A deli-cious revival of Rossini’s Il turco in Italia at Glyndebourne

Matteo Mancini (Prosdocimo) and Rodion Pogossov (Don Geronio)

Il turco in Italia

Elena Villalón (Fiorilla) and Peter Kálmán (Selim)

Minghao Liu (Don Narciso)

Par Dominic Lowe, 24 mai 2026

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“Glyndebourne has assembled a cast that throws itself into the merriment with gusto”

Critique faite à Glyndebourne Opera House, Glyndebourne, le 23 mai 2026

Rossini, Il turco in Italia

Glyndebourne Festival Opera

Bertie Baigent, Direction

Mariame Clément, Mise en scène

Julia Hansen, Décors, Costumes

Bernd Purkrabek, Lumières

London Philharmonic Orchestra

The Glyndebourne Chorus

Elena Villalón, Fiorilla

Rodion Pogossov, Don Geronio

Peter Kálmán, Selim

Minghao Liu, Don Narciso

Matteo Mancini, Prosdocimo

Aytaj Shikhalizada, Zaida

Anle Gou, Albazar

Glyndebourne’s first Tosca: vocally strong but imperfect

David Karlin, 21st May

Ted Huffman brings some interesting ideas to his first Glyndebourne production. Excellent singing is let down by indifferent physical acting.

***11

Glyndebourne revives Michieletto’s Kátya Kabanová

Mark Valencia, 3rd August

Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates.

***11

All the world’s a jest: Falstaff returns to Glyndebourne

Mark Pullinger, 23rd July

Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh.

***11

A strong new Figaro opens at Glyndebourne

Dominic Lowe, 29th June

Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

****1

Glyndebourne's Saul still packs a punch 10 years on

Nick Boston, 8th June

Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

*****

Unhurried suspense in a very English Parsifal

Peter Quantrill, 17th May

Compelling singers carry the day in the Glyndebourne Festival Opera's first staging of Wagner’s swansong.

****1

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Dominic Lowe

Dominic Lowe recently completed a degree in Classics, and one of his great interests is the reception of Greece and Rome in opera. A regular opera-goer since his very early teens, he is particularly keen on the hidden operatic gems of the 19th century. He is largely based in the South of England.