Ceasefire's Cordelia Lynn reviews 'Einstein on the Beach', Philip Glass and Robert Wilson’s "impressive but demanding spectacle", which had its UK premiere at The Barbican last week.
In his latest column, Ceasefire's Classical and Opera critic, Paul Guest, reflects on what makes a really good pianist.
In his latest review, Ceasefire's classical and opera critic, Paul Guest, gives his verdict on the new production of Castor and Pollux at the English National Opera.
In an exclusive interview, Ceasefire's opera critic, Paul Guest, speaks to acclaimed conductor Paul Daniel, on the new production of Mozart's The Marriage of Figaro at the English Coliseum.
In his latest review, Ceasefire's classical and opera critic, Paul Guest, gives his verdict on the UK premiere of The Passenger at the English National Opera.
In today’s Observer, Classical music critic Fiona Maddocks writes “Given the current panic about music directors in the world’s opera houses – following James Levine’s abrupt departure, temporary or permanent, from the Met last week – let’s hope the ROH has shackled Pappano in chains and thrown away the key.” Of course Maddocks refers, above, […]
In his latest review, Ceasefire's classical and opera critic, Paul Guest, gives his verdict on a production of Donizetti's The Elixir of Love at the English National Opera.
In his latest column, Ceasefire's classical and opera critic, Paul guest, pays tribute to the fading glories of the Prima Donna.
In his latest review, Ceasefire's classical music and opera critic, Paul Guest, gives his verdict on a production of Puccini's La bohème at the Village Underground, Shoreditch.