Opera

John Doyle’s production of Gaetano Donizetti’s 1837 opera dates back to 2012 – a co-production with La Fenice and Houston. It is a rather self-important production – very dour and Presbyterian. The dark cloudage never parts. There is a radical want of props ...

Following the end of the 1733 London opera season, George Frideric Handel headed to Oxford with his first two oratorios, Esther and Deborah and the newly composed Athalia. While the first two were well enough received, Athalia was a triumph, with newspaper claims that 3,700 people attended the performances ...

ABR Arts’s long day’s journey into operatic night continued with three familiar productions, one of them new to the Metropolitan Opera. Jules Massenet’s fifteenth opera (April 24) is largely unknown to modern audiences, but its neglect is a mystery, for this version of Charles Perrault’s 1697 fairy tale (based on a libretto ...

‘When you’re young, you believe everything,’ Jonas Kaufmann muses in Thomas Voigt’s biographical study, In Conversation with Jonas Kaufmann (Weidenfeld & Nicolson, 2017). The German tenor, a frequent Ferrando at the start of his career, went on: ‘And now imagine: two couples who live next door to each other go ...

Desdemona’s plangent, soaring phrase at the end of the ‘Willow Song’ in Verdi’s penultimate opera, Otello, has been described as the last despairing cry of the bel canto. After many years of relentless tragedies, Verdi’s final opera, Falstaff, would be a bubbling and effervescent comedy – only his second in his illustrious career ...

It is the fate of nearly all new operas to disappear quickly after an initial run of performances, so it was with much anticipation that Australian audiences had the opportunity to see Brett Dean’s Hamlet, triumphantly premièred at Glyndebourne in June 2017 ...