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Michael White
God at the Proms: Three powerful performances in this year’s season
Poulenc’s glorious surrealism
Michael White is enchanted by a vibrant double-bill of absurdist opera at Glyndebourne and welcomes Mark Adamo’s Little Women to London
Exaggerated greatness: The Wreckers reviewed
Music on the Moors
Michael White enoys a unique musical experience and reflects on the very different pressures musicians and choristers faced hundreds of years ago
Vermeer: A Catholic painter in Calvinist Delft?
A Passion Project
In Oberammergau, the other week, an entire Bavarian village geared up for the opening of this year’s Passion Play.
Choirs at Christmas
Britten's "Peter Grimes" is a tale for our times
Finding intensity and delight in new and abounding talent
Too much to Handel
The Royal Opera’s flashy production of ‘Theodora’ reduces its Christian context to a minimum, says Michael White
Response to life
A variable set of Summer performances, from Holst to Britten
Celestial assault in a mind-altering performance of Hildegard’s soaring music
Israel-Palestine anxieties bear heavily on productions at Covent Garden and Bath
Enjoying tango and church music
Festive fortunes
Over Christmas, Michael White is unmoved by Verdi’s ‘Nambucco’ and charmed by Berlioz’s ‘L‘Enfance du Christ’
Dark shows for dark times: going toe to toe with Elektra and The Handmaid’s Tale
Benjamin Britten's surprising habit of 'Christianising' non-Christian stories in his operas
Henryk Górecki: A sonic exorcism
A look from afar: thoughts of Advent in Cambridge and further afield
An "outstanding" opera and some "memorable" interpretations of Bach
A surfeit of minor keys this Easter
MacMillan’s Christmas cracker
<I>Michael White</I> reports on the premiere of James MacMillan’s Christmas Oratorio and the annual Britten festival in Suffolk
A smile from Monteverdi
Leaving space for the music
Violet grasps a core truth about opera: that good narratives don’t tell you everything but leave space for the music to fill in, working a magic of its own.
Spirituality, if not religion, in the works of Bach and Britten
From Cheltenham to Ryedale: the highs and lows of the festival season
Fauré's Requiem – Facing death through music
A salute to the restless genius of Sir Stephen Hough as he takes centre stage at Wigmore Hall
Michael White salutes the restless genius of Sir Stephen Hough as the composer takes centre stage at Wigmore Hall
Byrd’s secret music soars
Believing in a better Britten
Michael White on ENO’s questionable festive offering, the best and worst of Snape Maltings’ Britten Weekend, and a tribute to Peter Tranchell
Poulenc’s glorious surrealism
Michael White is enchanted by a vibrant double-bill of absurdist opera at Glyndebourne and welcomes Mark Adamo’s Little Women to London
Rheingold: Opera as life and death at the Royal Opera House
Pole stars hit the right note
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