Opera Reviews
Ariodante, Opéra Garnier, Paris review - a blast of Baroque beautySaturday, 04 October 2025
The revival of Robert Carsen’s production of Handel’s Ariodante at the Opéra Garnier in Paris under the direction of Raphaël Pichon, with his Ensemble Pygmalion and a top-notch cast, is well worth a trip to Paris. At over four hours, it might seem daunting, but the show is as close to perfection as opera can be, bursting with vitality and emotion, and never feels a second too long. Read more... |
Cinderella/La Cenerentola, English National Opera review - the truth behind the tinselMonday, 29 September 2025
When you go to the prince’s ball, would you prefer a night of sobriety or excess? Julia Burbach’s new production of Rossini’s Cinderella (La Cenerentola) for English National Opera frankly errs on the side of theatrical over-indulgence. Read more... |
Tosca, Royal Opera review - Ailyn Pérez steps in as the most vivid of divasThursday, 25 September 2025
Forget Anna Netrebko, if you ever gave the Russian Scarpia’s former cultural ambassador much thought (theartsdesk wouldn’t). It should be uphill from now on as Aleksandra Kurzak takes over the role of a diva out of her depth. Last night, though, she was unwell, and the role was taken by Ailyn Pérez, a lyric soprano who knows how to pull out all the right stops and whose dramatic truth complemented Oliver Mears’ production to perfection, presumably on little rehearsal time. Read more... |
Tosca, Welsh National Opera review - a great company reduced to brillianceMonday, 15 September 2025
So it’s come to this: WNO’s autumn season reduced to two operas, a Tosca borrowed from Opera North and a revival of their own Candide from two years back; then two next spring. a revival of their Valleys saga Blaze of Glory (about mine closures and singers who won’t give up) and a new Flying Dutchman. Read more... |
BBC Proms: The Marriage of Figaro, Glyndebourne Festival review - merriment and menaceThursday, 28 August 2025
One door closes, and another one opens. A lot. It’s extraordinary what value those two simple additions to the Royal Albert Hall stage lent to Glyndebourne’s performance of The Marriage of Figaro at the Proms. Read more... |
BBC Proms: Suor Angelica, LSO, Pappano review - earthly passion, heavenly griefWednesday, 20 August 2025
At first, I had my doubts about Puccini’s Suor Angelica in this concert performance at the Proms with Sir Antonio Pappano and his London Symphony Orchestra. Read more... |
Orpheus and Eurydice, Opera Queensland/SCO, Edinburgh International Festival 2025 review - dazzling, but distractingThursday, 14 August 2025
There’s a lot to shout about in this Orpheus, especially the way it looks. In a thin year for staged opera at the Edinburgh International Festival, they’ve gone for an eye-popper with this staging of Gluck’s most influential work. Premiering at Australia’s Opera Queensland in 2019, its star attraction is the Brisbane-based Circa Ensemble, a group of acrobats, circus artists and physical performers whose antics light up the stage. Read more... |
MARS, Irish National Opera review - silly space oddity with fun stretchesMonday, 11 August 2025
The craft heads to Mars, the music remains below on earth. Which is partly intentional: composer Jennifer Walshe tells us she listened to “synth heavy music” uploaded by astronauts (“a lot of Mike Oldfield and Vangelis”), so we veer from pop to sound-effects, some good (the sparkler held close to a microphone), some ordinary (a chain thrown to the ground sounds exactly like that). It’s a well-executed whole, though, and will be a hit whatever I write about it. Read more... |
Káťa Kabanová, Glyndebourne review - emotional concentration in a salle modulableTuesday, 05 August 2025
Even more perhaps than straight theatre, opera seems to draw attention to the meaning behind what may on the face of it appear a simple story. That doesn’t necessarily mean that the story, with all its realistic impedimenta, can be simply ignored or reconfigured, as has alas too often been the case. Read more... |
Buxton International Festival 2025 review - a lavish offering of smaller-scale workSaturday, 26 July 2025
The Buxton International Festival this year was lavish in its smaller-scale productions in addition to Ambroise Thomas’s Hamlet, the heavyweight offer of the opera programme. And outstanding among them was the combination of Bernstein’s Trouble in Tahiti and Poulenc’s La Voix Humaine: seen by director Daisy Evans not just as a double bill with an overlapping need for telephones on set, but as two sides of the same story. Read more... |
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