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.
Intense, lean, witty and stripped of cliché: a 'Carmen' worth the wait
The Royal Opera House has lost a respected leader
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
It's not only the narrative tension that turns on interlocking screws in Glyndebourne's production of Britten's claustrophobic masterpiece.
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.
Birmingham Royal Ballet's Cinderella has swift storytelling, marvellous designs and a tender heart. New last Christmas, it has been a success on tour and on television, and arrives at the London Coliseum looking as bright as ever.
We have visited this hostile land before, but Benedict Andrews' cast is fully engaged and Monteverdi's score beautifully played
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.
Amanda Roocroft was a star from the moment she graduated from the Royal Northern College of Music. At 25 Sir Georg Solti asked her to sing Pamina at the Salzburg Festival. She declined. It was too soon. Where would there be left to go? "Hurry slowly" would seem to have been her motto and now that she is playing - for the first time - a diva with 300 years of experience the decisions she has made in her career are more than ever falling into perspective.
The tenor Toby Spence tells Jessica Duchen why his new role is apt