380 search results for…

Reviews, Stage Reviews

Glyndebourne Festival Opera 2024 Review: The Merry Widow


(Photo © Glyndebourne Productions Ltd. Photo: Tristram Kenton) There was much to fuel the excitement around a brand new production of Franz Lehár’s “The Merry Widow” for Glyndebourne Festival Opera this year. It’s the first time the work has ever been mounted there, and it’s always a treat to see what the slickly-oiled operatic operation, with its six weeks of {…}

Reviews, Stage Reviews

Glyndebourne Festival Opera 2024 Review: Carmen


(Photo: © Richard Hubert Smith/Glyndebourne Festival Opera 2024) The picnic hampers are packed, dinner jackets dry-cleaned, cufflinks wrangled, and drizzle forecast: the British country house opera season is back. It opens with a new production of Georges Bizet’s box-office stalwart “Carmen” from Glyndebourne Festival Opera, directed by Diane Paulus and conducted by Glyndebourne Music Director Robin Ticciati.  This latest version, {…}


Glyndebourne Festival Announces Cast Change for ‘Carmen’


The Glyndebourne Festival has announced a cast change for its production of “Carmen” on May 23, 2024. The company noted that John Findon will sing the role of Don Jose replacing Dmytro Popov. Findon is a tenor who has performed at the Bayerische Staatsoper, the English National Opera, the Royal Opera House, the London Philharmonic Orchestra, the London Chamber Orchestra, {…}


Daniel Johansson, Huw Montague Rendall, Louise Alder & Kateřina Kněžíková Lead Glyndebourne Festival’s 2025 Season


The Glyndebourne Festival has announced its 2025 season. New Productions The season will see the company’s first-ever production of Wagner’s “Parsifal” directed by Jetske Mijnssen. Robin Ticciati conducts the London Philharmonic Orchestra with a cast that includes Daniel Johansson as Parsifal and mezzo-soprano Eva-Maria Westbroek as Kundry. Performance Dates: May 17 – June 24, 2025 Mozart’s “Le Nozze di Figaro” {…}


Glyndebourne Festival Adds Performance of Händel Opera Following Record-Breaking Ticket Sales


Glyndebourne has announced the addition of one performance of Händel’s “Giulio Cesare” this summer. The company revealed that due to a record number of ticket sales for its 2024 edition, it will add an August 13 showcase of the Händel work. Many of the tickets will be made available to those who signed up for the Under 30s program, which {…}


Aigul Akhmetshina, Danielle de Niese & Aryeh Nussbaum Cohen Lead Glyndebourne Festival’s 2024 Season


The 2024 Glyndebourne Festival has been announced celebrating its 90th season. The season will open with a new production of Bizet’s “Carmen,” directed by Diane Paulus in her Glyndebourne directorial debut. Music Director Robin Ticciati and conductor Anja Bihlmaier will share conducting duties with two casts. The first cast will include mezzo-soprano Rihab Chaieb in the role of Carmen and {…}

Reviews, Stage Reviews

Glyndebourne Festival Opera Review 2023: The Rake’s Progress


(Photo credit: © Glyndebourne Productions Ltd. Richard Hubert Smith) John Cox and David Hockney’s production of “The Rake’s Progress” for Glyndebourne can surely lay claim to being the longest-running staging in the UK. It is 48-years-young this season, and on its 12th revival between Festival and Tour, not to mention the numerous loans of the production to international houses of {…}

Reviews, Stage Reviews

Glyndebourne Festival Opera 2023 Review: A Midsummer Night’s Dream


Photo: © Glyndebourne Productions Ltd. Photo: Tristram Kenton Normally, ‘heritage’ productions make me nervous. The established stagings summon to mind lumbering Zeffirelli-esque spectacles and unwieldy, moth-eaten costumes. Opera houses resting on their artistic laurels, unwilling take artistic risks. The ingrained conservatism in the opera business that could even prove fatal for the art form.  But, Peter Hall’s production of Benjamin {…}

Reviews, Stage Reviews

Glyndebourne Festival Opera 2023 Review: The Dialogue of the Carmelites


(Photo: Richard Hubert Smith) Whether you like Barrie Kosky’s stagings or not, they always have an enormous presence. Think of the Marlene Dietrich-inspired gorilla suit in his “Carmen” for the Royal Opera House, the inflatable Beckmesser caricature in the Nuremberg trial “Meistersinger”, or the eerie sea of ash and candles in his “Saul” for Glyndebourne. The latter, highly acclaimed, meant {…}