Michael Broadbent

Verdi's tragic masterpiece is elegantly updated by director Tom Cairns in this 'fresh and thrillingly unfamiliar' (Independent) Glyndebourne production, in which Violetta's death is cast as an idée fixe, creating a liberating framework that is well supported by Hildegard Bechtler's semi-abstract designs. Described as a soprano of 'huge presence, compelling to watch', Venera Gimadieva is 'thrilling' (Guardian) in her company debut as the doomed courtesan, well matched by Michael Fabiano's sharply suited and 'robustly-sung' Alfredo (Financial Times), with Tassis Christoyannis delivering an imposing performance as the formidable Germont père. Conductor Mark Elder reveals his mastery of the opera's dramatic shape, coaxing each and every nuance out of the London Philharmonic Orchestra to create beautifully stylish music-making.

On the surface, the title of Michael Bublé's tenth studio album, 2018's Love, announces a swinging collection of standards and originals all thematically centered on themes of romance, fidelity, and desire. That said, it could also speak to two heart-wrenching years leading up to Love, during which time the singer's then three-year-old son was diagnosed with liver cancer and underwent chemotherapy and radiation treatments. Prior to the release of Love, Bublé even intimated in an interview that, in light of his son's illness, he might be ready to retire. All these notions of love and the stakes that drive our passionate emotions are redolent on the album, whose brightly swinging and upbeat production via longtime mentor David Foster belies the personal turmoil of Bublé's private life.