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This new English National Opera production of Luisa Miller starts as it means to go on. Under conductor Alexander Joel, the overture’s
The strip of sea that evokes Venice Lido is emblematic of David McVicar’s new staging of Benjamin Britten’s final opera, Death in
Puccini’s evergreen tale of youthful love and loss is only rarely cast with age-appropriate performers. Daisy Evans’ production for Hampstead Garden Opera,
Rossini’s music for Le Comte Ory is often exquisite, but the humour is robust. The womanising Count Ory devises ways of seducing
Hippolyte et Aricie, a take on the Phaedra story first seen in 1733, is a landmark opera by a supreme French composer,
In purely musical terms, the most striking component of this trilogy of contemporary works is the finale: Bel canto by Cassandra Miller.
The Opéra de Baugé, an enterprising British-run summer festival in the Loire, this year offers Die Zauberflöte, Il Trovatore, and a rarity,
Usually performed in opera houses with astronomical budgets, Wagner’s epic works seem unlikely fare for fringe venues. Yehuda Shapiro discovers how, with
Violetta, first seen at last year’s Edinburgh Festival Fringe, starts off with a surprise. Though it is a chamber version of Verdi’s
There is no pumpkin coach in Rossini’s take on the Cinderella story. Its farce may be formulaic, but it is grounded in
Jeff Clarke – artistic director of Opera della Luna, a company that turns 25 this year – is endlessly inventive. Just look
Die Fledermaus, with its delicious tunes and high spirits, might define Viennese operetta, but there is nothing romantic about its web of
Thomas Guthrie, who directs this semi-staging of Monteverdi’s L’Orfeo, is fascinated by the possibilities of puppets and masks. At the Barbican last
In recent decades opera directors have found rich pickings in Dvorak’s grown-up take on the Little Mermaid story. Melly Still, whose 10-year-old
Garsington’s third new production for 2019 brings the UK stage premiere of an opera first performed in Paris in 1872, but only
In his first operatic venture, Christopher Luscombe delivers a sharply observed, precision-engineered production. Set in 2019, it even features a walk-on by
Dating from 2016, this production of Don Carlo was first presented in Grange Park Opera’s former home in Hampshire. While never radical,
Manon Lescaut was Puccini’s first great success, but while it is full of marvellous moments, it is haphazardly built. Only in the
For the second year running, Pegasus Opera is presenting the UK premieres of two one-act operas – one serious, one comic –
Kaj Nazar by Haro Stepanian, billed as Armenia’s first comic opera, has not been seen since its premiere in Yerevan in 1935.
It is surprising that Bury Court Opera has waited until its final season to stage The Turn of the Screw: the company’s
English Touring Opera, which takes a flexible view on language, presents Verdi’s Macbeth in Andrew Porter’s English version. Since surtitles are also
The artistic and musical director of Ensemble OrQuesta, Marcio da Silva, has developed a distinctive style for his productions of Baroque opera.
Though John Caird, an honorary associate director of the Royal Shakespeare Company, is credited with the staging, this is essentially a concert
The gorgeous Edwardian Kings Theatre is ideal for traditional panto, and this is essentially what we get in this Cinderella. The richly-coloured
Famously encored in its entirety by the Emperor of Austria, Domenico Cimarosa’s Il matrimonio segreto dates from 1792 – the year of
With Wagner’s Ring among its past projects, Fulham Opera now turns to Don Carlo, maybe Verdi’s grandest – and greatest – opera.
Pascal Dusapin’s Passion, a meditation on the Orpheus myth, was premiered 10 years ago at the Aix-en-Provence Festival, but this collaboration between
Faust, Alberta is a small village in western Canada. In Simone Spagnolo’s new one-man opera, it is also a state of mind.
A baroque extravaganza, The Enchanted Island was conceived by Jeremy Sams for the Metropolitan Opera, New York, where its premiere cast in
This Don Giovanni, presented in a neo-classical stone amphitheatre, inaugurates the Waterperry Opera Festival in rural Oxfordshire. It shares the programme with