Bampton Classical Opera revives little-known operas by Philidor and Grétry

Bampton’s “mission to rescue unjustly neglected classical period opera” is vindicated once again with a fresh, fun account of the near-lost original source for Rossini's La Cenerentola: Isouard's Cendrillon. 

Wet English summer weather may have driven Bampton's pacy revival of Salieri's wickedly funny La scuola de' gelosi indoors, but rain could not dampen the sheer fun ahead. 

Two little-known 18th-century operas are given inventive new productions featuring some promising young singers.

This small, fun, fast-paced comedy, probably the UK première of Salieri's neglected fairytale, makes for a glorious garden opera evening at Bampton (and touring). 

A beautiful evening of rare and royal music by Gluck, in the year of his 300th anniversary, and even an even rarer setting of Orfeo by Bertoni: it was just a pity we couldn't follow all the words, as well as all the notes, at St John's Smith Square.

As the Governess Alison Rose was the ideal suffering soprano, her eyes an imbroglio of psychological disturbances.