A John Adams ‘Passion’ staged by his regular collaborator Peter Sellars sounded promising, even if the latter was going to ‘craft’ the libretto. As Sellars’s synopsis made clear, The Gospel According to the Other Mary would juxtapose Biblical ev
The rate at which a George Benjamin opera gestates is glacially slow, and his long-awaited Written on Skin , triumphantly premiered at Aix last summer, has now reached London. And though a 100-minute, interval-free symbolic drama set to post-tonal music
Benjamin Britten’s take on John Gay’s The Beggar’s Opera is coruscatingly original, yet its only airing scheduled for this centenary year – courtesy of young singers from the European Opera Centre - has briefly come and gone in Liverpool. And if i
Little by little Maxim Vengerov is easing himself back into the mainstream, after injury and burn-out. His last Barbican foray - with a concerto - was marred by a loss of nerve at critical moments: this time he was going for broke with a chamber recital w
David McVicar’s production of Charpentier’s Médée – or Medea, in Christopher Cowell‘s felicitously idiomatic translation – is the most brilliant show to have graced the Coliseum in years. It’s by turns bold and brash – how could it not be,
Alban Berg’s Lulu is a great opera, and greatly problematic.
Berg died leaving just a vestigial sketch of Act 3, which was heroically completed forty years later by Friedrich Cerha. But some felt Cerha’s act was too long, and in 2008 Eberhard Kloke