Only in 18th century opera could a man/woman fitted up by his own father for a murder he did not commit be at one and the same time mourned and disowned by his father, sister, best friend, and lover.
One of Britain's greatest conductors and his wife ended their lives in a Swiss clinic, watched by their weeping family
Who knows if it really makes a difference or not when Verdi's Requiem is performed in the opera house but Antonio Pappano's vivid performance for the Royal Opera certainly had the whiff of theatricality about it. Churchy it was not – though you might imagine that the Royal Opera Chorus had been advised that their murmured repetitions of the words Requiem aeternam at the outset must sound almost indivisible from the mournful cello descent, as if emanating from deep inside some dark Italian cathedral.
You could experience a momentary double-take walking into the Royal Opera's Linbury Studio Theatre – thinking you've taken a wrong turn into the main house, as a cross-section of the ornate balconies and familiar red curtains of the latter confronts you. John Gay's original The Beggar's Opera was so successful that it laid the foundations for the theatre that is now the Royal Opera House.