Stalin’s operatic storm-out strikes fear in shostakovich

Had Tchaikovsky had his way, his The Tempest might not actually have had a tempest in it at all. As he first pondered his Shakespearean fantasy-overture in early 1873, the Russian composer considered

Just two decades after the premiere of George Gershwin’s Porgy and Bess, the Soviet Union paid a New York opera company to stage performances there. The year was 1956 and the Cold War was well underwa

In 1984, a truncated version of Maurice Ravel’s orchestral piece Boléro was used to accompany a routine by British ice-dancers Jayne Torvill and Christopher Dean at the Sarajevo Winter Olympics. The p

In other circumstances, it would be heartening to see an opera getting national attention. Yet once again, the recent buzz around Covent Garden concerns politics rather than performances. The latest f

Alexandra Wilson charts opera’s wild vicissitudes of fortune under both Labour and the Conservatives

Jan Smaczny is enthralled by Isabelle Faust’s unique approach to the demanding material of Bach’s little-known violin works JS Bach Sonatas for Violin and Continuo Isabelle Faust (violin); Kristin von