The English National Opera was the highest profile loser as its grant was slashed a third in the Arts Council’s three year funding shake up, while concerns were raised over the number of regional organisations to lose funding.
If this doesn't get you nostalgic for the pop punk days of your youth I don't know what will – watch as YouTube drummer extrodinaire Kye Smith blasts through every Blink 182 song in just over five minutes.
It’s taken Glyndebourne eighty years to get round to doing La Finta Giardiniera, the rarely-performed dramma giocoso Mozart wrote when he was eighteen.
Christoph Loy’s serenely assured take on Strauss’s teasing amalgam of high-flown tragedy and ribald comedy is proving one of the most enduringly enjoyable productions in the Covent Garden repertory; the razzmatazz of the Prologue, with its grand to-and-fro between upstairs and downstairs, gives way to an operatic staging whose elegance perfectly matches the restrained beauty of the score.
It may be customary for Janacek’s operas to be performed in their original Czech – and one knows that the rhythm of the music closely follows the rhythm of Czech speech – but The Cunning Little Vixen cries out for translation: its conversational libretto moves so fast that, with Czech, one’s gaze is of necessity firmly fixed on the surtitles.
The Georgian singer at the centre of a homophobia row has been released by Opera Australia over an “unconscionable” Facebook post that described gay people as “sewage”.
A Georgian opera star who faced anger over a Facebook post comparing gay people to “sewage” has claimed that it was her husband who wrote the comments on her account.
Audience etiquette at classical music concerts has often been as fascinating to observe as the concert itself. Don’t clap between movements. Do cough between movements. Indeed, the louder the between-movements cough, the more it signals that the cougher is a music aficionado.
When Tom Morris launched the Bristol Proms, he invited audiences to participate with enthusiasm in a festival which would destroy the stuffy conventions of traditional classical concerts.
Flamboyantly designed by Paul Brown, Jonathan Kent’s production of Puccini’s Manon Lescaut could not be more different from Laurent Pelly’s daintily stylised Belle Epoque version of Massenet’s take on the story which we saw in the same house four months ago.
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