What struck contemporary audiences as powerful and new – a supposed witch burnt at the stake, an abducted baby, a mother burning the wrong baby, an amorous rival killing his brother without realising his identity against the backdrop of civil war – is to us all but risible, were it not for Verdi’s melodic genius.
“He lifted me off the floor, pulled up my knickers. He spent some time rearranging me I remember. He smoothed my hair back off my face. Be our little secret, baby Leah yeah?”
Placido Domingo shows flashes of his former brilliance and proves that he’s not quite ready to make his final bow
80 years after its world premiere, Enescu's opera is being staged at the Royal Opera House for the first time
Elements of theatre can be hugely troubling or upsetting. Yes, there is a kind of sweet stupidity in attending an opera or a revenge tragedy if you are repulsed by death or sexual violence. That isn’t reason enough, however, to refuse to adapt
There’s a hole where the opera’s heart should be
This was a terrific company performance, with peasants, courtiers and Wilis vivid in their roles
What makes this evening unique is the way it allows three brilliant designers each to create a world
The Royal Opera's production of 'Cav and Pag' could take audience involvement to a new level
Georg Friedrich Haas¹s new opera is a meditation on life as seen from beyond the grave
'Expect soundscapes, not harmonies', says the composer of his Covent Garden premiere.
It’s an elaborate, expensive staging, but Carlos Acosta’s choreography is derivative
Cultural Life: The singer on her favourite music, film, tv and theatre picks
New 'national economic strategy' could see institutions such as the British Museum and the Royal Opera House moved away from London and the South East
Live theatre and series on writers and painters are waiting in the wings – with some familiar old faces
MPs tell Tony Hall to pay back £24,500 he received when he quit for Royal Opera House in 2001