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The Latest Breaking News from Robin Ticciati

Tosca review – Puccini’s high-octane bloodbath bonanza makes for a shocking festival kick-off

Caitlin Gotimer’s Tosca goes from 0-60 in mere moments while the London Philharmonic unlock the barely contained violence in Ted Huffman’s long-awaited exceptional staging

The Guardian - UK

Káťa Kabanová review – furtive groping and a wing-bloodied angel stalk flawed staging of Janáček’s opera

Robin Ticciati conducts the London Philharmonic in this finely sung but inconsistent revival of Damiano Michieletto’s 2021 production

The Guardian - UK

Katya Kabanova at Glyndebourne: 'much to admire but doesn't quite deliver'

4/5 Full of caged birds and winged angels, this production is high on powerful symbolism but there’s something missing...

Evening Standard

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Elgar: Violin Concerto album review – Vilde Frang’s exceptional performance makes this one of the finest to appear on disc

In a startling, authoritative performance of Elgar’s demanding masterpiece, the Norwegian violinist and Robin Ticciati are utterly convincing

The Guardian - UK

The week in classical: Dialogues des Carmélites; Tristan und Isolde; LSO/Rattle – review

Poulenc’s shattering opera disturbs and confounds in Barrie Kosky’s new Glyndebourne production; Wagner meets the pre-Raphaelites at Grange Park Opera. Plus, a thrilling farewell from Simon Rattle

The Guardian - UK

Dialogues des Carmélites review – jeggings not wimples but Poulenc’s opera grips and haunts still

Barrie Kosky’s powerful new contemporary-set production is brought to life by a remarkable cast, led by Sally Matthews, and, in the pit, the LPO and Robin Ticciati bring heartbreaking delicacy and energy

The Guardian - UK

Poulenc double bill review – from emotional hell to exploding breasts and 40,000 babies

Pairing Poulenc’s one-acters La Voix Humaine and Les Mamelles de Tirésias allows Laurent Pelly to explore opposite extremes of emotion and desire in this passionate, full-blooded and hilarious staging that is superbly sung and played.

The Guardian - UK

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The Wreckers review – Glyndebourne bring Smyth’s rarity to vivid and passionate life

Director Melly Still and conductor Robin Ticciati have done Ethel Smyth’s 1906 opera proud, with dynamic and intense performances from an excellent cast and chorus.

The Guardian - UK

‘She’s badass’: how brick-throwing suffragette Ethel Smyth composed an opera to shake up Britain

She was bisexual, served a prison sentence, and was so outraged by cuts to her opera The Wreckers that she stormed the orchestra pit. Finally, this summer, it will be heard as its extraordinary composer intended

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