Sir Adrian Boult laid the foundations for its revival, more recently Sir Mark Elder found astonishing illumination within it, and now a third knight of the realm – Sir Andrew Davis (the latest recipient of the Elgar…
Some performances evolve so naturally, so inevitably, that they feel – bespoke. Andrew Davis has a long history with both the BBC Symphony Orchestra (who gave him his first big break) and Elgar’s The Dream of Gerontius…
The “fantasy” Riviera conjured by designer Peter McKintosh for the West End premiere of Dirty Rotten Scoundrels – the Musical is pretty much an extension of the Savoy Theatre’s shining Art Deco auditorium, its sleek angular segments…
The names have been changed to protect the guilty but half the fun of I Can’t Sing! – the so-called X-Factor musical – lies in the relentless spoofing of a show we love to hate and a…
Die Frau ohne Schatten is an opera awash with high-flown symbolism and dubious, if not downright dodgy, sub-Freudian psychology. It peddles ludicrous notions about the inherent conflict between spiritual and physical love, frowning at the sex that…
The most ambitious musicals spring from the most unlikely sources – you need go no further than Stephen Sondheim to establish that – but turning those musicals from novelty into living, breathing, involving experiences requires very special…
Vasily Petrenko used his baton like a piratical rapier to galvanise the London Philharmonic violins in their flourishes of derring-do at the start of Berlioz’ Overture Le Corsaire. And the brilliance was in the quicksilver contrasts, the…
The hunchback slumps in his chair like some malevolent watchkeeper – master of all he surveys. But as the black front curtain is drawn back like a shroud or veil of deceit, the world according to Rigoletto…
There were, it seemed, enough trumpets to serve Gabriel throughout eternity – and, as fanfares go, this one was stretching a point and then some. LSO On Track had commissioned it from Sir Peter Maxwell Davies and…
English National Opera’s “ownership” of Britten’s Peter Grimes was more than a little advanced by the arrival of David Alden’s thrilling staging in 2009 – and seeing it again now only confirms what I thought and felt…
