High art or high camp?
Elektra, Royal Opera House
Goodnight Vienna
A new Austrian musical taps dark material to produce a brilliant, unsettling and darkly funny exploration of the Anschluss
The geopolitical prescience of Handel
On opera’s flirtation with current affairs
Divine trickery
Jephtha, Royal Opera House
Passionate subjectivity
La traviata, ENO, Coliseum
Missing the point
Why opera needs fictional dead women
Content warning
On triggering opera and Arts Council England
High-octane despair
Das Rheingold, Royal Opera House
Bad-boy opera
Tosca, Grand Opera House, Belfast
The cat in a hat
A colourful glimpse into a dramatic feast of sex and death
Carole Cadwalladr’s conspiracy theory
The feverish paranoia obscures valid questions
Fear and loving
Cricket in the West Indies has not been the same since the loss of Malcolm Marshall
Why was a foreign rapist in Britain?
The sad background to a horrific case
Trump: Post-Modernist?
The former — and future? — president has an awkward but interesting relationship with the truth
“Trope” is not a synonym of “lie”
You cannot dismiss an argument by calling it a trope
Oasis: the good boys of rock and roll
For guitar bands since punk, there’s been a tension between credibility and success
How should we teach about the Holocaust?
Keir Starmer’s social engineering aims seem ill-conceived
Conservatives can no longer trust institutions
Institutions are only as effective as the people within them and the culture beyond them
Mental illness is more complex than we think
There are no easy answers when it comes to mental health
Labour’s timebomb
This one-term Labour government will bequeath a wretched economic mess
Why I, as a mother…
Being a mother can change our perspectives and priorities
