and Erich Korngold (Der Ring des Polykrates) seemed to be a good one. Both were written by Jewish composers…

First performed in 1992, Schnittke’s opera Life with an Idiot initially achieved some notoriety and success across Europe but recently seems to have fallen out of favour. That is a pity because unquestionably it is a masterpiece. It is remarkable…

  Suppose that you were the artistic director of a medium-sized German opera company. A very famous Argentinian tenor, in the autumn of his career, has wanted for some years to sing the title role in Peter Grimes, and says…

It sometimes happens that you leave an opera house with a sense of irritation gnawing away at you. This occurred last night at Essen after a performance of Meyerbeer’s Le Prophète. No, it was not the staging, though in many…

Considering the importance of Der Freischütz in the history of opera, and of romantic art generally, it has received surpisingly few performances outside Germany in recent times. This is probably because, notwithstanding a remarkable score, juxtaposing fluent melodies with striking…

If you have had the experience of being irritated in a theatre when members of the audience laugh inappropriately at serious aspects of a drama – I have had it many times – then I recommend that you go to…

A major event of the 2016-17 season in Paris has been the world première of Luca Francesconi’s Trompe-la-Mort. While any attempt to recreate in operatic terms a single volume of Balzac’s monumental Comédie Humaine might have been far too ambitious,…

I have always had a penchant for ritualistic theatre and there is no better medium for experiencing it than Greek drama. The Suppliant Women by Aeschylus, presented by the Actors Touring Company at Manchester’s Royal Exchange Theatre, provides an excellent…

La Rondine is the least often performed of Puccini’s mature operas. This may be because of its lightness – almost in parts of an operetta character; or because, with its Traviata-like Third Act, it is not perceived to have a…