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Breathless action and Rameau’s fizzing score ignite in Louisa Muller’s ingenious take on French baroque, while Stephen Barlow’s 60s-set Puccini sparkles in a long-overdue revival
When tears well up during stretches of Strauss and Hofmannsthal’s curious hybrid which you never expected to move you, something special's going on. The magic happened last night in an evening which I didn't anticipate equalling “the Carmelites experience” at Glyndebourne. But, in its very different way, it did, in terms of casting, conducting and a production (by Bruno Ravella) that wasn’t too interventionist but had some powerful ideas of its own.
Christof Loy digs for psychological depth in ENO’s time-shifting new Puccini production, while English Touring Opera’s autumn Handelfest gets off to a sparkling start
Monteverdi's Orfeo is perhaps the first-ever opera. It has a lot to answer for, hasn't it? Certainly it's the earliest opera to be regularly performed.
Enchantment, glee and fresh voices are well met in Scottish Opera’s winning new production of Britten’s opera, while Janáček’s music holds court at ENO