Tim Hochstrasser is a historian teaching early modern intellectual and cultural history at the LSE. He has a long-standing commitment to the visual, musical and dramatic arts, and opera above all, as a unifying and inspiring vehicle for all of them.
Emma Rice is a wonderful example of a ‘marmite’ director, whose productions are either greeted as startlingly original interventions that make you loo...
Gluck’s contribution to the development of opera is still under-appreciated, straddling as he does the transition between the Baroque and Classical er...
‘Noises Off’ was first seen as long ago as 1982, and its many revivals since have ensured that it now enjoys a status not just as a classic farce in i...
This new play is a joint production between the Orange Tree Theatre and the Actors Touring Company. It is also Matthew Xia’s first production as artis...
As you take your seat the music of ‘The Lark Ascending’ washes across a stage carrying the outlines of a country house, and it would be easy to assume...
This first collaboration between director Ivo van Hove and the Comédie-Française is also the company’s first visit to this country in many years. The ...
Cendrillon is Jules Massenet’s late nineteenth-century version of the Cinderella story, which takes the gist of the familiar fairy story while moving ...
Afterglow enjoyed a very successful off-Broadway run in 2017-18 and now opens with a new cast and creative team at the Southwark Playhouse and a major...
This production represents Opera Holland Park at its best in making a fully persuasive case for an opera that often fails to convince entirely when st...
When this opera had its first performance at La Scala in 1896 the ‘verismo’ style of operatic writing was at its peak. But there is not much truth to ...
