Episodes

TitleFirst
Broadcast
RepeatedComments
20240330Opera relays from around the UK.

Programme presenting rare and fascinating operatic performances

#operapassion Day20171019As part of the BBC's opera season, Sara Mohr-Pietsch hosts the culmination of #OperaPassion Day with a complete performance of an opera voted for by Radio 3 listeners. In the company of opera specialist Sarah Lenton, Sara introduces either Mozart's The Magic Flute, Gounod's Faust, Wagner's The Flying Dutchman or Puccini's Tosca, in a live recording from London's Royal Opera House.

To find out how to cast your vote, go to bbc.co.uk/radio3.

Sara Mohr-Pietsch hosts a complete performance of an opera voted for by Radio 3 listeners.

Albert Herring20131123Live from the Barbican, Steuart Bedford conducts the BBC Symphony Orchestra and a fabulous ensemble cast including Christine Brewer as Lady Billows, Gillian Keith as Miss Wordsworth, Roderick Williams as Mr Gedge and rising star Andrew Staples as Albert himself.

Presented by Donald Macleod with contributions from Steuart Bedford who knew and worked with Britten, and members of the cast. Plus, in the Radio 3 Opera Guide at about eight o'clock, soprano Dame Josephine Barstow and Britten experts Paul Kildea and Christopher Wintle uncover the sophistication that lies at the heart of Brittten's comic masterpiece.

Britten: Albert Herring

Lady Billows - Christine Brewer (soprano)

Florence Pike - Gaynor Keeble (mezzo)

Miss Wordsworth - Gillian Keith (soprano)

Mr Gedge - Roderick Williams (baritone)

Mr Upfold - Adrian Thompson (tenor)

Superintendent Budd - Matthew Rose (bass)

Sid - Marcus Farnsworth (baritone)

Albert - Andrew Staples (tenor)

Nancy - Kitty Whately (mezzo)

Mrs Herring - Catherine Wyn-Rogers (mezzo)

Steuart Bedford (conductor)

Kenneth Richardson (director)

In the Suffolk town of Loxford, the lax morals of the local girls preclude local worthy Lady Billows from finding an appropriate candidate to crown May Queen. Desperate times call for desperate measures and she finds a suitably virtuous May King in Albert Herring, whose domineering mother has kept him on the straight and narrow. But it only takes lemonade spiked with rum for Albert to go off the rails and discover there's more to life than than doing what mother tells him.

Once again Britten found inspiration on his doorstep but unlike the grim tale of Peter Grimes from a couple years earlier, Albert Herring's affectionate parody of small-town life is a comic tour de force.

Live from the Barbican, Steuart Bedford conducts the BBCSO in Britten's Albert Herring.

Alfredo Catalani: Edmea20211106All over the world, year in, year out, opera houses put on a handful of operas from the standard repertory. For 70 years, however, Wexford Festival Opera has bucked that trend and the unlikely setting of a small town on Ireland's southeast coast has become the destination for opera lovers who want to see the operas no one else will stage and to be the first to hear singers on the threshold of international careers.

Among this season's rarities is Alfredo Catalani's Edmea. Overshadowed by his greatest hit La Wally, Edmea was Catalani's penultimate opera, based on an Alexandre Dumas play and premiered at La Scala, Milan, in 1886. It has many of the customary elements of the genre: a vulnerable orphan (Edmea), a love triangle, mistaken identity, forced marriage, madness, a castle and suicide (one attempted; one successful). But it does have a happy ending, when Edmea is able to marry her true love Oberto after her unwanted husband Ulmo shoots himself.

Recorded last month and presented by Sean Rafferty.

Edmea.......Anne Sophie Duprels (soprano)

Il Conte di Leitmeritz.......Ivan Shcherbatykh (baritone)

Oberto.......Luciano Ganci (tenor)

Il Barone di Waldek.......John Molloy (bass)

Ulmo.......Leon Kim (baritone)

Fritz......Conor Prendiville (tenor)

Orchestra of Wexford Opera

Francesco Cilluffo (conductor)

Anne Sophie Duprels sings the title role in Wexford Festival Opera's production of Edmea.

Among this season's rarities is Alfredo Catalani's Edmea. Overshadowed by his greatest hit La Wally, Edmea was Catalani's penultimate opera, based on an Alexandre Dumas play and premiered at La Scala, Milan, in 1886. It has many of the customary elements of the genre: a vulnerable orphan (Edmea), a love triangle, mistaken identity, forced marriage, madness, a castle and suicide (one attempted; one successful). But it does have a happy ending of sorts, when Edmea is able to marry her true love Oberto after her unwanted husband Ulmo shoots himself.

Acts 1 & 2

7.50 pm

Sean Rafferty talks to soprano Anne Sophie Duprels about the challenges of the title role and asks conductor Francesco Cilluffo about Catalani's place in Italian operatic history.

8.00 pm

Act 3

Chorus and Orchestra of Wexford Festival

Image: © Clive Barda

Anthony Davis's X: The Life And Times Of Malcolm X20240203Anthony Davis's 1986 opera is based on the life and death of the charismatic black human rights campaigner Malcolm X. It receives its Met premiere production this season as part of a programming policy to include work outside the traditionally accepted canon, work that speaks to contemporary life. It was an evening, said one critic, with profound impact.

Davis – Pulitzer Prize-winning jazz pianist, composer and educator – focuses on the essential scenes of Malcolm X's life, from his traumatic childhood to his imprisonment, his conversion to Islam, his activism and, finally, his assassination in 1965.

