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Jonathan Dove transforms Simon Mayo’s ripping yarn into an exhilarating instant classic; it’s Thebes by way of Port Talbot in Adele Thomas’s Glyndebourne debut; and all hail the Hallé
PATRICK MARMION: By Jove, this is a rum view of Handel's beautiful but hybrid piece - definitely profane rather than sacred, it has the strong choral presence of an oratorio.
Semele at the Glyndebourne Festival focuses on a protagonist who is engaged, but secretly in love with someone else.
Joélle Harvey and Jennifer Johnston are ravishing, and the chorus sensational, but Adele Thomas’s staging feels neither funny nor erotic enough for what is essentially a barbed Restoration comedy
Fine voices aren't quite enough in Verdi's epic royal tragedy. Opera review by David Nice