In the River Rhine. In it.
It is always a pleasure to hear a great orchestra take on a major score that might sound half-muffled emerging from the pit of an opera house.
11 pieces since 2010 — in 7 roles, at 2 companies, most often at Glyndebourne.
It is always a pleasure to hear a great orchestra take on a major score that might sound half-muffled emerging from the pit of an opera house.
First seen in 2005, Siegfried makes a welcome return as a stand-alone production this season.
The three Brownies applying the final touches to a tapestry – the show curtain – depicting an idyllic landscape of Windsor before the music begins are the first indication that this productionof Falstaff does not take place in Elizabethan times.
Stefan Herheim productions may be many things, but they’re always theatrical.
Few new operas have received the near-unanimous acclaim that has greeted Written on Skin since its first performance at the 2012 Aix-en-Provence Festival.
Director Barrie Kosky’s Glyndebourne 2015 production of Handel’s 1739 oratorio Saul (released on Opus Arte DVD) shows imagination as well as a strong cast and design team.
George Benjamin’s 2012 opera Written on Skin received great acclaim at its opening at the Festival d’Aix-en-Provence, and the Royal Opera quickly mounted it in March 2013.
Philip Glass’s 25th opera The Perfect American was originally commissioned for New York City Opera during the aborted regime of Gerard Mortier.
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