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HISTORICAL FACTS: Peter grimes - Caught on Camera

Peter Grimes review – beauty and terror in Warner’s topical staging

As the tormented fisherman, Allan Clayton currently has few rivals. He is matched by a superb cast in this gripping revival of Britten’s opera

The Guardian - UK

Peter Grimes at Royal Opera: A poleaxing production

4/5 Benjamin Britten’s opera is reimagined in gritty and grisly fashion in Deborah Warner’s powerful new take

Evening Standard

Albert Herring at English National Opera: 'Small scale but packs a punch'

4/5 Small but perfectly formed Albert Herring from an ENO entering its ‘twin city’ era

Evening Standard

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The week in classical: Peter Grimes; Parsifal; Yunchan Lim – review

Depleted yet straining every sinew, Welsh National Opera deliver a formidable new Peter Grimes. Elsewhere, down the aisle with Wagner and fearless Bach from the world’s next great pianist

The Guardian - UK

Peter Grimes review – WNO’s production of Britten’s masterwork seethes like a wild and cruel sea

Melly Still’s new staging production brilliantly captures the tortured guilt, small-minded bitching and flash-points of volatility, with Nicky Spence a sympathetic Grimes

The Guardian - UK

Opera director Netia Jones: ‘AI is not going away. Either you batten down the hatches or you ride the wave’

Royal Opera’s new associate director on her obsession with Peter Grimes, winning over tech-sceptics and the joy of school matinee shows

The Guardian - UK

Peter Grimes review – Netia Jones’s brutal new production electrifies

In the hands of Gothenburg Opera, Britten’s storm-tossed masterpiece takes psychological horror to the next level

The Guardian - UK

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David Edwards obituary

Other lives: Amateur opera singer with a fine tenor voice who established Bath Opera in 1977

The Guardian - UK

Allan Clayton: ‘I’m your tortured tenor for hire’

His committed performances and expressive voice have made him one of today’s most admired singers. As he prepares for Jephtha at Covent Garden, Allan Clayton ponders creativity, pigeonholes and facial hair

The Guardian - UK

A hotbed of English radicalism? Auden, Britten and the unsung glory of the Group Theatre

When they weren’t having screaming rows, the members of this overlooked 1930s collective changed the course of cultural history. Why isn’t it better known?

The Guardian - UK

The week in classical: Picture a day like this; Peter Grimes; Carol Williams: Mad Rush – review

Sparkling musical invention pierces the gloom of George Benjamin’s mysterious new chamber opera; Britten’s masterpiece holds its own at ENO; and one woman, 7,866 pipes and resounding fun

The Guardian - UK

Peter Grimes review – grim but compelling, Alden’s nightmarish staging returns to Coliseum

Everyone is traumatised in David Alden’s 2009 production of Britten’s opera. With Gwyn Hughes Jones and Elizabeth Llewellyn leading a standout cast, this is an evening of beauty and terror

The Guardian - UK

The week in classical: Wozzeck; Don Giovanni – Christian Gerhaher and Anja Kampe thrill in five-star Berg

Direction and music are as one in Deborah Warner’s gripping new Royal Opera production, while a fine young cast redeems thoughtful if low-key Mozart

The Guardian - UK

Mobile firms seek growth with insurers

Mobile operators are expanding their foothold in the insurance market via partnerships as digital insurance still has a low penetration rate and the business can help support customer retention.

Bangkok Post

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The Guardian - UK

An explosive act of violence: why Britten’s Rape of Lucretia speaks to our brutal times

Britten’s opera is a strange, unsettling and unbearably private piece. Set in ancient Rome and written over 70 years ago, its theme is still all too contemporary, writes the director of a new production

The Guardian - UK

The week in classical: Peter Grimes; Emerson Quartet; RPO/Petrenko

An all-star production of Britten’s opera thrilled; Soviet-era melancholy flowed through Shostakovich’s quartets; and the RPO rose to their game-changing new conductor

The Guardian - UK

Peter Grimes review – Compelling, unsettling and ravishingly sung

Deborah Warner’s detailed new production sets Britten’s opera in a decayed coastal town in post-Brexit Britain. Allan Clayton – on top form – leads an outstanding cast; conductor Mark Elder emphasises the score’s beauty and well as its violence

Evening Standard

Peter Grimes at the Royal Opera House review: Deborah Warner’s production is evocative and theatrical

The director evokes neglected contemporary estuary towns in her new version of the coastal tragedy

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