The ‘sheer visual sophistication’ of Annabel Arden’s Barbiere serves ‘a triumphant celebration of Rossini’s musical genius’, featuring de Niese’s ‘powerfully sung’ Rosina, Bürger’s ‘gale-force’ Figaro and Stayton’s ‘pure and mellifluous’ Almaviva – a leading trio ‘musically and dramatically beyond compare’ ( The Independent). Contributing to the ‘ensemble precision’, the rest of the cast includes a ‘scene-stealing’ Berta in Kelly, a ‘suavely unctuous’ Basilio from Stamboglis andCorbelli’s Bartolo, ‘an object lesson in comic understatement’ (The Guardian). With Enrique Mazzola at the helm of the London Philharmonic Orchestra, ‘the score bubbles along on a Puckish current of merry mischief’ (The Telegraph).

The ‘sheer visual sophistication’ of Annabel Arden’s Barbiere serves ‘a triumphant celebration of Rossini’s musical genius

The Barber of Seville

Perhaps no opera is as closely and affectionately associated with a single house as Le nozze di Figaro is with Glyndebourne. Effortlessly witty yet shot through with pain and sadness, this deeply ambivalent life in the day of masters and servants as they scheme and outwit one another was Glyndebourne’s opening production in 1934. Michael Grandage’s staging is the seventh, set in a louche Sixties ambience. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times) in a production that continues Glyndebourne’s rewarding history of engagement with Mozart’s and da Ponte’s ‘day of madness’.

Witty yet shot through with pain and sadness, a deeply ambivalent life in the day of masters and servants as they scheme and outwit one another

The Marriage of Figaro

Pinkerton returns to the US and finds a “real” American wife, while Butterfly waits with unshakeable faith for him to return to the house on the harbour.

Pinkerton returns to the US and finds a “real” wife, while Butterfly waits with unshakeable faith for him to return to the house on the harbour.

Madama Butterfly

The debut feature film of leading opera director Kasper Holten (Director of Opera at the Royal Opera House, Covent Garden), DON GIOVANNI (JUAN) retells Mozart's classical masterpiece as a story of the modern man's escape from himself and his demons.

Juan (Christopher Maltman) is a famous artist and notorious playboy, thanks to his ability to become just what any woman dreams of. He turns his own life into a megalomanic work of art, playing the game of seduction like no other, driven by a manic restlessness that pushes him forward through an endless stream of conquests, betrayals, sex and eventually murder, with death lurking as the only possible outcome.

Every scene and detail has been adapted to make full use of the visual vocabulary of modern cinema, following such unorthodox inspirational sources as The Bourne Trilogy and Traffic, while at the same time maintaining the exceptional live experience of opera, since the actors really sing on set.

Don Giovanni (Juan) retells Mozart's classical masterpiece as a story of the modern man's escape from himself and his demons.

Don Giovanni (Juan)

The main setting for this realistically inspired production of the Barber of Seville, both indoors and out, is Rosina’s house. Ketevan Kemoklidze leads as Rosina while the orchestra plays under the magical baton of the young principal guest conductor Andrea Battistoni.

Ketevan Kemoklidze leads as Rosina while the orchestra plays under the magical baton of the young principal guest conductor Andrea Battistoni.

Don Giovanni is the second of Mozart’s landmark collaborations with librettist Lorenzo da Ponte (after The Marriage of Figaro and before Così fan tutte). In it, they created a work that has beguiled and entranced in equal measure since its premiere in 1787. Perfectly situated, as no other opera, between tragedy and comedy, this potent drama combines glorious music with a seductive central character who is endlessly fascinating in his complexity. Kasper Holten’s 2014 production for The Royal Opera casts Don Giovanni as an artist who thrives on an audience enticed by his creative gifts. The visually spectacular set by award-winning designer Es Devlin features ingenious video designs by Luke Halls which provide an insight into the characters’ thoughts and emotions. But at the production’s heart are the beauty and invention of Mozart’s dazzling score.

Kasper Holten’s 2014 production for The Royal Opera House casts Don Giovanni as an artist who thrives on an audience enticed by his creative gifts.

Don Giovanni

Puccini’s Japanese tragedy Madama Butterfly is given a ravishing production by The Royal Opera. 
Its alluring imagery of Japan from the 19th-century European Imagination heightens the intense clash of East and West. When the American naval officer Pinkerton seduces the young ‘Butterfly’ Cio-Cio-San, he seems to promise every happiness – but his cruel abandonment leads to her tragic self-sacrifice.
Antonio Pappano, Music Director of The Royal Opera and renowned for his interpretations of Puccini, conducts an exceptionally fine cast with the Royal Opera Chorus and the Orchestra of the Royal Opera House.

Powerful performances show why Madama Butterfly remains one of the all-time operatic favorites.

Puccini’s Madama Butterfly is one of the best-known operas worldwide. The ROH stages this alluring Japanese tragedy, reminding us why it’s a favorite.

Official Selection Venice Film Festival, Benoît Jacquot’s acclaimed 2002 film of Puccini’s opera stars Angela Gheorghiu in the title role with Roberto Alagna, Ruggero Raimondi and the Chorus and Orchestra of the Royal Opera House, Covent Garden, under Sir Antonio Pappano.

Acte I - The painter Mario Cavaradossi, who is working in Sant'Andrea della Valle Church, helps a political prisoner who has taken refuge there. He conceals the fact to Tosca a famous prima donna and his jealous mistress, who has come to meet him. Then he takes the prisoner to his villa just before the arrival of the head-policeman Scarpia. The latter, suspicious about Mario, makes Tosca believe that her lover is unfaithful, and Tosca is followed when she rushes to Mario's villa.

Acte II - Scarpia has dinner at Palazzo Farnese, where there is a celebration in which Tosca sings. Spoletta, Scarpia's right-hand man, arrives with Mario who has been arrested. The latter is tortured. Tosca, summoned by Scarpia, can't stand the torturing and reveals where the fugitive is hidden. Mario has deserved the death sentence, but Scarpia promises Tosca his life will be spared (his execution will only be simulated) provided she gives herself to him. Tosca pretends to consent but, when Scarpia comes near her, she stabs him.

Acte III - At down, Mario is waiting for his execution on the terrace-roof of Castel Sant'Angelo. Tosca arrives and tells him she killed Scarpia. His execution will be shammed, but he'll have to simulate death as best he can. The firing squad arrives and shoots at him, Mario falls down, the squad withdraws. Tosca runs to her lover: she realizes in horror he has been actually shot death! Spoletta comes up to arrest her, and Tosca hurls herself into empty space.

Benoît Jacquot’s acclaimed film of Puccini’s opera stars Angela Gheorghiu in the title role with Roberto Alagna and Ruggero Raimondi.

Tosca

The stout Sir John Falstaff has financial problems, which he attempts to solve by having affairs with Alice Ford and Meg Page, two very wealthy, very married women. Having received identical love letters, the two women decide to have some fun at Falstaff’s expense.

The stout Sir John Falstaff has financial problems, which he attempts to solve by having affairs with two very wealthy, very married women.

Falstaff

The legendary Zubin Mehta conducts Aida, Verdi’s most spectacular and over-the-top opera, in Ferzan Ozpetek’s new production from the Teatro del Maggio Musicale Fiorentino. Starring Roberto Tagliavini, Luciana D’Intino and Hui He in the title role.

The legendary Zubin Mehta conducts Aida, Verdi’s most spectacular and over-the-top opera.

Aida

Mozart’s masterpiece conducted by Giovanni Antonini on stage at La Scala with Michael Hampe’s staging.

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