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The ROH streams, but the outlook for musicians is dire

Posted on June 15, 2020June 18, 2020 by Michael Church
Musicians are at a precipice – but does the government care? Given a fanatical Brexiteer cabinet fixated on impossible dreams, and  some stunningly inadequate ministers in charge of important a... Read More

Handel’s Susanna at the Linbury – better heard and not seen

Posted on March 6, 2020March 8, 2020 by Michael Church
Susanna, Linbury Theatre, London How to prepare for the coming storm? Eat well, keep fit, and enjoy the pleasures which will soon be off the menu. It can’t be long before opera houses close their d... Read More

Kratzer’s Fidelio – pointlessly perverse

Posted on March 2, 2020March 5, 2020 by Michael Church
Fidelio, Royal Opera House On paper, director Tobias Kratzer’s rationale for his production of Beethoven’s Fidelio made persuasive sense. He started from the premise that Beethoven set his story ... Read More

Luisa Miller is another turkey from ENO – yet it’s marvellously sung

Posted on February 13, 2020February 14, 2020 by Michael Church
Luisa Miller, English National Opera It gives me no pleasure to report that English National Opera, which last year produced a record number of turkeys, has kicked off this year with yet another one. ... Read More

The Bach Choir does what it was designed to do, superbly

Posted on February 12, 2020February 12, 2020 by Michael Church
Bach Choir/OAE/David Hill,  Royal Festival Hall, London The Southbank Centre may no longer be London’s principal haven for classical music – years of wayward leadership have taken their toll R... Read More

An odd couple – Claron McFadden and Alexander Melnikov

Posted on December 23, 2019January 4, 2020 by Michael Church
Claron McFadden/Alexander Melnikov,  Wigmore Hall, London On comes Russian pianist Alexander Melnikov, looking questioning and quizzical; on saunters American soprano Claron McFadden with the rolling... Read More

Keith Warner’s Otello and the wonderful Ermonela

Posted on December 10, 2019December 17, 2019 by Michael Church
Otello,  Royal Opera House While English National Opera, under its current leadership, produces nothing but flops, the Royal Opera remains splendidly on track. Hot on the heels of David McVicar’s s... Read More

McVicar’s evergreen Flute

Posted on November 2, 2019November 5, 2019 by Michael Church
Die Zauberflöte, Royal Opera House, London While ENO produces one turkey after another, Covent Garden continues to fly the flag. It has just brought back David McVicar’s production of Die Zauberfl... Read More

Dropping in on Hewitt’s Bach Odyssey

Posted on October 26, 2019November 1, 2019 by Michael Church
Angela Hewitt, Wigmore hall Angela Hewitt’s stamina is impressive. Over the past four years her Bach Odyssey has taken her round the globe, playing every note of Bach’s vast keyboard oeuvre. Sheâ€... Read More

Why Kurt Weill’s The Silver Lake is topical again – thanks to ETO

Posted on October 6, 2019October 9, 2019 by Michael Church
The Silver Lake/The Seraglio English Touring Opera Year after year, English Touring Opera’s resourceful director Ed Conway turns up trumps, and this year is no exception. Kurt Weill’s Expressionis... Read More
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Recent Posts

  • A powerful and convincing Butterfly at the ROH
  • From Glyndebourne a weird Boheme, with brilliant principals
  • At Garsington, the ‘Orfeo’ of our dreams, and a brilliantly revived ‘Cosi’
  • ENO’s new production of The Handmaid’s Tale – a clever staging, but a very unpleasant experience
  • Peter Grimes at ROH – a standout success

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