Veranstaltungstippsmehr...
High WycombeDer Rosenkavalier
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Strauss R.: Der Rosenkavalier
Finnegan Downie Dear; Bruno Ravella; Garsington Opera; Gary McCann; Malcolm Rippeth; Philharmonia Orchestra
High WycombeLa traviataNeuinszenierung
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Verdi: La traviata
Douglas Boyd; Louisa Muller; Garsington Opera; Tess Jackson; Christopher Oram; Marcus Doshi
High WycombeIl ritorno d'Ulisse in patriaNeuinszenierung
Monteverdi: Il ritorno d'Ulisse in Patria, SV 325
Laurence Cummings; John Caird; Garsington Opera; Robert Jones; Paul Pyant; The English Concert
High WycombeThe Importance of Being EarnestNeuinszenierung
Barry: The Importance of Being Earnest
Douglas Boyd; Jack Furness; Garsington Opera; Francis O'Connor; Hannah Wolfe; Philharmonia Orchestra; Rebecca Meltzer
Neue Kritikenmehr...
Viennese splendour in Garsington’s Rosenkavalier revival
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Bruno Ravella's splendid 2021 production of Strauss' opera of Viennese manners returns with a fine cast.
Garsington’s new La traviata ticks every musical and dramatic box
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Music Director Douglas Boyd conducts a performance of exceptional musical quality, and Louisa Muller's uncontroversial but passionate direction makes this Traviata one for the ages.
A radically trad Fidelio at Garsington
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Simple solutions prove the best in Beethoven's "problem" opera as John Cox's staging is revived at Garsington.
Ravishing Rodelinda: Handel al fresco at Garsington Opera
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Ruth Knight untangles Handel's Rodelinda, directing a new staging at Garsington which features a feast of fine singing.
Three card trick: compelling new Queen of Spades at Garsington
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Jack Furness directs a terrific new Queen of Spades at Garsington – haunting and harrowing.
Garsington’s L’elisir d’amore: Dr Feelgood wins the day
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Simon Higlett’s exquisite sets and costumes give a backdrop to Donizetti’s frothiest of rom-coms.
Madcap comedy from Verdi: Un giorno di regno at Garsington
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Christopher Alden, Chris Hopkins and an excellent cast send us a comic roller coaster ride with Verdi’s ultra-rarely performed second opera.
Garsington Opera's new A Midsummer Night's Dream
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In the first and last acts, ladies entered with a train still attached to a bolt of cloth, which was then cut to length by an attendant. Was this production brought to the stage in a great hurry, allowing no time for costume fittings?