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.
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 ...
‘La damnation de Faust’ is, even by Berlioz’ standards, an odd work. Neither opera nor oratorio, but a self-styled ‘dramatic legend’, it is normally c...
In mounting the Henry IV and V plays as the opening trilogy of this year’s season Michelle Terry is inviting comparison with one of the most notable p...
In the best of flamenco you are drawn deeper and deeper into the emotional meaning of the piece through the stylised intensity of the dancing and the ...
Despite many successful revivals in the USA this musical has – incredibly – not been seen in London for fifty years. Of course there is one number – ‘...
The Bay at Nice was first seen as part of a double bill at the National Theatre back in 1986. Written at the end of the Cold War, it is set in Leningr...
