Tough, thrilling, ambitious and new: The Skating Rink is an exciting new major commission by Garsington, and its world première delivered on every level.
An affirmation of the importance of cultural values in the face of the abyss, or Richard Strauss fiddling while Europe burnt? Tim Albery's production leaves it to us to decide.
Garsington's latest Rossini buffa is on the nail orchestrally, mixed vocally and one of the best pieces of acting and stage movement you'll see in opera.
On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.
Mozart's messy monster of an opera gets a brutalist tidy-up at Garsington, but the determinedly straightforward reading only makes this work's innate problems more obvious.
The away leg of Rossini's “Italian girl - Turkish guy” fixture makes for a thoroughly enjoyable evening at Garsington, without ever quite bursting into flame.
Garsington’s first collaboration with the Royal Shakespeare Company married an abridgement of Shakespeare’s play with Mendelssohn’s incidental music, a union which promised much but which stumbled awkwardly.
At Garsington Opera, Richard Strauss' Intermezzo presents an utterly compelling picture of a mature marriage with its joys and trials; Mary Dunleavy brings it to life with a top class piece of acting.
Weddings bring out the cynic in me. They also bring out the cynic in Don Alfonso and it’s at a wedding breakfast that John Fulljames sets his production of Così fan tutte.
