Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Elvira Fatykhova

David McVicar's Don Giovanni for Opera Australia takes its cue from the brutally grim opening of the opera, yet remains true to Mozart’s own description of a “jocular” work (dramma giocoso). 

‘To lose one singer, Mr Terracini, may be regarded as a misfortune; to lose two, one of them in the title role, looks like … a disaster’. Such were the thoughts running through my head when the Artistic Director of Opera Australia made the pre-performance announcement.

Howling, gusting wind. Damp, bitter cold. Dark, gathering twilight. Exactly the right atmosphere, you must agree, for Donizetti's Lucia di Lammermoor, based on Sir Walter Scott's romantic historical novel of dark deeds in the grim castles of the Scottish clans, which opened Opera Holland Park's new season.

From the opening bars of the Overture of Opera Australia’s production of Mozart’s The Marriage of Figaro it was clear that this was going to be a production with a difference. As the orchestra began, the curtain raised to reveal a room, painted in brilliant white, with clothes rails at either end containing maids’ costumes.