On Opera
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
Seasonal style
Picking the right outfit for summer socials
The pitfalls of protecting beliefs
Parties should have the right to make foolish decisions about what ideas to exclude
The Incredible Sulk
Nigel Farage is all about entertainment — not difficult questions
Murders for May
Killings in the new Japan, family feuds in India and the novel menace of AI
Diversion, disruption and distinction
Being memorable and sticky guarantees a novel a long and healthy life
Dear Keir, get real
Instead of announcing grand new doctrines, it’s time for a very British realism
The Road to the Cass Review — (3) Sue and Marcus Evans
What went wrong at the Tavistock Centre, and why
Murders for June
Murders haunt the longest days as well as the shortest
Violent delights
It’s 30 years since Pulp Fiction hit cinemas, and what a time it was to be young
Dancing around the issues
Who won? Certainly not the country
Doing something can be worse than doing nothing
The Gaza pier and the failings of a “do something” foreign policy