The vivid orchestral score includes Davis's Episteme jazz octet (whose directions include 'respond to Malcolm', 'à la Jimmy Garrison' and 'Miles Davis Funk!') and as well as improvisation incorporates swing, pop and contemporary classical styles.

'I imagined,' says Davis, 'an American opera that drew equally from the African diaspora and the European, where the immediacy of the improvised and subversive spirit of the blues meets the form and structure of a post-tonal language of Berg and Stravinsky.'

Recorded in November and presented by Debra Lew Harder with commentator Ira Siff.

Malcolm - .. Will Liverman (baritone)

Louise / Betty - .. Leah Hawkins (soprano)

Ella / Queen Mother - .. Raehann Bryce-Davis (mezzo-soprano)

Elijah / Street - .. Victor Ryan Robertson (tenor)

Reginald - .. Michael Sumuel (bass-baritone)

Social - .. Tracy Cox (soprano)

Policeman 1 / Reporter 1 - .. Gregory Warren (tenor)

Policeman 2 - .. Marco Antonio Jordão (tenor)

Policeman 3 / Reporter 3 - .. Ross Benoliel (bass)

Reporter 2 - Daniel Clark Smith (tenor)

Reporter 4 - .. Tyler Simpson (tenor)

Garvey Preacher - .. Edwin Jhamaal Davis (bass)

Neighbour - .. Jasmine Muhammad (soprano))

Postman - .. Elliott Paige (tenor)

Friend - .. Adam Richardson (baritone)

Young Malcolm - .. Bryce Christian Thompson (soprano)

Muezzin - .. Tshombe Selby (tenor)

An Ally - .. David Morgans Sanchez (tenor)

Episteme (jazz octet)

Metropolitan Opera Chorus and Orchestra

Kazem Abdullah (conductor)

The moving and inspiring 1986 opera in its New York Metropolitan Opera premiere production

Anthony Davis's 1986 opera on the life of black human rights activist Malcolm X receives its New York Metropolitan Opera premiere production.

Aucoin's Eurydice20211204Eurydice

Music by Matthew Aucoin, libretto by Sarah Ruhl, based on her play Eurydice.

Presented by Debra Lew Harder, in conversation with Ira Siff.

The ancient Greek myth of Orpheus, who attempts to harness the power of music to rescue his beloved Eurydice from the Underworld, has inspired composers since opera's earliest days. Contemporary American composer Matthew Aucoin now carries that tradition into the 21st century with a new take on the story. With a libretto by Sarah Ruhl, adapted from her acclaimed 2003 play, the opera reimagines the familiar tale from Eurydice's point of view.

Yannick N退zet-S退guin conducts this New York Metropolitan Opera premiere production to launch the 2021-22 season of broadcasts from the Met. Soprano Erin Morley sings the title role, opposite baritone Joshua Hopkins as Orpheus and countertenor Jakub J zef Orli?ski as his otherworldly alter-ego. Bass-baritone Nathan Berg is Eurydice's father and fellow resident of the underworld, with tenor Barry Banks as Hades himself.

Eurydice: Erin Morley, soprano

Orpheus: Joshua Hopkins, baritone

Orpheus' otherworldly alter-ego: Jakub J zef Orli?ski, counter-tenor

Eurydice's father: Nathan Berg, bass-baritone

Hades: Barry Banks, tenor

Orchestra of the Metropolitan Opera House

Yannick N退zet-S退guin, conductor

Highlights of the 2021-22 season of broadcasts from the New York Metropolitan Opera include Terence Blanchard's Fire Shut Up in My Bones - the first opera by an African American composer to be performed at the Met (8 January 2022), three Puccini favourites - Tosca (11 December 2021), La Boheme (29 January 2022) and Turandot (7 May 2022), Mussorgsky's Boris Godunov (19 February 2022), the French-language version of Verdi's Don Carlos (26 March 2022) and Gershwin's Porgy and Bess (30 April 2022).

Yannick Nezet-Seguin conducts Eurydice, by Matthew Aucoin.

Image: © Marty Sohl / Met Opera

Barenboim Conducts Cherubini's Medee In Berlin20181020Andrew McGregor presents a new production of Cherubini's M退d退e from Berlin Staatsoper, conducted by Daniel Barenboim, recorded earlier this week.

Born in Florence and a contemporary of Mozart and Beethoven, Cherubini settled early on in Paris and created numerous operas for French audiences - including in the style of 'op退ra comique', with significant spoken sections in place of Italian recitatives..

The story is a re-telling of Euripides tragedy of the revenge of the enchantress Medea - truly a woman scorned - She is mother to two of Jason and the Argonauts sons, and years before helped Jason recover the golden fleece from Chalcis at the cost of rejection by her own family. Years later, as Jason is about to be married, but not to Medea, and she suddenly appears none too pleased, bent on revenge

Cherubini's focus is the psychological and emotional state of Medea, and this lifts the work out of its own time of post revolutionary Paris, into our own. In this new critical edition, sung in French, much of the editorial work has gone into the spoken sections to make the most of the dramatic situation and the emotional state of Medea.

Andrew McGregor is joined by Professor Sarah Hibberd to put into context M退d退e against the legacy of French Opera and assess Cherubini's contribution.

