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

There was little to commend the new production of Mozart’s Don Giovanni at the Aix-en-Provence Festival 2017. The stage set lacked any recognizable theme, and the intermittently raised and dropped metallic curtains offered no discernible purpose. Ditto on the costumes

This summer, as part of the Hong Kong Music Series in London, the European première of the chamber opera “Datong: The Chinese Utopia” will take place on 27 and 28 July at the Richmond Theatre. Presented by the Hong Kong

Pianists Nancy Loo and Mary Wu will be collaborating as a duo alongside a stellar line-up of Hong Kong musicians for the first concert, ‘Musical Interflow’, of the Hong Kong Music Series in London. Interlude spoke to the two musicians

Classical composer Fung Lam and jazz guitarist Teriver Cheung teamed up with architect Anthony Lai to give us Hong Kong Episodes. The original 12-episode version received its premiere in Hong Kong in October 2015. With the 12 episodes, each could