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In the great buffet of operatic classics, Verdi’s 1853 drama is the big slab of red meat. And, in a world going increasingly vegan, it’s also becoming a problem. The music is hit after hit, but with no pauses for breath, characterisation or narrative cogency. It’s curses, revenge, suicide, torture, love, death; all neatly divided into two equally unwieldy 75-minute chunks.
Adele Thomas was rejected by every opera company. In the end her Port Talbot upbringing gave her an edge
Theatre lovers have a lot to celebrate over the next few weeks, with Halifax Vue screening some top stage productions for one night only.
The theatre and opera director on how her working-class Welsh background informs her work, the strangeness of Il trovatore, and her eclectic running playlist
This summer Adele Thomas gets the chance to show the world that she belongs in the opera house. Linda Christmas spoke to her about her forthcoming shows.