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Andrew Clark has been writing about music for the FT since 1981. Based in central Europe for 15 years he reported on a wide variety of cultural events before returning to London in 1996 as chief classical music and opera critic.
He won the Salzburg Critic Prize in 1997 and was awarded a Special Prize by the Anglo-German Foundation in 1999.
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The Italian Girl in Algiers/The Elixir of Love, Theatre Royal, Glasgow
This double bill – which translates Rossini to the world of soap opera but invests Donizetti with more traditional virtues – could hardly be better contrasted, writes Andrew Clark
Turandot, Coliseum, London
Director Rupert Goold has taken dramatic licence to extremes, writes Andrew Clark. Just as Puccini took Gozzi’s drama as the starting point for a romantic fantasy about China, Goold takes Puccini’s opera as the starting point for a theatre director’s fantasy about . . . Opera? Sadism? Chinese restaurants?
Tristan und Isolde, Royal Opera House, London
You might hear a ‘Tristan’ as well played as this but Andrew Clark doubts if you’ll hear it as beautifully sung
Henri Dutilleux, Barbican, London
The start of the London Symphony Orchestra’s season announced a new and unexpected string to Valery Gergiev’s bow, writes Andrew Clark
Le Grand Macabre, Coliseum, London
Andrew Clark sees an absurdist fantasy swamped with empty spectacle and based on a single inert concept
Katya Kabanova, Eastwood Park Theatre, Glasgow
This opera is a daring – some would say foolhardly – choice for a company wanting to lure the uninitiated into the art form’s peculiar pleasures, writes Andrew Clark
