The National Health Service of the Renaissance: l'Ospedale at Wilton's Music Hall

James Hurley directs a new production of Puccini's neglected opera to close Opera North's Green Season. 

When the king of the gods falls head over heels in love with you, seriously bad stuff happens. If you're a Handelian soprano like Semele, however, it happens very tunefully and in a thoroughly pleasant, elegant and cheerful manner for the whole evening.If you're confused as to the difference between opera and oratorio, Semele is the perfect aid to your confusion.

No wonder the 1744 audience was shocked by this “oratorio” which, far from drawing on Biblical themes, displays before us the sexual misdemeanor of the immortal Jove, with a mortal, Semele.

It might be a useful “rule of thumb” for every director of opera, to imagine the audience will be coming to the opera for the first time and view his own job as giving maximum clarity to the production he or she is working on.

Mozart's Magic Flute is so well-known and so well-loved that a director must tread a tricky path. If the production is too conventional, he is accused of being boring and hackneyed; if it's too full of clever inventive ideas, he is accused of betraying the original. Fortunately, the director has one overriding thing going for him: Mozart's music.

Pour ses débuts à Toulouse, le ténor américain se distingue dans le rôle-titre de l'ouvrage verdien. Mise en scène, plateau vocal et fosse s'associent parfaitement pour livrer la quintessence du drame.