Poulenc’s Dialogues des Carmélites is a special and very particular opera. There is nothing else quite like it. Just as the drama – set to the composer’s own libretto – teeters between fear and faith so too…
The heat is on in Saigon – and 25 years after its world premiere Cameron Mackintosh has just turned up the thermostat. Boublil and Schönberg’s celebrated take on Puccini’s Madam Butterfly has always been my favourite of…
You can count on Richard Jones for challenging our perceptions and turning expectation on its head but the image of the Marschallin rising Venus-like from her bath while showers of water rain down like gold dust on…
On the Richter scale of catchiness Richard Adler and Jerry Ross’ songs for The Pajama Game are right up there. Quite who did what in their brief but shining songwriting partnership was never entirely clear, though Adler…
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…