M退d退e....Sonya Yoncheva (Soprano)

Jason.....Charles Castronovo (Tenor)

King Cr退on .....Iain Paterson (Bass)

Dirc退, Cr退on's daughter .....Elsa Drelslg (Soprano)

N退ris, M退d退e's slave .....Marina Prudenskaya (Soprano)

Berlin State Opera Chorus

Berlin State Orchestra

Daniel Barenboim (Conductor)

SYNOPSIS

PRIOR STORY

Jason set off with the Argonauts to purloin the Golden Fleece in Colchis on the Black Sea. Once in Colchis, Jason and the king's daughter M退d退e fell in love with one another. With M退d退e's help, Jason was able to pilfer the fleece from her father's possessions. Once back in Greece, Jason learned that Pelias has driven his father to his death. To punish Pelias, M退d退e then tricked his daughter into killing and boiling him, claiming that it would rejuvenate him. Pursued by Acastus, the son of Pelias, the homeless couple fled across Greece, now with two children in tow. During their flight, the parents were separated: Jason reached Corinth with his two sons, where he was offered the possibility of marrying into the royal house.

ACT I

Dirc退, the daughter of the King of Corinth, fears that Jason might leave her one day, just as he abandoned his first wife M退d退e. Jason has his Argonauts march and presents the bridal gift to Cr退on: the Golden Fleece. A stranger appears: it is M退d退e. Calmly and decisively, she declares that she will prevent Jason's adulterous marriage. She pleads with him not to reject `the mother of his sons,` but to no avail. When he refuses all responsibility for her and her deeds, she calls on him to choose between her love or her animosity. The argument escalates: both threaten to kill one another.

ACT II

M退d退e is furious: she has been forbidden all contact with her sons. Cr退on appears with his soldiers: in response to Jason's request, he offers her the chance to flee unharmed and promises to protect her children. M退d退e humbly begs to be tolerated in Corinth, and allays Cr退on's mistrust by insisting on her utter helplessness. She now comes up with the plan that horrifies even her: to take revenge Jason's betrayal not only by killing his wife, but his sons as well. M退d退e declares that her resistance is now broken. Jason rejects her request that the children accompany her into exile because of his great love of both. Jason responds to M退d退e's lament by allowing her to have contact with her children once more before her departure. M退d退e commands N退ris to accompany her two sons to Dirc退. They are to offer M退d退e's former bridal dress and her bridal crown as gifts, poisoned gifts that are to kill the new bride.

ACT III

N退ris has set off with the children and the deadly gifts. A storm erupts. M退d退e has armed herself with a dagger and admonishes herself to be relentless. But when her children return, she is unable to carry out her intended murder. The dagger falls from her hands. Her rage against Jason and the love of her children are tearing her apart. She orders N退ris to bring her children to safety from her. But just as N退ris departs with them, M退d退e regrets her failure to carry out this ultimate punishment of Jason. Then cries of horror and Jason's mourning of the torturous death of Dirc退, which has also killed Cr退on as well, come to her ear. M退d退e picks up the dagger and follows N退ris and her children. Jason and the people want to punish M退d退e. M退d退e tells Jason that her children have been murdered and, declaring that she will wait for him in hell, leaps into the flames now raging in Cr退on's palace.

Andrew McGregor presents a new production from Berlin of Cherubini's Medee.

Bbc Cardiff Singer Of The World Gala Concert20230617A World Gala concert from BBC Cardiff Singer of the World.

Former BBC Cardiff Singer finalists and champions including Louise Alder, Claire Barnett-Jones, Luis Gomes and Roland Wood present a feast of operatic hits including beautiful solos such as La donna 耀 mobile from Rigoletto, Seguidilla from Carmen, heart-warming duets such as La ci darem la mano from Don Giovanni, the stunning trio Soave sia Il vento from Cos쀀 fan tutte and all the singers combine forces in Bella figlia del'amore - also from Rigoletto. They are accompanied by Cardiff's very own Welsh National Opera Orchestra and one of the world's finest operatic conductors, Pietro Rizzo.

Petroc Trelawny hosts last night's 40th anniversary gala concert at St David's Hall, the National Concert Hall of Wales.

Verdi: La forza del destino, overture

Verdi: In questa bruna and duet - Simon Boccanegra

Mascagni: Oh! Il Signore vi manda - Cavalleria rusticana

Mascagni: Intermezzo - Cavalleria rusticana

Gounod: Salut, demeure chaste et pure - Faust

Bizet: Seguidilla - Carmen

Bizet: Toreador's Aria - Carmen

c. 7.15pm

Interval music: Ll?r Williams plays Elsa's Bridal Procession from Wagner's Lohengrin in the transcription by Franz Liszt.

c. 7.30pm

Weber: Der Freischütz, overture

Mozart: Soave sia il vento - Cos쀀 fan tutte

Mozart: L

Beethoven's Fidelio20110625Presented by Martin Handley

The opera that cost Beethoven so much time and energy tells the story of a woman's determination to rescue her husband from imprisonment at the hands of an evil governor. Leonora disguises herself as a man - Fidelio - and takes a job as a guard at the prison where she believes her husband, Florestan, is interred. She manages to charm the prison warden and his family (to the extent that his daughter falls in love with her) before taking on the governor and achieving her aim. The Swedish soprano Nina Stemme tackles the demanding title-role for the first tme on stage and is supported by a highly experienced cast and conductor.

Leonore - Nina Stemme (soprano)

Florestan - Endrik Wottrich (tenor)

Jaquino - Steven Ebel (tenor)

Marzelline - Elizabeth Watts (soprano)

Don Pizarro - John Wegner (bass)

Don Fernando - Willard White (bass)

Rocco - Kurt Rydl (bass)

Prisoner - Dawid Kimberg (baritone)

Royal Opera Chorus (Chorus Director Renato Balsadonna)

Orchestra of the Royal Opera House

Conductor - Mark Elder.

