Monday, 11 August 2025

Why Stow-on-the-Wold is our perfect cotswolds base

Planning your first Cotswolds getaway? With almost 800 square miles of rolling hills, honey-stone villages, and historic inns, it can be hard to pick the perfect base. After 30 years exploring the region — and more than a decade of summer weekends here for opera — I have a firm, well-researched favourite: Stow-on-the-Wold. It's a centrally-located market town with superb restaurants, excellent accommodation, and easy access to all the Cotswolds’ highlights.

Here’s why I regularly recommend it — and why some other hotspots didn’t make my cut.
It’s central
Stow sits almost in the geographical centre of the Cotswolds, right beside the main north–south artery, the A429, with good roads heading east and west. Nowhere in the region is out of range for a day trip that starts from here, and most of the area’s “greatest hits” are within a 30-minute drive.

It’s also one of the highest points in the Cotswolds. Stroll over to the Queen Elizabeth II Playing Fields, just west of the A429, for a magnificent view — one of the best sunset-viewing spots in England.

The main road bypasses the town centre
The A429 skirts the west side of town, leaving the expansive market square for people who are here by choice, not just passing through.

This is not the case in popular towns like Chipping Norton and Moreton-in-Marsh, where the traffic barrels through the middle. On busy days, their high streets resemble slowly creeping car parks rather than postcard scenes. Stow’s bypass makes its centre far more pedestrian-, and dog-, friendly.

Excellent range of food, drink, and accommodation
It’s a given that most Cotswold towns offer a range of places to stay — from rooms above pubs to hotels to Airbnb-style lets. Increasingly, there are “rooms only” setups: beautifully decorated en-suite rooms without shared lounges or on-site staff.

What really sets Stow apart is its dining scene. Alongside sandwich shops, pubs, and a chippy, there’s a wealth of upscale options. You’ll find posh bakeries, breakfast cafés, and restaurants for foodies, plus a superb deli perfect for assembling opera picnics. Craving something international? Stow offers Greek, Chinese, and excellent Indian options. There’s even a boutique wine bar to delight any serious oenophile.

You could easily spend two weeks here, dine somewhere different every night, and never need your car.

Quiet mornings and evenings
Like most Cotswold towns, Stow regains its tranquillity once the day-trippers leave ... but even more than most. Purely anecdotal, but I’ve noticed Stow attracts fewer coach tours than places like Broadway, where buses unload outside the Lygon Arms daily. Stow feels more geared to independent travellers, families, and locals — with a higher proportion of domestic visitors than many other popular towns.

Why I’ve passed other favourites by
Bourton-on-the-Water: Charming canals, yes — but the atmosphere feels geared towards families with young children. If that’s you, you’ll probably love it. As more mature travellers who value peace, we tend to recoil from the noise and chaos. (Why do so many parents abandon discipline on holiday? One starts to wish for the Child Catcher from Chitty Chitty Bang Bang.)

Moreton-in-Marsh: The A429 slices through the centre, and the mainline train station makes it one of the most crowded towns in the Cotswolds. While I understand the reluctance of visitors unused to driving on the left, the best parts of the region are beyond public transport.

Chipping Norton (pictured left):
Shares Moreton’s traffic issue and has, to my eye, less charming architecture. In recent years it’s become a magnet for posh Londoners heading for Soho Farmhouse or the absurdly priced Daylesford Farm Shop. Add in the Clarkson’s Farm effect, and it’s just not my scene. (Though I heartily endorse the way Clarkson has raised awareness of the challenges farmers face.)

Chipping Campden: Were it a little closer to our cultural anchor, Longborough Festival Opera, it would be a serious contender. Its fairy-tale architecture, thatched cottages worthy of Disney, historic market hall, and proximity to Hidcote Gardens are irresistible. Still, Stow wins on restaurants.

Broadway: Nearly as storybook-pretty as Chipping Campden, but its location near the A44 makes it a favourite stop for tour buses. It was my base on my first trip here, with a busload of fellow Americans — lovely, but too crowded to beat Stow.

Where to stay in Stow-on-the-Wold
The Stag – Our go-to hotel. This 17th-century coaching inn and Georgian townhouse blend into 22 stylish rooms. Some are compact, but all are design-magazine gorgeous. Right on the market square, with parking, a pub garden, dog-friendly policies, and a solid kitchen. Splurge on “The Potting Shed” if you can — a rustic, free-standing gem in the garden, ideal for dog owners. (Pictured below.)
The Porch House – Dating back to 947 (yes, really), it’s one of England’s oldest inns, blending historic beams with modern comforts. Not all rooms are dog-friendly, and those that are tend to be the smallest.

