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 play has been on tour in the last year and now comes into Earlsfield for one performance on Holocaust Memorial Day, with all proceeds going to ch...
This double bill which formed part of the English National Ballet’s residency at the Coliseum was an odd and ultimately unsatisfactory pairing. There ...
Sometimes theatre overwhelms you with the collective power of all the dramatic arts gathered and then released by the full spectacular resources of a ...
What is there new to say about Floria Tosca’s journey from piety and artistry through to a final symbolic confrontation with Baron Scarpia on the batt...
Salome was Strauss’ breakthrough opera and it has all the hallmarks of his early style – lush voluptuous writing for orchestra and the soprano voice a...
Rossini loved food. A gourmand and gourmet after whom many dishes were named, one of the few times he is known to have shed tears was when he lost a p...
Transpose: Barbican is now in its second year as an event for transgender performers to find and express their own voices and experiences. The evening...
Coriolanus comes to the Barbican as the first instalment of the RSC’s Roman season in a transfer from Stratford. Any production of this under-performe...
This famous opera regained its place in the repertory thanks to the role it played in the careers of Callas and Sutherland. However, it is has sustain...
Thirty five years ago Insignificance was the breakthrough play of Terry Johnson, and from it came the film directed by Nicholas Roeg that is perhaps m...
