Sophia Lambton - Page 2

This evening of contrasting sentimental works was far too fiery to resound with echoes of the (Russian) soul.

A quarter of a century after its premiere, the long-running production is still worth a shot.

The Royal Opera's new production sidelines the opera in favour of meaningless chaos.

The spectacle is a hunger-inducing delight for the eyes.

Barrie Kosky's unmusical revival loses more steam on its second outing.

Antonio Pappano's conducting of the work evoked gloom but didn't approach closely enough the more sinister subject of death.

Under the baton of Sir John Eliot Gardiner, the evening exuded Romantic electricity - of a calibre not always the most musical or Berliozian.

Sir Simon Rattle enslaved the LSO under Ravel's near-supernatural spell; solo singers strived to follow him along the trail.

In the space of just a brief recital, Joyce DiDonato brings World History to Covent Garden (and makes some).

Magical realism is supplanted by kitchen sink comedy-drama in this adaptation of Neil Gaiman's 2002 hit novel of the same name.

In a production that relies more on extras' physicality and odd choreography than it does on singing and musicianship - opera's intrinsic components - Barrie Kosky experiments with too many genres and fails to grasp one.