News Soprano Rae Woodland as Constanza and baritone Jess Walters as Isaccio in Handel's opera 'Riccardo Primo' or 'Richard I', performed by the Handel Opera Society, 28th June 1964

I first heard Rae Woodland at the Nottingham Albert Hall in the mid-1960s when she sang the soprano solos at one of the Nottingham Harmonic Society's annual performances of Handel's Messiah.

Film review: Love Tomorrow packs very little emotional punch

Christopher Payne, 79mins Starring: Cindy Jourdain, Arionel Vargas, Max Brown (PG)

John Percival: Dance critic for ‘The Independent’

The dance critic John Percival belonged to a generation which, in the 1950s, persuaded newspapers to employ specialist writers rather than making do with music critics. Before joining The Independent (1997-2002), he had been The Times' critic for 32 years. He was a familiarly tall silhouette at performances, always there because he had an exceptional receptiveness to dance of any creed and faithfully fulfilled the critic's duty to be well informed. Where others might flag after a few weeks of non-stop performances, he was invariably hungry for more.

Fame And Glory can retain the Gold Cup for Aidan O'Brien

Trainer can taste Fame and Glory once again

One of many dividends from the emergence of Galileo and Montjeu, as heirs to Sadler's Wells, was a new commercial respectability for staying pedigrees. As a result, Coolmore Stud's principal trainer has been able to perform something of a transfusion for the reputation of the Gold Cup, highlight of Ladies' Day at Royal Ascot.

Derek Hammond-Stroud: Acclaimed baritone

The baritone Derek Hammond-Stroud was remarkably versatile, encompassing lieder and opera from Gilbert and Sullivan to Wagner and Richard Strauss.

O'Brien's lesser lights stride into frame for Epsom Classics

The established Ballydoyle stars are scheduled to glitter at Newmarket at the weekend, with Camelot and Maybe, last year's top-rated juvenile colt and filly, short-priced favourites for the 2,000 Guineas and 1,000 Guineas respectively. But there have been echoes of light from some of their less-exposed Aidan O'Brien stablemates, notably the filly Kissed at Navan yesterday and the colt Imperial Monarch at Sandown on Saturday.

English National Ballet plans a tilt at street dance in June

Don Garrard: Bass who made his name with the Sadler's Wells company

The Canadian bass Don Garrard sang in the UK for over 20 years, with the Royal Opera, Scottish Opera, Welsh National Opera, and above all with Sadler's Wells, now English National Opera. He had a natural authority, both of voice and bearing, that served him well in roles such as Sarastro in The Magic Flute, Prince Gremin in Tchaikowsky's Eugene Onegin and the Grand Inquisitor in Verdi's Don Carlos. The warmth of his voice and personality also allowed him to play loving fathers with equal facility; among these Daland in Wagner's The Flying Dutchman and Arkel in Debussy's Pelléas et Mélisande are good examples. His singing was also much appreciated in Canada and the US.

Bourne again: ballet's enfant terrible bites back

Modern choreography's most colourful figure is getting his teeth into Sleeping Beauty

Sylvie Guillem, Sadler's Wells, London

Artistry and ageing inspire new works for the woman who thrills choreographers and audiences

Sylvie Guillem: 6000 Miles Away, Sadler's Wells, London

Some of dance's biggest names are brought together in 6000 Miles Away: superballerina Sylvie Guillem and choreographers William Forsythe, Jirí Kyliá* and Mats Ek. Guillem has an impressive commitment to new choreography, her taste often running to quiet, even grungy, contemporary work. Here, there's an intriguing contradiction between low-key dance and the splash of a major star.

Sylvie Guillem: Dancing to her own tune

At 46, Sylvie Guillem is still an incredible dancer. The secret's in her admirably single-minded approach, says Hannah Duguid

Les Ballets C de la B, Sadler's Wells, London

Somewhere over the rainbow, there are men in trousers

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