Country Life

  • Marie Antoinette at the opera

    Marie Antoinette and her favourite composers

  • Master of the King's Music

    Errollyn Wallen and the First Night of the Proms

  • Festive feasts

    Operatic feasts of every kind

  • Puccini centenary

    100 years after his death Giacomo Puccini is still in the top ten

  • Tchaikovsky's Empire

    Book review of a new biography by Simon Morrison

  • Sackbuts and violins

    Period instruments and people who play them

  • Scents and sensibilities

    Oxford International Song Festival

  • Song

    Book review of a history of song by John Potter

  • Summer opera

    A round-up of the summer opera season

  • To sing like a Byrd

    William Byrd 400 years after his death

  • Christmas operas

    Festive moments in opera

  • The art of the accompanist

    More than just a support act

  • Diaghilev's Empire review

    How the Ballets Russes enthralled the world

  • John Rutter

    Spaces and buildings are a deep inspiration

  • BBC Radio 3 anchors

    Radio is an intimate medium, an antidote to dark times

  • Joyce DiDonato

    It’s essential to me to live the role, not merely to play it

  • 125th anniversary issue

    The exhilarating music of oratorios

  • Behind the scenes at the Proms

    An epic feat of logistical planning

Other publications

  • Longborough Festival 2024

    Siegfried and La Bohème

  • Opera North

    Puccini’s La rondine

  • Orfeo

    Longborough Festival

  • Opera Holland Park

    Itch: world premiere 2023

  • A favourite recording: Der Rosenkavalier

    HB chooses a personal favourite

  • Garsington Opera: Sisters

    Lord help the mister who comes between me and my sister

  • Garsington Opera: A formal friendship

    There was a Rosenkavalier train, Rosenkavalier cigarettes and Rosenkavalier champagne

  • The Oldie: Growing old disgracefully

    It’s never too late to learn

  • Longborough Festival Opera

    Wagner's Siegfried – from wild child to hero

  • Longborough Festival Opera

    Bizet's Carmen – the failure that wasn’t