Handel

Joyce DiDonato seduces you within the first 10 minutes: Royal Opera's Agrippina reviewed

5 October 2019 9:00 am

‘Laws bow down before the desire to rule…’ Centuries before ‘proroguing’ had entered British breakfast-table vocabulary there was Handel’s Agrippina,…

Musical shapeshifters: I Faglioni performing Leonardo: Shaping the Invisible at Milton Court Concert Hall Credit: Mark Allan/Barbican

The Holy Grail of concert-going: I Fagiolini deliver serious musicianship that never takes itself too seriously

11 May 2019 9:00 am

We’ve all read the article. It does the rounds with the dispiriting regularity of an unwanted dish on a sushi…

Desperate mothers, abandoned babies: the tragic story of London’s foundlings

4 May 2019 9:00 am

One of the oddest of Bloomsbury’s event venues must be the Foundling Museum. The handsome building on Coram’s Fields houses…

ENO's Jack the Ripper needs to decide if it wants to be a gore-fest or social history

6 April 2019 9:00 am

Is it possible to write a feminist opera about Jack the Ripper? Composer Iain Bell thinks it is, and his…

English Touring Opera's handsome production of Dido and Aeneas. Photo: Richard Hubert Smith

In praise of the English Touring Opera — a minor miracle of the arts world

27 October 2018 9:00 am

Wolverhampton; Workington; Blackburn; Sheffield; Lancaster; Hackney. Every year English Touring Opera does what our national opera company doesn’t: packs up…

Chorus of approval: the ENO chorus gives it the full Broadway, triple threats to a man, in Benjamin Britten’s Paul Bunyan (Photo: Genevieve Girling)

Often baffling but ultimately entertaining: Britten’s Paul Bunyan reviewed

15 September 2018 9:00 am

‘I feel I have learned lots about what not to write for the theatre…’ There’s a prevailing idea that the…

OPERA
The ENO Chorus in Acis and Galatea. Photo: Dani Harvey

A fun evening that finished early enough for dinner – neither a given in Handel

23 June 2018 9:00 am

On a sward of AstroTurf somewhere off Silicon Roundabout, Mountain Media is hosting its summer party and, well, it’s the…

A delicious operatic ragout of horror: Lady Macbeth of Mtsensk reviewed

21 April 2018 9:00 am

There is famously no door into the late-night diner of Edward Hopper’s ‘Nighthawks’. Its three silent patrons are trapped behind…

ENO's La traviata was so comprehensive a flop that it is painful to go into detail

24 March 2018 9:00 am

Handel’s Rinaldo has not been highly regarded even by his most ardent admirers. I have never understood why — even…

Excellent but there’s too much larking about: ENO’s Rodelinda reviewed

4 November 2017 9:00 am

ENO has revived Richard Jones’s production of Handel’s Rodelinda. It was warmly greeted on its first outing in 2014, though…

One of the best shows we’ve seen in ages from the ETO: Giulio Cesare reviewed

14 October 2017 9:00 am

Previously on Giulio Cesare… English Touring Opera’s new season caters cannily to the box-set generation by chopping Handel’s Egyptian power-and-politics…

Time to ditch authenticity for early music Proms

12 August 2017 9:00 am

They say the first step towards recovery is admitting that you have a problem. So I’m staging an intervention and…

The righteous tone of recipients of state money has been noticeable lately

10 June 2017 9:00 am

By the time you read this, the campaign will have drawn fractiously to its close, so here is a strong…

Love Handel: Christine Rice (Juno), Heidi Stober (Semele) and Jurgita Adamonyte (Ino) in Semele at Garsington

First-rate musical performance & production: Garsington’s Semele reviewed

10 June 2017 9:00 am

Handel’s Semele, one of the most enjoyable operas (or opera-oratorio, if you insist) in the repertoire, is, in its upshot,…

Insufferable rubbish: Glyndebourne’s Hipermestra reviewed

27 May 2017 9:00 am

Anyone who thinks they have experienced absolute boredom, or even doubts that such a state can exist, should go to…

Slyly surreal: Christopher Alden’s Partenope at ENO

Denial has rarely looked so good: ENO’s Partenope reviewed

25 March 2017 9:00 am

Ceci n’est pas une Partenope. Forget the warring classical kingdoms of Naples and Cumae: this is surrealist Paris in the…

The thrills are in the visuals: Philip Glass’s Les Enfants Terribles reviewed

4 February 2017 9:00 am

Kids: who’d have them? Certainly no one who has ever been to the opera. If they’re not murdering you, they’re…

Carry on camping: English Touring Opera’s ‘La Calisto’

Three ways not to do tragicomedy: English Touring Opera reviewed

22 October 2016 9:00 am

‘Besides feeble writing, there is a mixture of tragic-comedy and buffoonery in it, which Apostolo Zeno and Metastasio had banished…

Charles Own performing at the London Piano Festival, Kings Place. Photo: Amy T. Zielinski/Redferns

Life’s too short for ‘well-crafted’ pieces by musical mediocrities – and Handel

15 October 2016 9:00 am

There’s a folder in my computer’s external hard drive in which you’ll find 24 complete recordings of the Bach Cello…

George Cruikshank’s illustration for ‘Oliver Twist’ by Charles Dickens

Mutton, potatoes and ale – how children ate in the 19th century

24 September 2016 9:00 am

Modern Britain scratches its head over children who are overfed, not underfed, while guilt-ridden mothers stand accused of feeding children…

Memo to directors: it’s not all about you: Beethoven’s Leonore reviewed

16 July 2016 9:00 am

Leonore is the first version of Beethoven’s Fidelio, and Stephen Medcalf thinks it’s better. ‘What Leonore gives us is more…

A Handel opera that isn't by Handel, and a Mozart opera composed in 1990, reviewed

23 April 2016 9:00 am

Disguises and mistaken identities are a staple of opera, but usually as part of the onstage, not the offstage, action.…

Anna Devin as Alcina and Nick Pritchard as Ruggiero in ‘La Liberazione di Ruggiero’ at Brighton Early Music Festival

Has there ever been a better time to be a lover of Baroque opera?

28 November 2015 9:00 am

Time was when early music was a 6 p.m. concert, Baroque began with Bach and ended with Corelli’s Christmas Concerto,…

An abundance of spectacle: Iestyn Davies as David, with Sophie Bevan as Michal

Startling and sublime - even the candles got a round of applause: Glyndebourne’s Saul reviewed

1 August 2015 9:00 am

Caius Gabriel Cibber’s statues of ‘Melancholy’ and ‘Raving Madness’, their eyes staring blindly into the void, petrified in torment, once…

Why we should revel in the empty virtuosity of Handel's pasticcios

28 March 2015 9:00 am

Before the jukebox musical, back when Mamma Mia!, Jersey Boys and Viva Forever! were still dollar-shaped glints in an as-yet-unborn…