Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

Acis and Galatea: 2018 London Handel Festival

Katie Hawks makes quite a claim for Handel’s Acis and Galatea when, in her programme article, she describes it as the composer’s ‘most perfect work’. Surely, one might feel, this is a somewhat hyperbolic evaluation of a 90-minute pastoral masque, or serenade, based on an episode from Ovid’s Metamorphoses, which has its origins in a private entertainment?

Oriana, Fairest Queen: Stile Antico celebrate the life and times of Elizabeth I

Stile Antico’s lunchtime play-list, celebrating the Virgin Queen’s long reign, shuffled between sacred and secular works, from penitential to patriotic, from sensual to celebratory.

Daniel Kramer's new La traviata at English National Opera

Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.

Haydn's Applausus: The Mozartists at Cadogan Hall

Continuing their MOZART 250 series, The Mozartists/ Classical Opera began dipping into the operatic offerings of 1768 at Wigmore Hall in January, when they presented numbers from Mozart’s La finta semplice, Jommelli’s Fetonte, Hasse’s Pirano e Tisbe and Haydn’s Lo speziale.

Schubert Schwanengesang revisited—Florian Boesch, Wigmore Hall

Schwanengesang isn't Schubert's Swan Song any more than it is a cycle like Die schöne Müllerin or Winterreise. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special.

Rinaldo: The English Concert at the Barbican Hall

“After such cruel events, I don’t know if I am dreaming or awake.” So says Almirena, daughter of the Crusader Goffredo, when she is rescued by her beloved warrior-hero, Rinaldo, from the clutches of the evil sorceress, Armida.

Hamlet abridged and enriched in Amsterdam

French grand opera and small opera companies are an unlikely combination. Yet OPERA2DAY, a company of modest means, is currently touring the Netherlands with Hamlet by Ambroise Thomas.

The ROH's first production of From the House of the Dead

Krzysztof Warlikowski’s production for the ROH of From the House of the Dead is ‘new’ in several regards. It’s (astonishingly) the first time that Janáček’s last opera has been staged at Covent Garden; it’s Warlikowski’s debut at Covent Garden; and the production uses a new 2017 critical edition prepared by John Tyrrell.

Così fan tutte at Lyric Opera of Chicago

With artifice, disguise, and questions on fidelity as the basis of Mozart’s Così fan tutte, the composer’s mature opera has returned to the stage at Lyric Opera of Chicago.

WNO's Wheel of Destiny rolls into Birmingham

Welsh National Opera’s wheel of destiny has rolled into Birmingham this week, with Verdi’s sprawling tragedy, La forza del destino, opening the company’s ‘Rabble Rousing’ triptych at the Hippodrome.

A Midsummer Night's Dream at the Royal College of Music

The gossamer web of Shakespeare’s A Midsummer Night’s Dream is sufficiently insubstantial and ambiguous to embrace multiple interpretative readings: the play can be a charming comic caper, a jangling journey through human pettiness and cruelty, a moonlit fairy fantasy or a shadowy erotic nightmare, and much more besides.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.

Turandot in San Diego—Prima la voce

The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors.

Dialogues de Carmélites at the Guildhall School: spiritual transcendence and transfiguration

Four years have passed since my last Dialogues des Carmélites, and on that occasion - Robert Carsen’s production for the ROH - heightened dramatic intensity, revolutionary insurrection (enhanced by an oppressed populace formed by a 67-strong Community Ensemble) and, under the baton of Simon Rattle, luxuriant musical rapture, were the order of the day.

'B & B’ in a new key

Seattle Opera’s new production of Béatrice et Bénédict is best regarded as a noble experiment, performed expressly to see if Berlioz’ delectable 1862 opéra comique can successfully be brought into the living repertory outside its native France. As such, it is quite a success.

Songs for Nancy: Bampton Classical Opera celebrate legendary soprano, Nancy Storace

Bampton Classical Opera’s 25th anniversary season opens with a concert on 7th March at St John’s Smith Square to celebrate the legendary soprano Nancy Storace.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.

Mahler Symphony no 9, Daniel Harding SRSO

Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.

A newly discovered song by Alma Mahler

It is well known that in addition to the fourteen songs by Alma Mahler published in her lifetime, several dozen more - perhaps as many as one hundred - were written and have been lost or destroyed.



03 May 2017

Glyndebourne Festival 2018 programme announced

The UK’s first professional production of Samuel Barber’s Pulitzer prize-winning opera Vanessa takes place at Glyndebourne Festival 2018. One of the great American operas, Vanessa was hailed as a triumph at its premiere in 1958 but quickly fell out of the repertoire and has only been staged intermittently since.

Sebastian F. Schwarz, General Director of Glyndebourne, said: ‘Given my first chance to programme a work at Glyndebourne, my thoughts quickly turned to this neglected masterpiece. It’s remarkable that there has never been a UK production of Vanessa, the first opera by such a popular composer - and the man who wrote the Adagio for Strings. Sixty years on from its 1958 premiere, I’m delighted that Glyndebourne will give it the UK showcase it so richly deserves.’

