Although this is their fifth outing, Tanya McCallin’s sets for David McVicar’s Le Nozze di Figaro remain a sumptuous feast for the eyes.
Die Entf¸hrung aus dem Serail at Garsington Opera at Wormsley isn’t Mozart as you’d expect but it’s true to the spirit of Mozart who loved witty, madcap japes.
“Aim for excellence”, says Douglas Boyd, new Artistic Director of Garsington Opera at Wormsley, “and the audience will follow you”.
Brindley Sherratt sings Sarastro in Mozart Die Zauberflˆte at the Royal Opera House, London. All performances are sold out, though returns are possible. The entire run (which ends 9th May) is dedicated to the memory of Sir Colin Davis who conducted this production, by David McVicar, most recently in 2011.
Nikolai Rimsky-Korsakov’s opera Mozart and Salieri (1897) received its first ever performance at the Royal Opera House as the highlight of Meet The Young Artists Week at the Linbury Studio Theatre.
Glyndebourne Festival Opera’s visit to the Proms has become a much anticipated annual event. This year on 28 August, they brought Michael Grandage’s new production of Mozart’s The Marriage of Figaro, with the Orchestra of the Age of Enlightenment conducted by Robin Ticciati, who takes over as musical director at Glyndebourne in 2014.
The pavilion at Garsington Opera at Wormsley is stunningly beautiful. Just being there is an experience, which is why the social aspect is so rewarding.
The last opera seria — Mozart’s late, austere masterpiece, and vividly brought it to life.
Erwin Schrott triumphed as Don Giovanni in the Mozart/da Ponte series at the Royal Opera House, overcoming the limitations of the staging.
Carmela Remigio is a Mozart specialist, having created Donna Elvira, Donna Anna, The Countess in Le nozze di Figaro, Susana, Ilia, Ellettra, Vitellia, Pamina and Fiordigli. She speaks to Mark Berry about her latest Donna Anna at the Royal Opera House.