Opera

We all know that ‘They fuck you up your mum and dad’, but nowhere is this more reliably (and violently) true than in the opera house. If you have the misfortune to be born into an operatic family you can expect to be murdered by your own mother (Médée, Lucrezia Borgia), killed by your grandmother

Virtue, hide thyself! The Coronation of Poppea opens with a warning and closes with a love duet for a concubine and a psychopath, their union celebrated in sinuous melismas over a blameless passacaglia. First performed in 1643, Monteverdi’s final opera is all about talking dirty and talking tough. Seductions, threats, boasts and betrayals are snapped,

Puccini’s La fanciulla del West is, one suspects, one of those works that modern audiences struggle to keep a straight face through. The hero, for a start, decides to call himself Dick Johnson. The piece’s Wild West trappings, long since staled into Hollywood cliché, still seem a strange fit for the operatic stage (it was

One of the greatest tests of how an opera house is functioning is the quality of its revivals. Both the Royal Opera and the English National Opera score highly in that respect. You can go to the Met, to Munich, to the Vienna State Opera and see pathetically run-down performances, the cast thrown on to

Is there a fundamental, insuperable problem with staging Rossini’s Guillaume Tell on a budget, without the resources to conjure up the sense of scale that was part of grand opéra’s appeal and raison d’être? Take away the special effects, whip away the phantasmagorical curtain, and, as with any Hollywood blockbuster, you are left with a

I wonder whether grand opéra really takes war as seriously as this year’s Edinburgh Festival wanted it to. These vast works, written to exploit and reflect the power, resources and tastes of mid-19th-century Paris, tended to favour history and its battles for the scenic opportunities they afforded rather than for the lessons they taught. It

Perhaps I should come clean straightaway and admit that, despite the fact that OperaUpClose is about to celebrate its fifth birthday, I’d never been to see one of its shows before last week. This has not been a conscious decision; maybe, though, I’d been unconsciously put off by the company’s early braggadocio — by the

During my opera-going lifetime the most sensational change in the repertoire has, of course, been the immense expansion of the baroque repertoire, with Monteverdi, Rameau and above all Handel being not only revived but also seen now as mainstays in most opera houses. To think that only 50 years ago it was regarded as daring

The Salzburg Festival’s reputation might largely be one of cultural conservatism, but it made an impressive commitment to new works when it announced in 2011 that it had commissioned four operas, to be unveiled at the rate of one a year between 2013 and 2016. The first was to have been by György Kurtág, but

Rather than brave the boos and the first reprise of Frank Castorf’s half-hearted Ring at Bayreuth, I decided to pay a visit to Munich and catch the last two days of its annual opera festival. Less of a festival, as one usually understands the term, than a ramping-up of activity in the final month or

Seventeen years ago the Norwegian National Opera staged two cycles of the Ring in Norwich’s Theatre Royal, performances that have remained vividly in the minds of anyone who saw them. Now Theater Freiburg has visited Norwich with two performances each of Parsifal and Tannhäuser. I was hoping to see both, but transport problems meant that

One of the highlights of last year’s Glyndebourne Festival was the revival of Richard Jones’s Falstaff, spruced up and invigorated by Mark Elder’s conducting of the Orchestra of the Age of Enlightenment and a beautifully balanced cast. Elder is also in charge again for the festival’s third new production of this year, Tom Cairns’s La

Dvorak’s The Jacobin and Gluck’s Orfeo ed Euridice, the two operas that opened this year’s Buxton Festival, are both relative rarities today, but their creators’ fortunes tell an interesting story. Dvorak’s operas — or at least Rusalka — joined the repertoire around the same time, during the 1980s, that Gluck’s arguably starting slipping from the

London is lucky to have heard Joyce DiDonato at the height of her powers in two consecutive seasons. The American mezzo has arguably done less well out of the arrangement, however, finding herself at the centre of two disappointing new productions. Last year it was Rossini’s La Donna del Lago, an intractable non-drama which John

It seems a very short time since I interviewed Richard Farnes about Opera North’s planned Ring cycle, the dramas to be done one a year, semi-staged in an idiosyncratic way. In fact, it is four years, and now the complete cycle has been performed to universal acclaim, with the loudest cheers going to the conducting

This season has already seen Manon Lescaut appear in several different operatic guises across the UK, but it was Covent Garden’s new production of Puccini’s version (its first staging of it in three decades) that was the hottest ticket of all. The Latvian soprano Kristine Opolais and the superstar tenor Jonas Kaufmann were tackling the

To suggest that the ageing Jules Massenet identified himself with the title character of his Don Quichotte is nothing new — and late works such as this by definition encourage biographical interpretations. One of the main liberties of the opera, premièred in 1910 and very loosely based (via a contemporary verse play) on Cervantes, was

Operas about artists are not rare. However — perhaps for obvious reasons — those artists tend to be musicians, singers, or at least performers, able to persuade and cajole both us in the audience and the other characters on stage through their eloquence. Berlioz, in his first opera, presents the renaissance sculptor Benvenuto Cellini, in