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Edward Bhesania

Edward Bhesania

Biography

Edward Bhesania is a writer and editor who reviews for The Stage and The Strad. He has contributed to The Observer, BBC Music Magazine, International Piano, The Tablet and Country Life, and written concert notes for the BBC Proms, London Symphony Orchestra, City of Birmingham Symphony Orchestra and Norwegian Chamber Orchestra

Recent Articles

Bound/Unbound review

Bound/Unbound review

ReviewsAug 12, 2024
Innovative, cross-disciplinary meeting of East and West, though the lives of the two central characters need clearer articulation
Curlew River review

Curlew River review

ReviewsJun 24, 2024
Deeply moving staging of a visionary musical ritual, drawing together traditions of East and West
Le Nozze di Figaro review

Le Nozze di Figaro review

ReviewsMay 31, 2024
Dependable production lacks comic fizz
The Gaia Hypothesis review

The Gaia Hypothesis review

ReviewsSep 11, 2023
Lindertje Mans explains the Gaia hypothesis to a synth-pop score and a quirky, multifaceted theatrical context
Fragments from a Lost Land review

Fragments from a Lost Land review

ReviewsSep 11, 2023
Multimedia muddle about climate change and the land mass that once connected Britain to continental Europe
At the Statue of Venus/La Voix Humaine review

At the Statue of Venus/La Voix Humaine review

ReviewsSep 7, 2023
Revealing pairing of operatic monodramas, each exploring a woman’s anxieties about love
Judith review

Judith review

ReviewsSep 4, 2023
Bartók’s grim tale of female subjugation is interlaced with the themes of healing and well-being
The Portrait of Manon/L’Heure Espagnole review

The Portrait of Manon/L’Heure Espagnole review

ReviewsAug 25, 2023
Well-paired French double bill at Arcola Theatre, London, featuring Ravel’s comedy and a rare Massenet
A&E review

A&E review

ReviewsAug 16, 2023
Opera from writing and directing duo Muelas+Ward lyrically explores love and online dating
The Fairy Queen review

The Fairy Queen review

ReviewsJul 31, 2023
Polly Graham’s new production of Henry Purcell’s 1692 semi-opera is sprinkled with delight
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