Martin Handley presents a performance of Beethoven's opera Fidelio, starring Nina Stemme.

Beethoven's Fidelio20131111Ivan Hewett introduces Beethoven's Fidelio in a new production by Calixto Bieito, recorded last month at the English National Opera in London. The soprano Emma Bell takes on the title role as the brave Leonora who, disguised as young man Fidelio, rescues her unfairly jailed husband Florestan, sung by the tenor Stuart Skelton. The stage at the Coliseum is transformed in this contemporary setting into a big prison of metal and plastic, a truly claustrophobic labyrinth in which all characters are prisoners, one way or another. The orchestra and chorus of the ENO are conducted by Music Director Edward Gardner. And there's a dramatic cameo by the Heath String Quartet too.

Leonora - Emma Bell (Soprano)

Florestan - Stuart Skelton (Tenor)

Rocco - James Creswell (Bass

Marzelline - Sarah Tynan (Soprano)

Jaquino - Adrian Dwyer (Bass)

Don Pizarro - Philip Horst (Bass)

Don Fernando - Roland Wood (Baritone)

First prisoner..... Anton Rich (Tenor)

Second prisoner - Ronald Nairne (Bass)

English National Opera Orchestra

English National Opera Chorus

Edward Gardner, conductor

The Heath String Quartet - Oliver Heath and Cerys Jones, violins; Gary Pomeroy, viola; and Christopher Murray, cello.

Edward Gardner conducts a performance of Beethoven's Fidelio at ENO, starring Emma Bell.

Beethoven's Fidelio20151114For today's Opera on 3 Jonathan Swain presents a performance of Beethoven's only opera, Fidelio, given at this summer's Salzburg Festival with the Vienna State Opera Chorus and Vienna Philharmonic conducted by Franz Welser-Most. Florestan is a Spanish nobleman unjustly imprisoned by his political enemy Don Pizarro. His wife Leonore dertermines to rescue him by disguising herself as a man, Fidelio, and tricking her way into his dungeon. Adrianne Pieczonka sings the resourceful Leonore, and Jonas Kaufmann the husband she is desperate to save.

Beethoven Fidelio

Leonore..... Adrianna Pieczonka (soprano)

Florestan..... Jonas Kaufmann (tenor)

Pizarro..... Tomasz Konieczny (bass)

Rocco..... Hans-Peter K怀nig (bass)

Marzelline..... Olga Bezsmertna (soprano)

Jacquino..... Norbert Ernst (tenor)

Don Fernando..... Sebastian Holecek (bass-baritone)

First Prisoner..... Daniel L怀k怀s (tenor)

Second Prisoner..... Jens Musger (bass)

Vienna Philharmonic Orchestra

Franz Welser-M怀st (conductor).

Beethoven's Fidelio from the 2015 Salzburg Festival with a cast including Jonas Kaufmann.

Beethoven's Fidelio From Garsington Opera20200926A rare chance to hear this exclusive semi-staged performance of Beethoven's opera, Fidelio from Garsington. The perfect story for our times, this thrilling opera revolves around the triumph of love, courage and freedom over oppression and isolation.

The soprano Katherine Broderick takes on the role of Leonore, who bravely disguises herself as a young man Fidelio in order to rescue her unfairly jailed husband Florestan, sung by tenor Toby Spence. Douglas Boyd conducts members of the Philharmonia Orchestra in a version of Beethoven's masterpiece cleverly orchestrated by Francis Griffin.

Presented by Kate Molleson

Recorded September 2020

Leonore.....Katherine Broderick (Soprano)

Florestan.....Toby Spence (Tenor)

Rocco.....Stephen Richardson (Bass)

Don Pizarro.....Andrew Foster-Williams (Bass)

Marzelline.....Galina Averina (Soprano)

Jaquino.....Trystan Llyr Griffiths (Tenor)

Don Fernando.....Richard Burkhard (Baritone)

First Prisoner.....Richard Pinkstone (Tenor)

Second Prisoner.....Thomas D Hopkinson (Bass)

Garsington Opera Chorus

Douglas Boyd (Conductor)

Leonore, disguised as a man named Fidelio, has secured a post at the prison where she suspects her husband, Florestan, is being

illegally incarcerated. Marzelline, the daughter of chief gaoler, Rocco, has fallen in love with Fidelio, much to the annoyance of fellow employee Jaquino.

Fidelio persuades Rocco to share supervision of the inmates. Upon overhearing plans to kill the prisoner in solitary confinement, Fidelio secures permission to assist in preparing the grave. Deprived of light, air, nourishment and liberty, Florestan considers his hopeless situation, seeing a vision of Leonore leading him to freedom. Upon hearing his voice, Fidelio recognises her husband,

reveals herself as Leonore and threatens the governor, Pizarro, with a gun.

At that very moment, the Minister arrives and announces a pardon

for all prisoners, allowing Leonore finally to release her beloved Florestan.

Beethoven's Fidelio from Garsington Opera conducted by Douglas Boyd

Beethoven's Fidelio From The Met2017040120201219 (R3)From the Metropolitan Opera, New York, Beethoven's only opera, and the composition he is said to have loved the most: Fidelio. A moving story of love and human aspirations, Adrianne Pieczonka leads this strong cast singing the role of Leonore, who, disguised as Fidelio, bravely fights for her husband Florestan's freedom. Tenor Klaus Florian Vogt sings the role of Florestan, with the Chorus and Orchestra of the Metropolitan Opera, New York conducted by Sebastian Weigle.

