You really have to hand it to Handel. It's as if, way back in 1744, he was sufficiently prescient to create the ideal work for the intrepid 27-year-old Toronto organization Opera in Concert, which ...

Eccles’s 1706 work is a fascinating insight into its era, and this clean, light-on-its-feet version is a truly gratifying listen What if something – say, the lack of a visa-free touring agreement – ...

Annilese Miskimmon’s beautifully sung but sardonic production lends the saga of the gods some of the vividness and surreality of early 60s Hollywood Annilese Miskimmon’s sardonic new production of ...

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Roula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter. Semele has a problem. She has fallen for Jupiter, the king of the gods, and he for her, but if she asks for the ...

Performances in N.Y.C. Advertisement Supported by By Anthony Tommasini Knowing nothing about opera should disqualify a director from being invited to stage one. At least you would think so. Yet many ...

For its first-ever production of Handel’s sparkling, irresistibly tuneful “Semele,” Seattle Opera has pulled out all the stops. Aware that this is only the third work by Handel to grace the company’s ...

Semele is playing at the Royal Opera House on various dates until 18 July. Beautiful music, glorious singing and a doubtful production combine to create mixed feelings about Handel's Semele at the ...

Roula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter. Even in 1744 Handel's Semele left its audience nonplussed. The premiere was given in concert during Lent but ...

Joélle Harvey is dazzling in this thundering love story, but the production lacks cohesion, while slicing the dinner interval feels strange Telegraph Opera Critic, Nicholas Kenyon, is an author and ...

Leonardo García Alarcón cuts Semele copiously yet reinstates two numbers that Handel rejected and never performed. Part 1 is given complete (paradoxically, where Gardiner’s recent live Alexandra ...