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.
Henrietta Bredin talks to the Earl of Harewood about a life in opera
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.
What are the ingredients of a good audio guide? Henrietta Bredin investigates
Matthew Warchus tells Henrietta Bredin why he is directing an American play inspired by Molière
Conductor Marin Alsop talks to Henrietta Bredin about sharing a concert platform with Bernstein
Henrietta Bredin goes backstage at the Royal Opera House and finds a stash of weaponry
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
Henrietta Bredin on how Music for Life can help overcome the isolation of dementia sufferers
Henrietta Bredin talks to Spencer de Grey, architect of the new opera house in Texas
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.
Henrietta Bredin talks to Simon McBurney about his latest challenge: doing Beckett for the first time
Henrietta Bredin gets to grips with the daunting challenges faced by the technical team at ENO
Henrietta Bredin talks to David Pountney about running the Bregenz Festival
Sean Rafferty tells Henrietta Bredin how an abbot persuaded him to make his first recording
Henrietta Bredin talks to Ruth Wilson about her role as Stella in the Donmar’s Streetcar
Henrietta Bredin talks to Janis Kelly about her role in Rufus Wainwright’s first opera, Prima Donna
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.
Henrietta Bredin finds out what it is that draws actors to the gruelling one-man show
Katie Mitchell explains to Henrietta Bredin how she is creating a parallel film world with Purcell’s opera
Henrietta Bredin talks to Jonathan Pryce about the difficulties he found with Athol Fugard’s Dimetos
Henrietta Bredin talks to the baritone Gerald Finley about how he portrays ‘the destroyer of worlds’
A new arts centre with no public subsidy? Henrietta Bredin talks to its founder Peter Millican
Henrietta Bredin talks to Ian McDiarmid about turning a novel set in Scotland into a play