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.
The relationship between text and dance is at once both tense and potentially rewarding to each. Dance can illustrate or enhance a verbal narrative, b...
As a primarily non-verbal creative medium dance is always a challenge to the reviewer trying to find suitable words that are evocative rather than pre...
A really fine performance of this opera is very rare: often productions veer too much in the direction of cheap farce on the one hand or brittle cynic...
‘La Traviata’ stands alongside ‘Il Trovatore’ and ‘Rigoletto’ as one of the three operas that launch Verdi’s middle period when he had attained full m...
The Tap Pack is a well-established Australian touring group of exceptional tap dancers – precise, balletic and athletic - who also are no mean singers...
The challenges and often gritty realities of English rural life are not examined often enough by contemporary playwrights, and Joe White deserves cred...
If ever one doubts the destructive power of a bad review, then Lady Macbeth of Mtsensk provides the sharpest reminder. Shostakovich’s second opera was...
Les ballets C de la B has an eclectic, holistic approach to its creations which makes both it and them hard to classify. Renowned for their collaborat...
‘In every creature, a spark of God’ wrote the composer on the title page of this, his last opera, now given its first ever Covent Garden performance. ...
The Omnibus is a welcoming 90-seater space housed in a former library, with a bright, cheerful bar and a resident feline to distract you on your way t...
