Diana Montague

Orpheus sings his way to the underworld in pursuit of his wife Euridice, overcoming all obstacles by the power of his voice. He finds her but loses her again. How long do we grieve a loved one? How long do we hear their voice echoing after they have gone? In 1607, Claudio Monteverdi created his Orfeo, for the Carnival opening at the Court Theatre of Duke Vincenzo I in Mantua. Billed as a ‘musical fable’, here was a new form where characters are brought to life with poignant human feelings. Orfeo’s dramatic power gave birth to what we call opera today. As in the original performance in an intimate space in Mantua, Garsington’s summer 2022 production sees the singers and musicians very close; the instrumentalists are part of the action, onstage and visible.

A count has designs on his personal valet's fiancée and is determined to stop their wedding taking place. Meanwhile, the countess tries to regain her husband's love by any means necessary. Mozart's great comic opera is a tale of intrigue, misunderstanding and forgiveness. Christian Gerhaher plays the clever Figaro and Simon Keenlyside his aristocratic master in this revival of David McVicar's much-loved production at the Royal Opera House.

Diana Damrau and Vittorio Grigolo are opera’s classic lovers in Gounod’s lush Shakespeare adaptation. Director Bartlett Sher’s “brilliant and inspired new production … is a revelation” (Huffington Post), and has already won acclaim for its vivid 18th-century milieu and stunning costumes during runs at Salzburg and La Scala. Emmanuel Villaume conducts the sumptuous score.

Tchaikovsky's much-loved opera Eugene Onegin, a story of love, rejection and tragedy based on Pushkin's verse drama of the same name.

The operatic version of the famous story about a governess who fears her two charges are possessed.

The Graham Vicks production of FALSTAFF opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes. The staging is effective--the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time--so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections.

Glyndebourne's intimate opera house provides the perfect setting for Rossini's third French opera, a sparkling medieval comedy of lust and chastity.

Recorded at the Glyndebourne Festival Opera in 1995, this acclaimed presentation of composer Gioachino Rossini's epic opus ERMIONE is based on Jean Racine's play "Andromache." Set in Troy after the city fell to the Greeks, the production recounts the rancorous battle between widow Andromache and Helen of Troy's green-eyed daughter, Ermione for the love of Pyrrhus

Mozart's La Clemenza Di Tito was originally commissioned to celebrate the coronation of the Emperor Leopold II as King of Bohemia in 1791. This rarely-seen masterpiece was Mozart's last opera. Nicholas Hytner's elegant staging for the Glyndebourne Festival Opera sheds new light on the compelling story of passion that overrides loyalty and integrity that is tested to the extreme.