En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Clive Timms

Otto Nicolai’s very German take on Shakespeare’s The Merry Wives of Windsor was a big hit in the mid-19th century but has been infrequently performed since then, largely because Verdi’s version, Falstaff, completely eclipsed it.

Donizetti’s one act opera, Rita, composed in 1841 formed the first half of last night’s double bill at the Guildhall School of Music and Drama. The second half comprised another late work, Tchaikovsky’s Iolanta, composed in 1891 to a libretto by Tchaikovsky’s brother, Modest. Rita turns out to be far more entertaining than the plot outline promises and deserves to be more widely seen.

In 1790s France, a young noblewoman, Blanche de La Force, decides to enter a Carmelite convent. As the increasingly paranoid revolutionaries close in, Blanche, her family and the nuns hold a series of discussions on their circumstances, the danger, their faith and, ultimately, their martyrdom.