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Opera Magazine Editorial Board
Martin Bernheimer
won the Pulitzer Prize for criticism during his long tenure at the Los Angeles Times. He now covers the New York scene for the Financial Times. He has been an active participant in the Metropolitan Opera broadcasts, lectures widely, teaches occasionally, contributes frequently to publications that still value the arts.
Hugh Canning
has written about music and opera for The Sunday Times since 1989. He was named Critic of the Year in the 1994 British Press Awards. He is a regular contributor to International Record Review.
Rupert Christiansen
has been the opera critic of the Daily Telegraph since 1996. He is the author of Prima Donna (Pimlico), The Grand Obsession: An Anthology of Opera (Harper Collins) and Pocket Guide to Opera (Faber).
Andrew Clark
has been writing about music professionally since 1977. He lived for 15 years in central Europe, reporting widely for Opera, the Financial Times and other publications, before succeeding Max Loppert as chief music and opera critic of the FT in 1996.
Andrew Clements
wrote for the New Statesman and the Financial Times before becoming music critic of the Guardian in 1993. He has been editor of Musical Times and was an area editor for the New Grove Dictionary of Opera, and a contributor to the Penguin Opera Guide.
Richard Fairman
has been a music critic for the Financial Times since 1988. He also contributes to Gramophone magazine and works at the British Library, where he is producer of the CD label, which includes a series devoted to historic literary recordings.
George Hall
writes widely on classical music and especially opera. He has contributed to The Penguin Opera Guide and The Oxford Companion to Music and was co-editor of The Proms in Pictures (BBC Books) and of the revised edition of Darius Milhaud's autobiography, My Happy Life (Marion Boyars).
Michael Kennedy
was born in Manchester in 1926. He joined the Daily Telegraph in Manchester in 1941, holding various editorial posts and contributing music criticism from 1948. He was Chief Music Critic of the Sunday Telegraph from 1989 to 2005. He has written books on Strauss, Britten, Walton, Elgar and Vaughan Williams, and is joint author of the Oxford Dictionary of Music and the Concise Oxford Dictionary of Music.
Fiona Maddocks
is chief music critic of the Observer. She was founder editor of BBC Music Magazine and is author of Hildegard of Bingen (Headline).
Rodney Milnes (Chairman)
has been associated with Opera since 1971, as contributor, Associate Editor under Harold Rosenthal, and Editor from 1986-99. He was opera critic for the Spectator (1970-90) and The Times (1992-2002), and for many years a regular contributor to BBC Radio 3. His opera translations include Tannhäuser, Rusalka and Janácek's Osud. He still enjoys going to the opera.
Roger Parker
teaches at King's College London. He specialises in 19th-century Italian opera, about which he has written a number of books and many articles. He was founding co-editor of the Cambridge Opera Journal, and remains co-General Editor of the Donizetti Critical Edition, published by Ricordi.
Andrew Porter
began writing for Opera in 1953. He has been music critic of the Financial Times (1953-72), The New Yorker (1972-92), the Observer (1992-97), and The Times Literary Supplement (from 1997); has translated 37 operas for the ENO, Glyndebourne, NYCO, St Louis, etc (ten by Mozart, eight by Verdi, six by Wagner); has directed operas at Bloomington, Indiana (The Seraglio, Tamerlane, The Rake's Progress), for Seattle Opera (The Force of Destiny), and in Carnegie Hall (Orlando, Semele, Capriccio semi-stagings); and was librettist for John Eaton's The Tempest and Bright Sheng's The Song of Majnun. Main publications: Verdi's Macbeth: a Sourcebook (with David Rosen); The Ring, The Magic Flute (translations); five volumes of collected New Yorker reviews.