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Performer: Michael Gibson

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BrusselsAriadne auf Naxos

© Andrew McCarthy
Strauss R.: Ariadne auf Naxos
Ariane Matiakh; Mariusz Treliński; La Monnaie | De Munt; Fabien Lédé; Marek Adamski; Marc Heinz; La Monnaie Symphony Orchestra

Baden-BadenWagner & Beethoven

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Beethoven, Wagner
London Symphony Orchestra; Sir Antonio Pappano; Vilde Frang; Sara Jakubiak; Marina Prudenskaya; Clay Hilley
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Le Don Giovanni élégant et fluide d'Agnès Jaoui à Montpellier

Don Giovanni à Montpellier © Marc Ginot
À l’exact opposé du Regietheater, l'actrice, réalisatrice et metteuse en scène propose une lecture classique de l'opéra de Mozart, bien servie par une distribution de très bonne tenue.
****1
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Diminishing returns in The Royal Opera’s Sicilian Vespers

Joyce El-Khoury (Hélène), dancers and the Royal Opera Chorus © The Royal Opera 2025 | Tristram Kenton
Joyce El-Khoury saves the day in The Royal Opera’s second revival of The Sicilian Vespers in Stefan Herheim’s paint-by-numbers production. 
***11
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Dodging the executioner’s axe: Șerban’s Turandot returns

Turandot Act 3 © RBO | Tristram Kenton
Andrei Șerban’s 1984 staging of Turandot may the oldest production left in The Royal Opera’s stable, but there's life in the old horse yet. 
****1
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Revolutionary zeal gives way to tyranny in The Royal Opera’s Fidelio

Jennifer Davis (Leonore) © Tristram Kenton, 2024
This revival of Kratzer’s production forces the audience to confront where personal responsibility starts and stops for acting under a tyrannical regime, while bringing Beethoven’s only opera to life – with a few twists.
****1
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Nadine Sierra leads a musically formidable Lucia di Lammermoor

Nadine Sierra (Lucia) and Rachael Lloyd (Alisa) © ROH | Camilla Greenwell
Katie Mitchell's provocative staging is revived to great effect, elevated by glorious music-making led by Nadine Sierra's sensational Lucia. 
****1
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Pappano and Loy bring empathy to Elektra at Covent Garden

Nina Stemme (Elektra) © ROH | Tristram Kenton
Christof Loy’s thoughtful staging enlightens the character of the protagonists in Sophocles’ tale of matricide; Sir Antonio Pappano extracts great nuance and beauty from Strauss’ score.
****1
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