The new production will be directed by British director Keith Warner, fulfilling his long-held ambition to stage the piece and marking his Glyndebourne directorial debut. Czech conductor Jakub Hrůša returns to Glyndebourne to lead the London Philharmonic Orchestra. The cast includes British soprano Emma Bell in the title role, alongside Lithuanian tenor Edgaras Montvidas as Anatol.

The second new production for Festival 2018 is Claude Debussy’s only completed opera, Pelléas et Mélisande. The new production will mark the Glyndebourne debut of the in-demand Norwegian director Stefan Herheim, and is conducted by Glyndebourne’s Music Director Robin Ticciati. Leading the cast are Austrian soprano Christina Gansch as Mélisande and American baritone John Chest as Pelléas. British baritone Christopher Purves returns to Glyndebourne in the role of Golaud.

Glyndebourne Festival 2018 opens with the Festival debut of Puccini’s Madama Butterfly. Originally staged for Glyndebourne Tour 2016, Annilese Miskimmon’s production is the first staging of the work at Glyndebourne. Israeli conductor Omer Meir Wellber will conduct the London Philharmonic Orchestra, his first appearance at Glyndebourne since he made his debut conducting Tchaikovsky’s Eugene Onegin at Glyndebourne Festival 2014. Taking on one of the greatest soprano roles in the repertoire is Moldovian soprano Olga Busuioc as Cio-Cio-San. The role of Lieutenant BF Pinkerton will be performed by American tenor Joshua Guerrero, with American mezzo-soprano Elizabeth DeShong as Suzuki.

Completing the 2018 Festival season are revivals of three of the most popular productions in Glyndebourne’s recent history. Offering a chance to compare and contrast one of Handel’s finest operas with one of his great oratorios are revivals of David McVicar’s ground-breaking 2005 production of Giulio Cesare and Barrie Kosky’s smash-hit 2015 staging of Saul.

A number of artists involved in the original Giulio Cesare production return for next summer’s revival, including director David McVicar, conductor William Christie and British mezzo-soprano Sarah Connolly in the title role. American soprano Joélle Harvey takes the role of Cleopatra. Barrie Kosky returns to Glyndebourne to oversee the first Glyndebourne Festival revival of Saul, with Laurence Cummings conducting the Orchestra of the Age of Enlightenment. German baritone Markus Brück will perform the role of Saul with British tenor Allan Clayton as Jonathan and British countertenor Iestyn Davies returning to the role of David, which he performed in the 2015 premiere.

Completing the season is the first Glyndebourne revival of British director Richard Jones’s stylish and original take on Strauss’s masterpiece, Der Rosenkavalier, conducted by Robin Ticciati. British soprano Kate Royal stars as the Marschallin, as she did in the original 2014 staging, opposite American mezzo-soprano Kate Lindsey as Octavian. British bass Brindley Sherratt performs the role of Baron Ochs.

Glyndebourne Festival runs from 19 May - 26 August 2018.

Fifty years of the Glyndebourne Tour in 2018

Glyndebourne’s first-ever production of Massenet’s Cendrillon forms the highlight of the Glyndebourne Tour, which celebrates its 50th anniversary next year. Cendrillon will be directed by Fiona Shaw, who previously directed a critically acclaimed production of Britten’s The Rape of Lucretia for Glyndebourne.

The second fully-staged opera in the 2018 Tour is a revival of Tom Cairns’s opulent production of Verdi’s La traviata, which had its premiere at Glyndebourne Festival 2014.

There will also be a return for Behind the Curtain - a new style of event introduced in 2016 with Don Giovanni: Behind the Curtain, to take audiences behind the scenes on the creation of opera. On this occasion, the event will take an in-depth look at La traviata, with performance extracts from the cast and orchestra of the main Tour 2018 production.

Glyndebourne Tour runs from 13 October - 1 December 2018.

Education and outreach

Recruitment will get underway in 2018 for Glyndebourne’s latest large-scale main stage community opera. The latest new commission will be composed by Howard Moody and directed by Simon Iorio. It will be delivered in partnership with the Orchestra of the Age of Enlightenment and staged at Glyndebourne in March 2019.

Also in 2018, a new Young Composer-in-Residence will join Glyndebourne. The position is a three year, part-time residency for an emerging composer, giving the holder an unrivalled opportunity to immerse themselves in the work of an opera house and observe the creation of new operas, as well as create new work of their own.

Based within Glyndebourne’s pioneering education department, the Young Composer-in-Residence will also involve themselves in Glyndebourne’s broader artistic, learning and audience development activities. An annual bursary of £17,000 is provided to cover time, expenses and any work composed for Glyndebourne during the residency. Recruitment for the position is open now via

Glyndebourne will crown the latest winners of its two biennial awards for young singers in 2018. The Gus Christie Award is for a young singer who has demonstrated outstanding vocal talent, while the Bill Weston Young Singers Award is for an exceptionally promising singer who would benefit from financial support to continue their development. Both awards were launched in 2016 to mark 30 years since the formation of Glyndebourne’s education department.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):