Starting in 2016, the ‘Festival du Bruit qui Pense’, founded by pianist Ingmar Lazar, started on its unique journey. Mr. Lazar’s vision rested on the communication between the arts. Over the three days of his upcoming festival (March 23-24-25), there

Vancouver Opera is the distinguished and well-liked company founded in 1958 by a group of visionary community leaders. They believed in the value of the performing arts in the life of a great city in Canada. Each year, it has

The sense of achievement at this Götterdämmerung was palpable. The Hong Kong Philharmonic has now completed, over four years, a full Wagner Ring Cycle. It is fair to say that what started as a very competent sounding orchestra in 2015

For many reasons this was an odd night at the Royal Opera House. For one, this was the sickest audience I’ve ever encountered. The coughing in the auditorium was so intense, it took on cacophonic dimensions during the scene changes.

What could be better than one harpist? —nine-hundred and fifty-seven harpists! Of all ages and backgrounds, they descended upon Hong Kong in July, to attend this years’ thirteenth World Harp Congress—the first time the congress has been held in Asia.

When the Royal Opera House premièred Katie Mitchell’s production of Donizetti’s Lucia di Lammermoor in spring 2016, the management posted numerous warnings about the on-stage sex and violence. Few contemporary directors, not even the provocative exponents of the more ambitious

Salzburg doesn’t fear difficult opera. And Alban Berg’s Wozzeck certainly qualifies as one. Infrequently performed on more conventional stages because of the inaccessible music and distressing storyline, Salzburg embraced it wholeheartedly, both musically and visually.

The Salzburg music festival’s new director Markus Hinterhaeuser boldly outlined the motto of this year’s program as ‘power’: “strategies of power, its disgraces and horrors, but also with the ability to forgive.” With this bold declaration Hinterhaeuser possibly tried to