Paul du Quenoy on a revival of “Boris Godunov,” at the Royal Opera.

Two gold and velvet notes—there Rolls met Royce. It’s supposed to be humorous. But it’s painfully strained, and not, to my tastes, remotely funny. It, however, wasn’t written for me: it was written ...

The Ligeti was his Étude No. 4, “Fanfares,” from 1985. It was light and limpid, and flavored with jazz. The Liszt was the Rhapsodie espagnole, from 1858. It is jaw-droppingly difficult. And Mr. Liu ...

Having lived away from Buenos Aires for more than thirty years, I, when back there, cannot stop thinking that my hometown still bears the physical confidence of a country that once expected the future ...

Natasha Sumner does not answer that question in her latest book, Heroes of the Gale: A History of Fionn and the Fianna .She ...

I have said to myself during the last fortnight that if I were a Scotchman I too should be conceited, and that I should especially avail myself of this privilege if I were a native of Edinburgh.

In the first half of the twentieth century, Longhi (1890–1970) almost singlehandedly reestablished Caravaggio’s reputation ...

To deconstruct is to debunk. And the primary thrust of critical theory, which continues to trend in academia, is to debunk ...

On Advance Britannia: The Epic Story of the Second World War, 1942–1945, by Alan Allport.

Conrado Tenaglia was a 2025 visiting scholar at Harvard Law School and, previously, a partner for almost twenty-five years at Linklaters, LLP.

The Woman, the Martyr,” by Sarah Ruden.