Friendly overtures: Rosemary Waugh writes on her confidence-boosting one-to-one therapy session from an opera singer.
A beautiful, polyphonic cacophany: Philip Venables’ contemporary opera is an astonishing adaptation of Sarah Kane’s play.
Losing steam: Irish National Opera’s first production runs out of ideas and invention.
“Nailed it”: Hayley Bachrach overcomes her fear of the form at Pop-Up Opera’s accessible production of Englebert Humperdinck’s Hansel and Gretel.
“Poetically conceived and beautifully realised”: Daniel Perks admires the beauty and brevity of Leoš Janáček classic opera in Olivia Fuchs’ staging for Opera Holland Park.
An experience of great satisfaction: Maddy Costa reviews Thomas Adès opera adaptation of Luis Buñuel’s 1962 surrealist film.
“A cartoon samurai from the 80s, inexplicably crossed with a teletubby”: Andrew Haydon reviews the ENO’s staging of Wagner that is somewhat marred by costume and set design choices.
“There is a violence at the heart of this opera,” Maddy Costa reviews The Importance of Being Earnest, directed by Ramin Gray.
Amelia Forsbrook discovers a religious revolutionary with a choir boy’s sweetness.
Sapphic skirt pawing and neat duets make the women the stars of this ENO performance.
“Is this some kind of cult?” Tim Bano encounters an intriguing promenade opera by Emily Hall, set in the corridors of London’s Corinthia Hotel.
A review in verse.
An excess of tragic irony.
The brothers Grimm in bowler hats.
To be cradled at the heart of life’s contradictions.