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 thriller was produced to acclaim at the Camden venue Theatro Technis last year and returns now for a welcome second outing, with mainly the origi...
First performed in 1905, ‘Salome’ was Strauss’ breakthrough opera, and is still perhaps the most startling despite all the later successes in collabor...
Treatments of the Faust story abound in many languages, musical and literary formats. It is a bold and brave endeavour on the part of composer Simone ...
In the programme for this new production of Othello, director Claire van Kampen states explicitly that she is aiming for a two-hour running time and a...
Samuel Barber’s Vanessa (1958) is a work at once accessible and elusive, and a successful production revolves around breaking down that paradox and re...
Kahlil Gibran, the Lebanese prose-poet, is still little known in the West despite the fact that his writings, in both Arabic and English, remain conti...
As the final opera this season Opera Holland Park presents the second and usually performed version of ‘Ariadne auf Naxos’. It is an exceptionally suc...
Each year Opera Holland Park includes one less well known or even forgotten work from the era of Puccini. This year’s choice, ‘Isabeau’ dates from 191...
This opera matinee has become not just a focal point for the Jette Parker Young Artists themselves at the end of their association with Royal Opera Ho...
Verdi’s last opera is a two-fold miracle – of both economy and prodigality. He started with the advantage of Boito’s superb libretto which strengthen...
