Opera

If you say the name Franco Zeffirelli to anyone under about 40, you’re likely to be met with bemusement. Find any opera or film lover over that age, however, and you will be greeted with a warm exclamation – “Ah!” – followed by a recitation of the Italian director’s greatest achievements. From his emergence in international culture in the 1960s with his seminal film of Romeo and Juliet to his legendary work on stage with such operatic titans as Maria Callas and Plácido Domingo, Zeffirelli became synonymous with tasteful, intelligent productions of the classics, all of which made him, for a time, the best-known cultural figure in Italy. It is fair to say that Zeffirelli, who died in 2019, didn’t always get it right, personally or politically.

Smart Italian restaurants in cultural destinations are like buses: you wait ages for one and suddenly two come along at once. I recently praised Locatelli at London’s National Gallery. Returning to the city, it is the turn of Cicoria at the Royal Ballet and Opera, Covent Garden; a joint under the aegis of Angela Hartnett, well-known for her upscale restaurant Murano in Mayfair, her casual chain Cafe Murano and her frequent appearances on the box. Surprisingly few of the world’s great opera houses have given much thought to catering, although things are improving. I ate very well recently at Madrid’s Teatro Real and you can push the boat out with caviar at the Met in New York.

Laramie, Wyoming Nearly all the famous artistic controversies in the aesthetic history of the western world — the Battle of the Ancients and the Moderns in France and the contest between the rococo and neoclassical schools across Europe in the middle of the 18th century; the subsequent rivalry between the Classicists and the Romantics and the contretemps in the late-19th century between the Realists and the Impressionists — are as dead, irrelevant and forgotten today as the wars between the Guelphs and the Ghibellines.