The Unicorn – Our favourite Airbnb-style option for longer stays. Eight spacious apartments in an old coaching inn, wrapped around a courtyard and walled garden. Many have two bedrooms, making it perfect for weekends with friends. Secure parking across the street; dogs welcome.

Cotswold Cottage Guest House – A small, room-only B&B with three tastefully designed en-suites. More affordable than the Unicorn, but with less space and no parking.

Where to eat & drink in Stow-on-the-Wold
The Old Butchers & The Old Stocks – Creative, modern fine dining in a relaxed yet polished atmosphere. The Butchers leans French and specialises in seafood; The Stocks is just as good, with slightly easier reservations. Expect £150–£180 for two with wine.

The Bell & The Queen’s Head – Solid pub classics at friendlier prices. The Bell edges ahead for food quality, though it’s a bit of a walk from the square. The Queen’s Head wins for central location and quintessential Cotswold charm.

Otis & Belle – An artisan bakery with pastries worthy of Copenhagen or Paris. Our guilty go-to when we don’t have breakfast included — and when one butter-laden treat inevitably turns into two.

The Cellar – A boutique wine bar with a carefully curated list and a genial owner who's usually there to guide you through creative wine picks, and often DJs smooth vibes from his vintage vinyl collection. Lite bites available; dogs welcome.




Monday, 4 August 2025

A surprisingly cheerful farewell to Longborough’s founder

This was the first Longborough Festival Opera season since the death of its founder, Martin Graham. You might expect a bittersweet tone — especially as most operas in the popular repertoire are tragedies — but 2025 turned out to be one of the most cheerful years I can remember.

Not only has the festival carried on Martin’s vision without missing a step, but it managed to deliver unusually merry interpretations of two classics: Dido and Aeneas and The Barber of Seville. As usual, we chose two of the four productions in the Cotswolds-based season. The location demands an overnight stay, and in high summer most local accommodation insists on two nights, which — along with time and budget — limits us.

Dido with a twist — and a wake
Purcell’s Dido and Aeneas is a compact tragedy, usually all doomed love and mourning chords. This year, Norwegian Baroque specialist Bjarte Eike and his ensemble Barokksolistene turned it into something unexpectedly uplifting. The original 60-minute score survives only in fragments, inviting re-interpretation. Eike filled the gaps with sea shanties, Celtic laments, and folk-inflected improvisations — perfectly in keeping with the opera’s Carthaginian port setting.

His musicians roamed the stage and aisles, engaging directly with the audience (yes, we sang along), while remaining rooted in 17th-century style. We’re used to seeing the orchestra on stage for Longborough’s annual Baroque offering, but Eike’s free-flowing, improvisational energy took the experience up a notch.

The most striking departure came after Dido’s famous lament — delivered untouched, as it must be — when the stage erupted into a wake. The mournful laments gave way to increasingly joyful dancing, until even Dido herself returned to join the revelry. It was inventive, participatory, and instantly became one of my favourite Longborough performances in 13 years of attending.

Barber with a dash of Fawlty Towers
Three weeks earlier came Rossini’s The Barber of Seville, a comedy guaranteed to bring smiles. Director Louise Bakker’s production leaned into farce, delivering a Spanish-flavoured Fawlty Towers. Voices and orchestra were as excellent as ever, but the staging stole the show: a clever two-storey set serving as both interior and exterior of holiday apartments, one of the most ambitious designs I’ve seen on Longborough’s tiny stage.

The extras, doubling as Seville’s working-class crowds, became part of the comedy’s heartbeat — especially in the second half, when they reappeared as a hopelessly inept ballet chorus in pink jumpsuits, bringing the house down.

A plea for more comedy
In the 18th century, opera balanced comedy and tragedy in equal measure. By the late 19th century, tragedy dominated, and cheerful works became rare. This year’s Longborough season made me wish for a rewrite of that history — or at least more programming in the spirit of Barber and Eike’s Dido.

The 2026 lineup returns to heavier fare: Handel’s Orlando, Wagner’s Tristan und Isolde, Verdi’s Macbeth, and Humperdinck’s Hansel and Gretel. We’ll be there for the Wagner and the Baroque as always. Whether we go beyond our usual two productions remains to be seen.

Postscript: For those new to Longborough
Perched on a hillside in the northern Cotswolds, Longborough Festival Opera is a tiny rural opera house with an outsized reputation. Built by Martin Graham and his wife Lizzie in a converted barn, it now stages a summer season that attracts audiences from across the UK and beyond. With just 500 seats, an intimate auditorium, and a country-house atmosphere, it’s one of the most distinctive opera experiences in Britain — blending world-class music-making with picnic intervals on the lawn. It's known particularly for its Wagner interpretations; a composer thought impossible for country house opera to carry off until Longborough did it. They've now done two full Ring Cycles and are known as England's Bayreuth.

Here are links to some of my earlier stories about Longborough: