2015 year in review: Opera

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George Hall

George Hall writes widely on opera and has contributed regularly to The Stage since 2000. He has also contributed to such publications as T...

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The Stage 100: Bringing theatre back – on stage and online (part 1)

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The Stage 100: Bringing theatre back – on stage and online (part 2)

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The Stage 100 2021: List in full

Features by The Stage

20 Shots of Opera

Reviews by Steph PowerOnline

Drama schools are central to theatre’s rebuilding project

Should non-singing actors try their hand at musicals? Well, it depends...

Reading plays in lockdown isn’t a substitute but a visceral experience of its own

We all want theatres to reopen, but responsible producers know patience is a virtue

This year’s tax return is salt in the wound for struggling freelancers

How will theatre respond to Trump’s presidency?

Theatre is changed – things will never be the same, but that’s no bad thing

Seize the moment, theatremakers – we’ll regret not doing what we can today

We all want theatres to reopen, but responsible producers know patience is a virtue

Embracing slowness would make theatre more thoughtful and inclusive

What will 2021 hold? Theatre leaders share their hopes and fears

The loss of theatre businesses such as the Corner Shop in London should worry us all

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The Stage 100: Bringing theatre back – on stage and online (part 1)

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The Stage 100: Bringing theatre back – on stage and online (part 2)

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The Stage 100 2021: List in full

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Sky Arts to broadcast new Glyndebourne documentary

News by Giverny Masso

George Hall

George Hall writes widely on opera and has contributed regularly to The Stage since 2000. He has also contributed to such publications as The New Penguin Opera Guide and the Oxford Companion to Music

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Natalya Romaniw: ‘If there are tears to be shed, I get the emotion out in rehearsal’

Opera composer Gerald Barry: ‘The most money you got was for an opera: so I decided to write one’

Tenor Mark Padmore: ‘I’m in awe of quite how wonderful Death in Venice actually is’

Opinion

Latest
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Drama schools are central to theatre’s rebuilding project

Should non-singing actors try their hand at musicals? Well, it depends...

Reading plays in lockdown isn’t a substitute but a visceral experience of its own

We all want theatres to reopen, but responsible producers know patience is a virtue

This year’s tax return is salt in the wound for struggling freelancers

How will theatre respond to Trump’s presidency?

We all want theatres to reopen, but responsible producers know patience is a virtue

The West End is facing its most radical shake-up in decades

Brexit will leave UK theatremakers stranded from the world unless ministers act now

Should non-singing actors try their hand at musicals? Well, it depends...

This year’s tax return is salt in the wound for struggling freelancers

Seize the moment, theatremakers – we’ll regret not doing what we can today

Advice

Screenwriter and film director Daniel Johnson: 'Change is already afoot'

by John Byrne

Caroline Lennon: 'My first job taught me there's no such thing as a bad audience'

by John Byrne

Win free training at Cygnet Theatre with The Stage Scholarships

by Paul Vale

What will happen to acting foundation courses in 2021?

by Sarah Lambie

Keisha Thompson wins £10k theatre prize at Arts Foundation Futures Awards

Shows created by the Manchester-based theatremaker include I Wish I had a Moustache, which explores the history of the female beauty regime, and Man on the Moon, based on Thompson’s relationship with her father

Keisha Thompson wins £10k theatre prize at Arts Foundation Futures Awards

Shows created by the Manchester-based theatremaker include I Wish I had a Moustache, which explores the history of the female beauty regime, and Man on the Moon, based on Thompson’s relationship with her father

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2015 year in review: Opera

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