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François de Carpentries' Oslo production of The Barber of Seville was both unfunny and underwhelming. 

What do you get when you mix an old man with a penchant for younger women, a young woman, her equally young lover and a scheming doctor, and set it all sometime around the 1960s, although you wouldn’t really know it had it not been for the petticoats? A rather successful night at the opera, it would seem.

English classical music is often associated with the countryside, the landscape and its villages, and Britten's opera Peter Grimes is no exception.