sat 06/09/2025

Opera Reviews

BBC Proms: The Marriage of Figaro, Glyndebourne Festival review - merriment and menace

Boyd Tonkin

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...

Orpheus and Eurydice, Opera Queensland/SCO, Edinburgh International Festival 2025 review - dazzling, but distracting

Simon Thompson

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 stretches

David Nice

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 modulable

stephen Walsh

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 work

Robert Beale

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...

Tosca, Clonter Opera review - beauty and integrity in miniature

Robert Beale

At first sight, it seemed that Clonter Opera’s decision to tackle Tosca this year might be a leap too far. Its once-a-year complete production, dedicated to nurturing emerging talent in the security of the Cheshire countryside, must always be an essay in miniaturization, and a singing cast of six and an orchestra of 12 might seem hopelessly small for Puccini’s grand passions and shuddering shocks.

Read more...

Hamlet, Buxton International Festival review - how to re-imagine re-imagined Shakespeare

Robert Beale

Ambroise Thomas’s version of Hamlet is the flagship production of this year’s Buxton International Festival and was always going to be a considerable challenge. How to re-imagine what is admittedly a very 19th century, very French Romantic re-imagining of Shakespeare for the intimate setting of Buxton Opera House and the necessarily limited resources of a summer festival?

Read more...

Falstaff, Glyndebourne review - knockabout and nostalgia in postwar Windsor

Boyd Tonkin

From the animatronic cat on the bar of the Garter Inn to the rowers’ crew who haul their craft across the stage and the military ranks of “Dig for Victory” cabbages arrayed in Ford’s garden, all the period flourishes that helped make Richard Jones’s Falstaff such an audience hit twice before at Glyndebourne look as spruce and smart as ever in this revival.

Read more...

Salome, LSO, Pappano, Barbican review - a partnership in a million

David Nice

A Salome without the head of John the Baptist is nothing new: several directors have perversely decided they could do without in recent productions. In concert, the illusion needs the charismatic force of a great soprano and conductor. We got that at the Proms 11 years ago with Nina Stemme and Donald Runnicles. Now Asmik Grigorian, even more the ideal as the obsessive teenage princess, crowns the end of a season that has been a total triumph for Pappano and his London Symphony Orchestra.

Read more...

Semele, Royal Opera review - unholy smoke

David Nice

Poor, slightly silly Semele fries at the sight of lover Jupiter casting off his mortal form, but in Congreve’s and Handel’s supposedly happy ending, everyone else rejoices that Bacchus is the offspring of this dalliance. Or do they? Not in the new production by Royal Opera supremo Oliver Mears, who’s always favoured the dark side. As in trendy dramas like TV’s Kaos, the gods are the callous rich, mortals their plaything servants.

Read more...

Pages

latest in today

'We are bowled over!' Thank you for your messages... ...
I Fought the Law, ITVX review - how an 800-year-old law was...

ITV continues its passion for docudramas about injustice, which you can’t...

theartsdesk at the Lahti Sibelius Festival - early epics by...

It’s weird, if wonderful, that vibrant young composers at the end of the 19th century should have featured death so prominently in their hero-...

Deaf Republic, Royal Court review - beautiful images, shame...

The Ukraine war is not the only place of horror in the world, but it does present a challenge to theatre makers who want to respond to events that...

Album: Josh Ritter - I Believe in You, My Honeydew

Americana rocker Josh Ritter can write a beautiful song....

Laura Benanti: Nobody Cares, Underbelly Boulevard Soho revie...

Laura Benanti has been enchanting Broadway audiences for several decades now, and London has this week been let in on the secret that recently...

Waley-Cohen, Manchester Camerata, Pether, Whitworth Art Gall...

Manchester Camerata is enhancing its reputation for pioneering with three performances featuring Nick Martin’s new Violin Concerto, which it has...

The Courageous review - Ophélia Kolb excels as a single moth...

“I never abandoned you,” says Jule (Ophélia Kolb; Call My Agent!) to her 10-year-old daughter Claire (Jasmine Kalisz Saurer), setting a...

Album: David Byrne - Who is the Sky?

From his early days with Talking Heads, David Byrne has ploughed a highly individual furrow, and exploited a persona that combines naivety with...