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A king who desires his wild and wilful step-daughter. Her erotic fascination with a condemned prophet. Salome is a study in obsessions, with lust and death at every turn. Irish National Opera’s acclaimed new production is directed by Bruno Ravella and conducted by Fergus Sheil.
The Marschallin is relishing time with her young lover, when her cousin’s sudden arrival ignites a comic chain of events. With honour at risk, social status bartered and happiness illusive, the Marschallin accepts time cannot be stopped and she must set young love free. Exquisite music, poignant comedy and fairy tale romance: Der Rosenkavalier has it all. For its Garsington premiere, Bruno Ravella transposes what is perhaps Richard Strauss’s most famous opera to the glamorous 1950s. Jordan de Souza conducts the excellent Philharmonia Orchestra and a bravura cast. ‘Garsington is back with a show that’s a joy to the ears, and a feast for the eyes.’ Mail on Sunday
An opera of two halves? A comedy of two halves? Ariadne auf Naxos is both at once and centres around the proposal of ‘the richest man in Vienna’ to commission two entertainments, one from a serious opera composer and one from a troupe of comedians. When he discovers that sitting through both separately would delay the firework display he has planned, he gives orders for the two shows to be performed simultaneously on the same stage. The earnest young Composer is horrified while the pragmatic Zerbinetta is happy to give it a go. As a result, the story of Ariadne, abandoned by Theseus on the island of Naxos and despairing of her lost love, is interrupted repeatedly by the comedians, keen to help and to advise her that the best way to cure a broken heart is to find another lover.
Opera in four acts Libretto by Victor-Joseph Étienne de Jouy and Hippolyte-Louis-Florent Bis
The action takes place during a Spanish attack on the Moorish capital of Grenada, where Almuzir has deposed and killed the legitimate King and usurped his throne. Almuzir is in love with Zoraida, but she is already betrothed to general Abenamet. Machinations ensue and, though Almuzir tries to dispose of Abenamet, the general outwits the ruler by disguising himself as an unknown knight. Will Abenamet finally win the day and the hand of his beloved Zoraida?
Platée is a character whose self-deception and entrancement places her in the middle of a heartless plot, devised by the gods to cure Juno of her obsessive jealousy over Jupiter and his romantic attachments. Jupiter pretends to fall in love with Platée only to abandon her once Juno arrives, proving she has no reason to be jealous. Comedy had traditionally played little part in French opera. Lully soon eliminated comic episodes from his tragedies; from then until the appearance of this work, only a handful of operas had comic themes. That for Platée is the mock marriage between the god Jupiter and an ugly marsh nymph, who is totally convinced of her own charms.
Captain's daughter Josephine and common sailor Ralph Rackstraw are in love. However, their relationship is complicated by her arranged marriage to the high-ranking Sir Joseph Porter. A secret about the characters' true identities revealed by Little Buttercup, which leads to a farcical resolution. English National Opera staging directed by Cal McCrystal.
Recorded at Britain's Glyndebourne Opera Festival, Leos Janacek's opera follows the exploits of Emilia Marty (Anja Silja), a sexually irresistible prima donna who experiences everything imaginable in her long life, which lasts longer than 300 years. Directed by Nikolaus Lehnhoff and conducted by Andrew Davis, this psychological opera blends comedy and personal tragedy to examine the perplexing mystery of human existence.
An open-air staging by Aldeburgh Music of Benjamin Britten's Peter Grimes, on the beach that inspired the opera. A small seaside community struggles to accept a fisherman.
A tale of thwarted love and mistaken and assumed identities, this comedy revolves around an ordinary man becoming ‘King for a Day’. Cavaliere di Belfiore has, to distract attention from the genuine monarch, assumed the identity of King Stanislas of Poland, and arrived with much pomp at the castle of Baron Kelbar near Brest. There he finds himself in the middle of preparations for two weddings: the baron's daughter Giulietta is, most unwillingly, to marry the elderly La Rocca, while a local military official is hoping for the hand of the Marchesa del Poggio. Can ‘King Stanislas’ use his regal power in time to disentangle these unhappy betrothals before his true identity is revealed?