Leonore - Adrianne Pieczonka (soprano)

Florestan - Klaus Florian Vogt (tenor)

Marzelline - Hanna-Elisabeth Müller (soprano)

Jaquino - David Portillo (tenor)

Don Pizarro - Greer Grimsley (baritone)

Rocco - Falk Struckmann (bass-baritone)

Don Fernando - Günther Groissb怀ck (bass)

New York Metropolitan Opera Chorus

New York Metropolitan Opera Orchestra

Sebastian Weigle (conductor)

First broadcast in 2017

A performance of Beethoven's opera Fidelio, recorded at the Metropolitan Opera, New York.

Beethoven's Fidelio From The Royal Opera House, Covent Garden20200328The triumph of love, courage and freedom over oppression, tyranny and evil are the eternal themes of Beethoven's only opera, a project close to his heart but which cost him dear in over a decade of revisions and rewrites.

Recorded at the Royal Opera House Covent Garden earlier this month, and the hot ticket of the season, Antonio Pappano conducts a dream team of a cast led by two of the most celebrated singers on today's operatic stage. In a new production by Tobias Kratzer, soprano Lise Davidsen plays Leonore, the devoted wife of Florestan (tenor Jonas Kaufmann), whose love for her wrongly imprisoned husband means she will stop at nothing to ensure his freedom. It causes all sorts of problems, from disguising herself as a man, Fidelio, and having to reject the unwelcome advances of Marzelline, the love-struck jailer's daughter, to courageously risking her life in a touch-and-go mission to free Florestan.

Beethoven's thrilling darkness-to-light journey is presented by Tom Service in conversation with the Rev. Lucy Winkett, including contributions from conductor, cast and director.

Beethoven: Fidelio

Act 1

7.55pm

Interval

Tom Service and Lucy Winkett explore some the themes of Beethoven's Fidelio and the way they've been interpreted in this production, with comments from Lise Davidsen, Antonio Pappano and Tobias Kratzer.

8.15pm

Act 2

Leonore.....Lise Davidsen (soprano)

Florestan.....Jonas Kaufmann (tenor)

Rocco.....Georg Zeppenfeld (bass)

Don Pizarro.....Michael Kupfer-Radecky (baritone)

Marzelline.....Amanda Forsythe (soprano)

Jaquino.....Robin Tritschler (tenor)

Don Fernando.....Egils Silinš (bass-baritone)

First Prisoner.....Filipe Manu (tenor)

Second Prisoner.....Timothy Dawkins (bass)

Chorus and Orchestra of the Royal Opera House

Antonio Pappano (conductor)

Antonio Pappano conducts a dream cast including Lise Davidsen and Jonas Kaufmann.

Bellini's I Capuleti E I Montecchi20231230With I Capuleti e i Montecchi, Bellini found his unique gift for haunting, liquid melodies that seem to go on for ever. After the first performances he himself said 'My style is now heard in the most important theatres in the world...and with the greatest enthusiasm.' In this adaption of the tale of the star-crossed lovers, Bellini gives both the leading roles to female voices, which adds a special eroticism to the love music.

Andrew McGregor presents a concert performance recorded at this year's Salzburg Festival in conversation with opera expert Roger Parker. The cast is led by soprano Elsa Dreisig as Giulietta, mezzo Aigul Akhmetshina as Romeo and the Mozarteum Orchestra Salzburg is conducted by Marco Armiliato.

Giulietta - Elsa Dreisig (soprano, )

Romeo - Aigul Akhmetshina (mezzo-soprano, )

Tebaldo - Giovanni Sala (tenor)

Lorenzo - Roberto Tagliavini (bass)

Capellio - Michele Pertusi (bass)

Vienna Philharmonia Chorus

Walter Zeh (chorus director)

Mozarteum Orchestra, Salzburg

Marco Armiliato (conductor)

Concert Performance, sung in Italian.

*1835: Act 1

*2005: Act 2

Read further details about the production on the Salzburg Festival Website: https://bit.ly/3trtAWZ

Bellini's I Capuleti e i Montecchi, recorded at the 2023 Salzburg Festival.

Bellini's I Capuleti e i Montecchi, recorded at the 2023 Salzburg Festival, starring Elsa Dreisig and Aigul Akhmetshina and conducted by Marco Armiliato.

Bellini's La Sonnambula20111119Tonight's Opera on 3 is Bellini's La Sonnambula recorded at the Royal Opera House, Covent Garden. Amina is about to marry Elvino, but her plans are disrupted when a stranger, Count Rodolfo arrives and provokes Elvino's jealousy. Later that night when Amina sleepwalks towards Rodolfo, Elvino assumes she's been unfaithful to him. In Bellini's tuneful opera, Eglise Gutierrez sings the unfortunate sleepwalking Amina and Celso Albelo her doubting lover. Ivan Hewett presents, and is joined in the box by translator and writer on music, Kenneth Chalmers.

Lisa - Elena Xanthoudakis (Soprano),

Amina - Eglise Gutierrez (Soprano),

Teresa - Elizabeth Sikora (Mezzo-soprano),

Elvino - Celso Albelo (Tenor),

Count Rodolfo - Michele Pertusi (Baritone),

Royal Opera House Orchestra and Chorus,

Daniel Oren (conductor).

