ROMANTICISM: Explore the late George Colerick's fascinating series of articles encroaching on the subjects of melody, romanticism, operetta and humour in music.
On 30 December 1905 Franz Lehár's The Merry Widow opened in Vienna to a moderately full house. Maria Nockin tells the story.
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. A High-level Production - 'The Merry Widow', heard by Giuseppe Pennisi
Ensemble. What does this symphony mean? - Shostakovich's 'Leningrad', heard by Giuseppe Pennisi
Ensemble. High Energy Performance - A 'Salute to Vienna' concert, reviewed by Lawrence Budmen
Ensemble. Profoundly Satisfactory - English National Opera's new production of 'The Merry Widow', reviewed by Robert Hugill
Ensemble. Viennese Pastry - Franz Lehár's 'The Merry Widow', reviewed by Susan Hampton
Ensemble. Smiles on Faces - 'The Merry Widow' from Los Angeles Opera, reviewed by Maria Nockin