Among the signatories are opera directors, conductors, musicians and singers
Rufus Norris’s National Theatre is wrong to scale back on Sunday opening
Is this the country's new cultural capital I see before me?
David McVicar’s production of Charpentier’s Médée – or Medea, in Christopher Cowell‘s felicitously idiomatic translation – is the most brilliant show to have graced the Coliseum in years. It’s by turns bold and brash – how could it not be, given the tabloid luridness of its subject matter? – and it’s also irresistibly seductive, as befits one of French Baroque music’s most ravishing scores which, after three centuries, is getting its first professional British staging.
Meet Mr T, the Hollywood veteran making his London debut in 'Dr Dee'
Edward Seckerson speaks to Benedict Nelson, Nicky Spence, and Duncan Rock who star in ENO's new production of Billy Budd
As an actor I have toured the world, but always with the hard shell of a play around me. Five years ago I was invited to travel to the Galapagos with my childhood acquaintance, the artist Dorothy Cross. We share zoologist brothers; they are friends and we were treading in their dream world, our strange symmetry!
New opera dresses characters as kids' favourites to portray citizens living in terror
This Romeo is all over the place. On the one hand, it stars the Bolshoi's magnificent Ivan Vasiliev and Natalia Osipova – charisma to their fingertips, his lithe warmth to her fizzing attack. On the other, this is a production where designs, performance styles and even venue haven't been introduced to each other.
One of the sensations of last year's opera calendar was the London showing of Dmitri Tcherniakov's revelatory Bolshoi staging of Tchaikovsky's Eugene Onegin.
Visit Iestyn Davies' website and you are instantly seduced by the ethereal strains of Handel's "Eternal Source of Love Divine", a number so amply demonstrating why this seductive young countertenor is making waves all over Europe and America.
Terry Gilliam - the sole American member of the original Monty Python troupe - has lost none of his devilish ability to provoke.
Sir John Tomlinson - one of the great Wagnerians of our time and surely the greatest Wotan since Hans Hotter - returns to English National Opera to sing the role of Gurnemanz, the eldest and wisest of the Grail knights, in Wagner's last opera Parsifal.
Opera is the one thing MIKE FIGGIS hasn't done before and as he bows in at English National Opera with Donizetti's Lucrezia Borgia he talks at length to EDWARD SECKERSON about theatre, film, and his first love - music.
Sharik, the dog - the star of Alexander Raskatov's opera A Dog's Heart receiving its UK premiere at English National Opera - doesn't say much. In fact he says nothing at all.
Elizabeth Llewellyn is making her English National Opera debut as Mimi in Jonathan Miller's production of La Boheme. As she says herself, that's a little different from bowing in as, say, the Third Lady in The Magic Flute.