Opera Seria continues to amaze with Donizetti's Maria Stuarda

Considering the number of operas he set in Britain, Donizetti was surprisingly unfamiliar with the place – Emilia di Liverpool famously has characters, one of whom is the long lost “Count of Liverpool”, stopping off there on their way from London to Oxford.

Lust, betrayal, beheadings. The words appeared prominently in the publicity for Opera Seria’s debut production of Donizetti’s Anna Bolena, bringing Horrible Histories fleetingly to mind, but they do sum up the plot of one of the composer’s greatest works rather well.

Some panache is required to put a credible orgy on the stage of venerable old Skipton Town Hall. Heritage Opera, which has plenty, does just that with a minimal number of participants: the opening scene has an engagingly rumbustious quality, with plenty of screams, snogging and groping but not much of the courtly elegance which might signify that this is more than your run-of-the-mill bordello.

It's extremely rare to see a small opera company commission a brand new work, but that's exactly what Heritage Opera, who regularly present chamber operas in the north-west of England, have done.

Gegen neumodisch zeitgenössische Kriegsspiele und KI-generierte Bilderfluten wusste sich das Opernensemble des Staatstheaters Nürnberg mit romantischer Klangsensibilität zu behaupten.

Max Emanuel Cencic ist mit seiner Inszenierung von Leonardo Vinics Stück über Alexander dem Großen ein echter Geniestreich gelungen. Selten war eine Opera seria so bunt, kurzweilig und trotzdem durchweg authentisch.