RECENT: Defining Our Field - what is 'classical music' to us, why are we involved and what can we learn from our differences? Read John Dante Prevedini's essay, watch the panel discussion and make your own comments.
The late Patric Standford may have written these short pieces deliberately to provoke our feedback. If so, his success is reflected in the rich range of readers' comments appearing at the foot of most of the pages.
Without The Merry Widow, Franz Lehár would have been much less of a celebrity than he became. Born in Hungary on 30 April 1870, the son of a bandmaster, he took Dvořák's advice to be a composer. He wrote copiously in most genres, but nothing could outstrip the success of just one immortal operetta. He lived until 24 October 1948.
Ensemble. Three Days in Ravenna - Giuseppe Pennisi samples Northern Italy's high profile and wide-ranging arts festival
Ensemble. Respecting the Spirit of The Merry Widow - Giuseppe Pennisi relates how 'Die lustige Witwe' is enthralling Rome
Profile. A Silver Age - George Colerick writes about Franz Lehár, probably the greatest twentieth century composer of operettas
Ensemble. A Not so Merry Widow - Damiano Michieletto's joint venture with La Fenice is not a success in Rome, as described by Giuseppe Pennisi
Ensemble. Occupational Hazards - Opera North's staging of Franz Lehár's 'The Merry Widow', reviewed by Mike Wheeler
Ensemble. A Memorable Evening - Shostakovich's 'Leningrad' Symphony performed by two symphony orchestras in San Diego, and conducted by Valery Gergiev, heard by Ron Bierman
Mixed Successes - George Colerick writes about the operettas of Franz Lehár
Ensemble. The Joy of Operetta - Giuseppe Pennisi visits Ravenna for a trilogy of Danube stage works
Ensemble. A High-level Production - 'The Merry Widow', heard by Giuseppe Pennisi
Ensemble. High Energy Performance - A 'Salute to Vienna' concert, reviewed by Lawrence Budmen
Ensemble. Viennese Pastry - Franz Lehár's 'The Merry Widow', reviewed by Susan Hampton