JenĹŻfa at the ENO dazzles in performance and precepts
Janáček’s masterpiece reminds us that folk in the forgotten rural corners of the world lead lives laden with stories that need retelling.
Janáček’s masterpiece reminds us that folk in the forgotten rural corners of the world lead lives laden with stories that need retelling.
Mieczyslaw Weinberg’s holocaust opera, The Passenger, enjoins us to remember a story we forget all too frequently.
Tara Faircloth gave Salt Lake City’s operagoers a Figaro to die for. Die laughing.
One doesn’t normally expect to find an intoxicating performance of Pushkin’s Eugene Onegin in the Midwest.
This is the Met’s first new production of La forza del destino in thirty years.
Showing persistence and gumption to withstand the Trump machine until Super Tuesday is no small feat.
The energetic director’s one-man lonely opera club band is still engaged in successful manoeuvres across Europe.
Annilese Miskimmon’s production is an excellent justification for the threatened English National Opera.
Even long familiarity with the mezzo-soprano’s ability to totally immerse herself in roles did not blunt the impact of her interpretation.
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