Adele Thomas News Today

Amid the funding woes there were still bright spots this year, from Bach to Byrd, and the Rite to Rachmaninov, while the streaming world continued to evolve and expand

Tuesday Musicale of Greater Pontiac is hosting programs celebrating the nonprofit's 100th anniversary.

Tuesday Musicale of Greater Pontiac is hosting programs celebrating the nonprofit's 100th anniversary.

With offices in Marbella, Javea and Tenerife, Chase Buchanan now provides personalised wealth management and financial guidance, pension transfers and...

If directors will insist on staging Handel oratorios as if they’re operas, it makes sense to pick Semele, which is practically an opera already. Under George II, opera was banned in London theatres during Lent (too exotick, too irrational), so Handel slipped his best material past the authorities by presenting it in concert format, set

Jonathan Dove transforms Simon Mayo’s ripping yarn into an exhilarating instant classic; it’s Thebes by way of Port Talbot in Adele Thomas’s Glyndebourne debut; and all hail the Hallé

PATRICK MARMION: By Jove, this is a rum view of Handels beautiful but hybrid piece - definitely profane rather than sacred, it has the strong choral presence of an oratorio.

Semele at the Glyndebourne Festival focuses on a protagonist who is engaged, but secretly in love with someone else.

Joélle Harvey and Jennifer Johnston are ravishing, and the chorus sensational, but Adele Thomas’s staging feels neither funny nor erotic enough for what is essentially a barbed Restoration comedy

Fine voices aren't quite enough in Verdi's epic royal tragedy. Opera review by David Nice