This year, Laurent Pelly’s 2008 staging of Humperdinck’s fairy-tale favourite, Hansel and Gretel, with its economical, ‘recession-savvy’ sets — brown cardboard boxes ‡ la homeless-city, floor-mop ...

present production — the one Jean-Pierre Ponnelle was doing all over the operatic world — was created for Marilyn Horne, not so terribly long ago.

compilation is at once a celebration of Mahler’s enduring music in sound ...

the opera’s strange instrumental colourings which recreate the exotic imagery of Luigi Illica’s libretto for Mascagni’s tale of degraded and redeemed innocence.

the final phase of his operatic career. Here, finally, he found his true ...

Lucrezia is a fiendishly difficult work for all involved.

Moreover, the conductor is a good ëroutinierí and thatís all that can be said. Nowadays one doesnít accept anymore the truncated versions of yore with almost half an hour of music missing. Still as a ...

Now they are all grand old (mostly dead) men, and the public, which is as curious about new sounds in concert music as in popular music, having heard such sounds in the background of a hundred films, ...

Drawing on the tradition of operas on historic topics, the composer used the opportunity to recount the story of the sixteenth-century century painter Matthias Gr¸newald, best known today for his ...

At the core of the compilation is Rossini’s Serate musicali, a set of eight pieces, which the composer put forward for the study of Italian song, and Joan Sutherland offers a fine interpretation of ...

Music composed by Ruggiero Leoncavallo (1858-1919). Libretto by the composer based on a ...

lacklustre opening certainly wasn’t a case of ‘aging’. Eyre’s production may be 25-years-old but it’s still handsome in conception and design, Bob Crowley’s sets sculpting gracious spaces.