When I learned that the Royal Opera House had booked Russian soprano Anna Netrebko to sing Tosca in the new production which opens its 2025/26 season next month (and, later in the season, Turandot ), I felt a surge of anger.

How could they be so callous, so blasé, about the boycott of Russian artists with close ties to the Kremlin. How shameful for Britain that our internationally renowned opera company should treat Ukraine with such contempt. And how damning that its decision to hire Netrebko should be subject to an open letter organised by Sergiy Kyslytsya, Ukraine’s first deputy foreign minister, and signed by hundreds of Ukrainian writers and artists, British MPs and the likes of Bernard-Henri Lévy, the French public intellectual.

Anna Netrebko may no longer live in Russia, but s

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