Ivan Hewett presents a performance of Bellini's opera about a sleepwalker, La Sonnambula.

Bellini's Norma20161105Ivan Hewett presents a new production of Bellini's Norma from the Royal Opera House, Covent Garden's first for almost 30 years. The Druid priestess Norma is in love with the leader of the occupying Roman forces, Pollione, and has secretly borne two children by him. When she discovers that he has transferred his affections to another priestess, Adalgisa, it begins a downward spiral leading to her self-sacrifice. Bellini's grand setting contains a very personal story of a woman struggling to combine her own desires with society's expectations, and shows the power of religion as a force for good, and for destruction. In La Fura dels Baus's production, directed by Alex Olle and recorded last month, Bulgarian soprano Sonya Yoncheva leads a stellar cast, with Joseph Calleja as the unfaithful Pollione. Ivan Hewett is joined in the box by Italian opera expert Roger Parker to discuss the history and significance of Bellini's work, and also talks to Associate Director Valentina Carrasco, conductor Antonio Pappano and members of the cast.

Norma - Sonya Yoncheva (Soprano)

Pollione - Joseph Calleja (Tenor)

Adalgisa - Sonia Ganassi (Contralto)

Oroveso - Brindley Sherratt (Bass)

Flavio - David Junghoon Kim (Tenor)

Clotilde - Vlada Borovko (Soprano)

Royal Opera House Chorus

Royal Opera House Orchestra

Antonio Pappano (Conductor).

From the Royal Opera House in Covent Garden, a new production of Bellini's Norma.

Bellini's Norma20230325From the New York Met: Helena Dix stars as the Gaulish priestess who falls for a Roman - not just an enemy of her people but an unfaithful one too. In this all-star production of Bellini's tragic masterpiece the Roman Pollione is sung by Michael Spyres, with Ekaterina Gubanova as Adalgisa, the younger priestess he now prefers to Norma.

Presented by Debra Lew Harder, in conversation with Ira Siff.

Norma - Helena Dix (soprano)

Pollione - Michael Spyres (tenor)

Adalgisa - Ekaterina Gubanova (mezzo-soprano)

Oroveso - Christian Van Horn (bass-baritone)

Flavio, Pollione's friend - Yongzhao Yu (tenor)

Clotilde, Norma's companion - Brittany Olivia Logan (soprano)

Metropolitan Opera Chorus and Orchestra

Conductor Maurizio Benini

From the New York Met: Helena Dix stars as the Gaulish priestess who falls for a Roman.

From the New York Met: Sonya Yoncheva stars as the Gaulish priestess who falls for a Roman - not just an enemy of her people but an unfaithful one too. In this all-star production of Bellini's tragic masterpiece the Roman Pollione is sung by Michael Spyres, with Ekaterina Gubanova as Adalgisa, the younger priestess he now prefers to Norma.

Norma - Sonya Yoncheva (soprano)

From the Met. Sonya Yoncheva stars as Norma, the Gaulish priestess who falls for a Roman.

Berg's Lulu20130525Alban Berg's 'Lulu

Presented by Louise Fryer.

The first of two visits this weekend to Welsh National Opera, for a recording of David Pountney's brilliant new production of Alban Berg's operatic swansong, 'Lulu'. Unfinished on Berg's death in 1935, tonight's performance includes the British broadcast premiere of Eberhard Kloke's recent completion of the final act. Soprano Marie Arnet debuts in the title role, with baritone Ashley Holland as the darkly complex Dr. Sch怀n. Lothar K怀enigs conducts.

Animal Tamer/Schigolch... Richard Angas (bass)

Alwa ... Peter Hoare (tenor)

Dr. Sch怀n ... Ashley Holland (baritone)

Lulu ... Marie Arnet (soprano)

Artist/Negro ... Mark Le Brocq (tenor)

Professor of Medicine ... Michael Clifton-Thompson (tenor)

Prince/Manservant/Marquis ...Alan Oke (tenor)

Wardrobe Mistress/Groom/Schoolboy ... Patricia Orr (mezzo soprano)

Theatre Manager/Banker ... Nicholas Folwell (baritone)

Countess Geschwitz ... Natascha Petrinsky (mezzo soprano)

Acrobat ... Julian Close (bass)

Journalist ... Alastair Moore (baritone)

Servant ... Julian Boyce (tenor)

Designer ... Louise Ratcliffe (mezzo soprano)

Mother ... Jessica Handley Greaves (mezzo soprano)

15-year old girl ... Anitra Blaxhall (soprano)

Police Commissioner ... Simon Crosby Buttle

Clown ... Jasey Hall

Stagehand ...George Newton-Fitzgerald

Onstage musicians ... Heather Badke-Hohmann (violin), David Doidge (piano), Mario Conway (accordion)

Chorus and Orchestra of Welsh National Opera

Lothar Koenigs (conductor)

Berg's sumptuous score breathes life into one of opera's most fascinating characters. 'Lulu' is a woman with a troubled past and a fatally irresistible appeal to men. Set in the 1920s, infused with elements of burlesque, surrealism and jazz, Berg's adaptation of Wedekind's plays is a mixture of tragedy and farce. Lulu is a seductress and a murderess who uses sex with a succession of men to attain social advancement. Ultimately downfall follows her ascent up the social ladder. Reduced to prostitution, this twentieth century free-spirit meets a brutal death at the hands of Jack the Ripper.

Louise Fryer presents David Pountney's new production of Alban Berg's opera Lulu.

