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.
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...
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...
Britten is often thought of as a precocious composer, enjoying a brilliant success as a young man, especially in opera, but with his inspiration gradu...
Among Rossini’s 39 operas ‘Elizabeth, Queen of England’ is unaccountably neglected. It marked perhaps the most important turning point of his life, as...
After successful outings in Amsterdam and at The Vaults, this debut play comes to Islington for almost a month in newly revised form. It offers an amb...
