The slavery of young women and girls may be an unusual subject for an opera but the creators of Anya17 have a political point to make Glyn Mon Hughes discoversRead
IT’S easy to forget how much music Mendelssohn wrote for the theatre. It’s hardly surprising, really, considering the drama he built into oratorios such as Elijah or the Lobgesang, that fine final movement of the second symphony.Read
WHEN Mozart’s colourful composition, The Magic Flute, comes to the Liverpool Empire for two dates in November, it will the first time James Southall has ever conducted Welsh National Opera.Read
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