Berg's Lulu20170107From the English National Opera, Berg's dramatic twelve-tone opera Lulu. Brenda Rae sings Berg's complex heroine who sexually and emotionally dominates every character she comes into contact with. Working her way through three husbands and numerous lovers, including a Painter, a Prince and a Countess, Lulu eventually becomes a prostitute and is murdered by one of her clients, Jack the Ripper. Brenda Rae leads a top cast including Sarah Connolly, James Morris and Nicky Spence, conducted by Mark Wigglesworth.

Lulu - Brenda Rae (soprano)

Countess Geschwitz - Sarah Connolly (mezzo-soprano)

Painter - Michael Colvin (tenor)

Dr Sch怀n / Jack the Ripper - James Morris (bass)

Alwa - Nicky Spence (tenor)

Schigolch - Willard White (bass)

Animal Tamer / Athlete - David Soar (bass)

Prince / Manservant - Jeffrey Lloyd-Roberts (tenor)

English National Opera Chorus

English National Opera Orchestra

Mark Wigglesworth (conductor).

From the Coliseum in London, an English National Opera performance of Berg's opera Lulu.

Berg's Wozzeck20131202Tonight's Opera on 3 recorded at the Royal Opera House is Berg's examination of the complexities of the human soul - his opera Wozzeck in a revival of a production by Keith Warner.

The poor soldier Wozzeck is kept grounded by his girlfriend Marie and their child, despite suffering hallucinations and being tormented by the Captain and the Doctor. When Marie has an affair with the dashing Drum Major, it's too much for Wozzeck, who gradually begins to lose his grip on sanity. Berg's setting of Buchner's play has vivid characterisation and powerful music, and is sung by a very strong cast including Simon Keenlyside in the title role, Karita Mattila as Marie and John Tomlinson as the Doctor.

Presented by Andrew McGregor

Wozzeck.....Simon Keenlyside (Baritone)

Marie.....Karita Mattila (Soprano)

Captain.....Gerhard Siegel (Tenor)

Doctor.....John Tomlinson (Bass)

Drum Major.....Endrik Wottrich (Tenor)

Andres.....John Easterlin (Tenor)

Margret.....Allison Cook (Mezzo-soprano)

First Apprentice.....Jeremy White (Bass)

Second Apprentice/Soldier.....Grant Doyle (Baritone)

Idiot.....Robin Tritschler (Tenor)

Royal Opera House Orchestra

Royal Opera House Chorus

Mark Elder (Conductor).

A performance of Berg's opera Wozzeck, given at the Royal Opera House, Covent Garden.

Berg's Wozzeck20230624From the Royal Opera House, Covent Garden, Antonio Pappano conducts a new production of Berg's disturbing masterpiece in which a victimised and downtrodden soldier is driven to madness and murder. Christian Gerhaher stars as the tortured anti-hero Wozzeck and Anja Kampe his doomed wife Marie. Martin Handley presents, and is joined in the box by writer and broadcaster Gillian Moore to discuss Berg's score, and whether it still has the power to shock now like it did at its premiere in 1925.

Berg: Wozzeck

Wozzeck - Christian Gerhaher (baritone)

Marie - Anja Kampe (soprano)

Captain - Peter Hoare (tenor)

Doctor - Brindley Sherratt (bass)

Margret - Rosie Aldridge (mezzo-soprano)

Drum Major - Clay Hilley (tenor)

Andres - Sam Furness (tenor)

First Apprentice - Barnaby Rea (bass)

Second Apprentice - Alex Otterburn (baritone)

The Fool - John Findon (tenor)

Royal Opera Chorus

Orchestra of the Royal Opera House

Antonio Pappano (conductor)

Read the full synopsis on the Royal Opera House website: http://bit.ly/43uqyxR

Plus at c.8.30pm

Music arranged by Berg's teacher, Schoenberg.

Brahms orch Schoenberg: Piano Quartet no.1 in G minor, Op.25

Berlin Philharmonic

Simon Rattle (conductor)

Beethoven: Sonata in G major Op.96 for violin and piano

Isabelle Faust (violin)

Alexander Melnikov (piano)

Antonio Pappano conducts a new Royal Opera production of Berg's disturbing masterpiece

Berlioz's Beatrice Et Benedict20161008Berlioz had been a life-long Shakespeare enthusiast and for his final op退ra comique, B退atrice et B退n退dict, he wrote his own libretto based on Shakespeare's comedy Much Ado about Nothing. The opera was completed in 1858, soon after Berlioz had finished The Trojans, and he received an overwhelming response at its premiere in Baden-Baden. However, the opera has not become part of the staple repertoire (although the Overture is often played independently), but it contains some delightful music, particularly for the female characters. This performance was recorded earlier this summer at the Glyndebourne Festival, with conductor Antonello Manacorda making his Glyndebourne debut in director Laurent Pelly's new production. The title roles are taken by mezzo-soprano St退phanie d'Oustrac and tenor Paul Appleby, the sparring couple trying to hide their true feelings.

Presented by Andrew McGregor and Sarah Lenton.

B退atrice..... St退phanie d'Oustrac (mezzo-soprano)

B退n退dict..... Paul Appleby (tenor)

H退ro .....Anne-Catherine Gillet (soprano)

Claudio..... Philippe Sly (bass baritone)

Somarone..... Lionel Lhote (baritone)

Don Pedro..... Fr退d退ric Caton (bass)

Ursule..... Katarina Bradic (mezzo soprano)

London Philharmonic Orchestra

The Glyndebourne Chorus

Antonello Manacorda (conductor).

