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‘I don’t think I’ve experienced a Handel opera where I’ve felt so invested in every character’ ⭐️⭐️⭐️⭐️ Jonathan Whiting gramophone.co.uk/opera-now/revi…
‘A lot of love has clearly gone into preparing this production and it deserves the widest possible audience’ ⭐️⭐️⭐️⭐️⭐️ ✍️Mark Pullinger Full review: gramophone.co.uk/opera-now/revi…
‘A brilliant, thought-provoking and entertaining piece of music theatre’ ⭐️⭐️⭐️⭐️⭐️ ✍️Hugo Shirley Full review: gramophone.co.uk/opera-now/revi…
Founded in 1950 with Colin Davis on the podium, Chelsea Opera Group marks its 75th anniversary with a season that reflects both its illustrious past and its commitment to the future of opera. #ad For the full story head to our website: gramophone.co.uk/opera-now/feat…
Calixto Bieito’s new Ring for the Opéra de Paris will culminate in two unmissable ‘festival’ cycles in November 2026! #ad gramophone.co.uk/opera-now/feat…
‘It’s a grand, generous show, and whatever one feels about Shostakovich’s version…there’s no doubting Thomas Guggeis’s commitment to it’ ⭐️⭐️⭐️⭐️ ✍️Hugo Shirley Full review: gramophone.co.uk/opera-now/revi…
'Sabina Bisholt is a lustrous Elsa and skillfully catches the character’s sense of willful belief in the face of disorientating events' ⭐️⭐️⭐️⭐️ ✍️ Andrew Mellor Full review: gramophone.co.uk/opera-now/revi…
‘With the exception of a crowd-pleasing – and much appreciated – ‘choo choo’, the onomatopoeic references were more subtle, rendered in clackety-clack rhythms’ ⭐️⭐️⭐️⭐️ ✍️Claire Jackson Full review: gramophone.co.uk/opera-now/revi…
‘Director Katie Mitchell signs off in style with this, her final opera production. But it also marks a promising new beginning, just Jakub Hrůša’s second opera as Music Director at Covent Garden’ ✍️Gavin Dixon ⭐️⭐️⭐️⭐️ Full review: gramophone.co.uk/opera-now/revi…
In an era when political leaders have taken to mocking empathy itself as weakness, this Parsifal felt like quiet resistance – music insisting on its own humanity. ⭐️⭐️⭐️⭐️⭐️ ✍️Thomas May Full review: gramophone.co.uk/opera-now/revi…
‘It’s not like any other opera, but this production is faithful to the ideologies that fueled its creation and gives you a lot to think about’ ⭐️⭐️⭐️⭐️ ✍️ Jonathan Whiting Full review: gramophone.co.uk/opera-now/revi…
‘Lotte de Beer entrusted this new staging to fellow Dutch director Nina Spijkers and there are many things she gets right. Unfortunately, these are outweighed by other factors’ ⭐️⭐️ ✍️Mark Pullinger: Full review: gramophone.co.uk/opera-now/revi…
‘MusikTheater an der Wien’s programme book cover features an arresting image of a bat moving in to kill a moth. Undoubtedly, Herheim’s provocative Fledermaus has fangs.’ ⭐️⭐️⭐️⭐️ ✍️Mark Pullinger gramophone.co.uk/opera-now/revi…
'There's a lot to get your teeth into and Handel’s music doesn’t disappoint' ⭐️⭐️⭐️ ✍️Jonathan Whiting Full review here: gramophone.co.uk/opera-now/revi…
‘There is strong, expertly characterised singing throughout’ ⭐️⭐️⭐️ ✍️George Hall Full review: gramophone.co.uk/opera-now/revi…
⭐️⭐️⭐️⭐️ ‘ETO successfully achieved the level of detail required to capture the psychological complexities of the characters in Robin Norton-Hale’s sophisticated yet simple production' ✍️ Lauren McQuistin Full review: gramophone.co.uk/opera-now/revi…
'The orchestra and chorus sound as if they’ve known the score for years; there was nary a glitch anywhere' ⭐️⭐️⭐️⭐️ ✍️Robert Levine Full review: gramophone.co.uk/opera-now/revi…
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🎭Opera meets circus!🎪 Vache Baroque Festival unveils a bold new take on André Campra’s ‘Le Carnaval de Venise’ 🎠 Director James Hurley shares insights into the creative journey and the rehearsal process ⭐️ Read the full article online: gramophone.co.uk/opera-now/feat…
‘One of the reasons for this production’s success is undoubtedly the venue’ ⭐️⭐️⭐️⭐️⭐️ ✍🏻Mark Pullinger Full review: gramophone.co.uk/opera-now/revi…
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