Mozart’s masterpiece conducted by Giovanni Antonini on stage at La Scala with Michael Hampe’s staging.

Così Fan Tutte

Perhaps no opera is as closely and affectionately associated with a single house as Le nozze di Figaro is with Glyndebourne. Effortlessly witty yet shot through with pain and sadness, this deeply ambivalent life in the day of masters and servants as they scheme and outwit one another was Glyndebourne’s opening production in 1934. Michael Grandage’s staging is the seventh, set in a louche Sixties ambience. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times) in a production that continues Glyndebourne’s rewarding history of engagement with Mozart’s and da Ponte’s ‘day of madness’.

Witty yet shot through with pain and sadness, a deeply ambivalent life in the day of masters and servants as they scheme and outwit one another

The Marriage of Figaro

Don Giovanni is the second of Mozart’s landmark collaborations with librettist Lorenzo da Ponte (after The Marriage of Figaro and before Così fan tutte). In it, they created a work that has beguiled and entranced in equal measure since its premiere in 1787. Perfectly situated, as no other opera, between tragedy and comedy, this potent drama combines glorious music with a seductive central character who is endlessly fascinating in his complexity. Kasper Holten’s 2014 production for The Royal Opera casts Don Giovanni as an artist who thrives on an audience enticed by his creative gifts. The visually spectacular set by award-winning designer Es Devlin features ingenious video designs by Luke Halls which provide an insight into the characters’ thoughts and emotions. But at the production’s heart are the beauty and invention of Mozart’s dazzling score.

Kasper Holten’s 2014 production for The Royal Opera House casts Don Giovanni as an artist who thrives on an audience enticed by his creative gifts.

Don Giovanni

The legendary Zubin Mehta conducts Aida, Verdi’s most spectacular and over-the-top opera, in Ferzan Ozpetek’s new production from the Teatro del Maggio Musicale Fiorentino. Starring Roberto Tagliavini, Luciana D’Intino and Hui He in the title role.

The legendary Zubin Mehta conducts Aida, Verdi’s most spectacular and over-the-top opera.

Aida

Glyndebourne has a proud association with the operas of Benjamin Britten, however until 2010 had never staged Billy Budd. The all-male opera with a libretto co-written by E.M. Forster, is based on the battle between pure good and blind evil, and is set on a British man-o'-war ship. Michael Grandage, Artistic Director of the Donmar Warehouse, chose this work to make his long-awaited operatic debut. Sir Mark Elder returned to conduct, marking the 100th opera production in his illustrious career.

The all-male opera is based on the battle between pure good and blind evil, and is set on a British man-o'-war ship.

Billy Budd

A modern opera adaptation by Charles Wuorinen based on Annie Proulx’s short story previously adapted by Ang Lee for the Oscar-winning film Brokeback Mountain. This marks Wuorinen’s return to the opera stage with one of the major works of his career, equally ambitious in its beauty and momentous tragedy. Brokeback is the story of ranch hand Ennis del Mar and rodeo cowboy Jack Twist, two young men who meet and fall in love on the fictional Brokeback Mountain in Wyoming in 1963. Wuorinen says “It’s a story of doomed love, in this case a complex homosexual relationship taking place in a very homophobic society."

A modern opera adaptation by Charles Wuorinen based on Annie Proulx’s short story.

Brokeback Mountain

Puccini’s Japanese tragedy Madama Butterfly is given a ravishing production by The Royal Opera. 
Its alluring imagery of Japan from the 19th-century European Imagination heightens the intense clash of East and West. When the American naval officer Pinkerton seduces the young ‘Butterfly’ Cio-Cio-San, he seems to promise every happiness – but his cruel abandonment leads to her tragic self-sacrifice.
Antonio Pappano, Music Director of The Royal Opera and renowned for his interpretations of Puccini, conducts an exceptionally fine cast with the Royal Opera Chorus and the Orchestra of the Royal Opera House.

Powerful performances show why Madama Butterfly remains one of the all-time operatic favorites.

Puccini’s Madama Butterfly is one of the best-known operas worldwide. The ROH stages this alluring Japanese tragedy, reminding us why it’s a favorite.

Madama Butterfly

The stout Sir John Falstaff has financial problems, which he attempts to solve by having affairs with Alice Ford and Meg Page, two very wealthy, very married women. Having received identical love letters, the two women decide to have some fun at Falstaff’s expense.

The stout Sir John Falstaff has financial problems, which he attempts to solve by having affairs with two very wealthy, very married women.

Falstaff

The ‘sheer visual sophistication’ of Annabel Arden’s Barbiere serves ‘a triumphant celebration of Rossini’s musical genius’, featuring de Niese’s ‘powerfully sung’ Rosina, Bürger’s ‘gale-force’ Figaro and Stayton’s ‘pure and mellifluous’ Almaviva – a leading trio ‘musically and dramatically beyond compare’ ( The Independent). Contributing to the ‘ensemble precision’, the rest of the cast includes a ‘scene-stealing’ Berta in Kelly, a ‘suavely unctuous’ Basilio from Stamboglis andCorbelli’s Bartolo, ‘an object lesson in comic understatement’ (The Guardian). With Enrique Mazzola at the helm of the London Philharmonic Orchestra, ‘the score bubbles along on a Puckish current of merry mischief’ (The Telegraph).

The ‘sheer visual sophistication’ of Annabel Arden’s Barbiere serves ‘a triumphant celebration of Rossini’s musical genius

Mozart's The Magic Flute - Die Zauberflöte

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