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Performer: Soraya Mafi

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SeattleRigoletto

Verdi: Rigoletto
Carlo Montanaro; Lindy Hume; Seattle Opera; Richard [set designer] Roberts; Lester Lynch; Giuseppe Altomare; Madison Leonard

LondonIf Fiordiligi and Dorabella had been Lieder Singers

Soraya Mafi; Catriona Morison; William Thomas; Graham Johnson

West HorsleyHansel and GretelNew production

Humperdinck: Hänsel und Gretel
George Jackson; Stephen Medcalf; Grange Park Opera; Yannis Thavoris; Caitlin Hulcup; Soraya Mafi

LondonOrpheus and EurydiceNew production

Gluck: Orfeo ed Euridice
Harry Bicket; Wayne McGregor; English National Opera; Lizzie Clachan; Louise Gray; Dame Sarah Connolly; Sarah Tynan

LondonThe Mikado

Sullivan: The Mikado
Chris Hopkins; Sir Jonathan Miller; English National Opera; Stefanos Lazaridis; Sue Blane; Sir John Tomlinson; Elgan Llŷr Thomas
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Songs of innocence and experience: Falstaff at Garsington

Henry Waddington (Falstaff) © Clive Barda
Bruno Ravella's fast-paced Falstaff for Garsington still has crucial space for pathos amid the comedy, with a notably subtle central performance from Henry Waddington.  
****1
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Hot ice and strange snow

Joshua Bloom (Bottom) and Soraya Mafi (Tytania) © Robert Workman
In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.
****1
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Static but worth the slog: ETO's Giulio Cesare

Christopher Ainslie (Giulio Cesare) and Soraya Mafi (Cleopatra) © Richard Hubert Smith
Conway's decision to render Handel's epic in its entirety was let down by a static staging and unnecessary repeats that masked the hidden gem-like arias.
***11
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Morlot in his element for L’Enfant et les sortilèges

Michèle Losier and the Seattle Symphony © Brandon Patoc
Music Director Ludovic Morlot, known for his intriguing programming, outdid himself with a summery breeze of a program that enchanted from beginning to end.
****1
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A poised and pretty outing of a prodigy's exercises

Kristian Bezuidenhout © Marco Borggreve
Mozart's “pasticcio concertos”, composed at the remarkable age of 11, may lack integral vibrancy and brilliance, but are brought to life by an exuberant Bezuidenhout
****1
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