Henrietta Bredin


Wit of a hunter-gatherer

Over the years Chris Beetles must have made the pencil-wielding fingers of Quentin Blake and Ronald Searle itch with a desire to draw him.


A passion for music

Henrietta Bredin talks to the Earl of Harewood about a life in opera

Anthony Whitworth-Jones: Garsington on the move

When is a country-house opera not a country-house opera? When it no longer has a country house attached. This is what is about to happen to Garsington Opera, which is moving, lock, stock, barrel and picnic basket, from the exquisitely planned and intimate gardens of the Bloomsbury-redolent Garsington Manor near Oxford to the wide-open rolling hills of the Wormsley Estate in nearby Buckinghamshire.


Guiding principles

What are the ingredients of a good audio guide? Henrietta Bredin investigates


Molière with a US accent

Matthew Warchus tells Henrietta Bredin why he is directing an American play inspired by Molière

The great communicator

Conductor Marin Alsop talks to Henrietta Bredin about sharing a concert platform with Bernstein


In the firing line

Henrietta Bredin goes backstage at the Royal Opera House and finds a stash of weaponry


A view from the pit

Henrietta Bredin talks to the leader of ENO’s orchestra about working ‘in the trenches’


Henrietta Bredin on boats, trains, planes that transport singers around the stage

Communicating through music

Henrietta Bredin on how Music for Life can help overcome the isolation of dementia sufferers

Dallas bucks the trend

Henrietta Bredin talks to Spencer de Grey, architect of the new opera house in Texas

A colossal achievement

There is a slightly odd but pleasingly old-fashioned feel to the design for the dustjacket of this book, with its early London Underground style of lettering and a painting of the Coliseum at night, as viewed from Trafalgar Square, in 1905 — some decades before the building became home to English National Opera.

Ready for anything

Henrietta Bredin talks to Simon McBurney about his latest challenge: doing Beckett for the first time

Behind the scenes at the Coliseum

Henrietta Bredin gets to grips with the daunting challenges faced by the technical team at ENO

An ‘intelligent spectacle’

Henrietta Bredin talks to David Pountney about running the Bregenz Festival

A close engagement with music

Sean Rafferty tells Henrietta Bredin how an abbot persuaded him to make his first recording

‘A sticky, sweaty play’

Henrietta Bredin talks to Ruth Wilson about her role as Stella in the Donmar’s Streetcar

Dangerous territory

Henrietta Bredin talks to Janis Kelly about her role in Rufus Wainwright’s first opera, Prima Donna

Grecian jewel

I am sitting in the town square of Hermoupolis, capital of the Greek island of Syros, when I am approached with great courtesy by a gentleman carrying a bundle of papers, on the top of which I can make out the words Notenbüchlein für Anna Magdalena Bach.

Alone in the wilderness

Henrietta Bredin finds out what it is that draws actors to the gruelling one-man show

Dido’s life on camera

Katie Mitchell explains to Henrietta Bredin how she is creating a parallel film world with Purcell’s opera


‘I have no idea what’s going on’

Henrietta Bredin talks to Jonathan Pryce about the difficulties he found with Athol Fugard’s Dimetos

Revealing the physicist’s soul

Henrietta Bredin talks to the baritone Gerald Finley about how he portrays ‘the destroyer of worlds’

‘It’s less risky to take risks’

A new arts centre with no public subsidy? Henrietta Bredin talks to its founder Peter Millican

Giving life to characters

Henrietta Bredin talks to Ian McDiarmid about turning a novel set in Scotland into a play