Berlioz's final opera, Beatrice et Benedict, from the 2016 Glyndebourne Festival.

Berlioz's Benvenuto Cellini20140630Andrew McGregor introduces a performance of the new production by Terry Gilliam at English National Opera of Berlioz's rarely-performed opera Benvenuto Cellini. It recounts the colourful and sometimes outrageous memoirs of Cellini, the 16th century artist, goldsmith and sculptor, sung by the tenor Michael Spyres. The tale focuses on Cellini's love for Teresa, sung by soprano Corinne Winters, and how Cellini successfully confounded his rival Fieramosca, baritone Nicholas Pallesen, by finishing the commission to cast a bronze statue of Perseus. Andrew McGregor presents the performance and talks to Dr Sarah Hibberd from Nottingham University about some of the remarkable musical elements of Berlioz's thrilling and beautiful score, conducted by ENO Musical Director Edward Gardner.

Benvenuto Cellini.....Michael Spyres (Tenor)

Teresa.....Corinne Winters (Soprano)

Balducci.....Pavlo Hunka (Bass)

Fieramosca.....Nicholas Pallesen (Baritone)

Pop Clement VII.....Willard White (Bass)

Ascanio.....Paula Murrihy (Mezzo-soprano)

Francesco.....Nicky Spence (Tenor)

Bernardino.....David Soar (Bass)

Pompeo.....Morgan Pearse (Bass Baritone)

English National Opera Chorus

English National Opera Orchestra

Edward Gardner (Conductor).

Andrew McGregor introduces Terry Gilliam's ENO production of Berlioz's Benvenuto Cellini.

Berlioz's Les Troyens, From The Opera De Paris20190316Berlioz's masterpiece inspired by Virgil's epic poem The Aeneid: Les Troyens, from the Op退ra National de Paris, recorded in January. Ekaterina Semenchuk is Dido, Brandon Javanovich is Enee. Philippe Jordan conducts the opera orchestra and chorus.

Kate Molleson presents.

Cassandre.....St退phanie d'Oustrac (mezzo-soprano)

Ascagne.....Mich耀le Losier (soprano)

H退cube.....V退ronique Gens (soprano)

ɀnee.....Brandon Javanovich (tenor)

Chor耀be.....St退phane Degout (baritone)

Panth退e.....Christian Helmer,(bass)

L'ombre d'Hector.....Thomas Dear (bass)

Priam.....Paata Burchuladze (bass)

A Greek Chieftain.....Jean-Luc Ballestra (bass)

Helenus.....Jean-Fran瀀ois Marras (tenor)

Polyx耀ne.....Sophie Claisse (soprano)

Didon.....Ekaterina Semenchuk (mezzo-soprano)

Paris National Opera Chorus

Jos退 Lu퀀s Basso (chorus director)

Paris Opera Orchestra

Philippe Jordan (conductor)

For a full synopsis visit the programme page.

Photo credit: Vincent Pontet.

Berlioz's Les Troyens, from the Opera National de Paris. Philippe Jordan conducts.

Billy Budd From The Met20210710Britten's psychological maritime drama Billy Budd is set on board HMS Indomitable at the close of the 18th century, a time of riotous mutinies amidst the Napoleonic Wars. Adapting a novella by Hermann Melville, Britten collaborated with librettists EM Forster and Eric Crozier in this ambiguous tale of good versus evil. In this archive production from the Met, baritone Dwayne Croft takes the title role of the pure-hearted sailor, the charismatic and handsome able seaman undone by his one fatal flaw. Tenor Philip Langridge plays Captain Vere, and in the role of Claggart, the malevolent Master at Arms, is bass-baritone James Morris. Steuart Bedford conducts the Met Orchestra and the men of the Met Chorus.

Presented by Mary Jo Heath, with commentary by Ira Siff.

Captain Vere: Philip Langridge

Billy Budd, Dwayne Croft

Claggart: James Morris

Dansker: Paul Plishka

Mr. Redburn: Victor Braun

Maintop: John Osborn

Bosun: Thomas Hammons

Mr. Flint: James Courtney

Lieutenant Ratcliffe: Julien Robbins

Donald: Kim Josephson

Red Whiskers: Robert Brubaker

Gunner's Mate: John Russell

Cabin Boy: David Kessel

Metropolitan Opera Orchestra and Chorus

Steuart Bedford, conductor

Performance recorded on March 8, 1997.

Britten's Billy Budd from the Metropolitan Opera House, New York.

Billy Budd, By Benjamin Britten20190601Benjamin Britten's opera Billy Budd from the Royal Opera House in London starring Jacques Imbrailo as the handsome sailor, Billy Budd; Brindley Sherratt as his black-hearted nemesis, John Claggart; and Toby Spence as the morally compromised Captain Vere. Ivor Bolton Conducts this new production by Deborah Warner.

Britten wrote the opera to a libretto by the English novelist E. M. Forster and Eric Crozier, based on the short novel Billy Budd by Herman Melville and it was first performed at Covent Garden in 1951. After the ground-breaking success of Peter Grimes and a foray into chamber opera, Billy Budd represents a major development in Britten's operatic work. The story takes place on board a man-of-war ship at a time when the threat of mutiny was an ever-present worry. The plot is an archetypical parable of good (Billy) pitted against evil (Claggart) with Vere as the man who has to decide between them after Billy is provoked into murdering Claggart. This tightly woven fable all takes place on board the claustrophobic, all-male HMS Indomitable. And this sense of tension is brilliantly conjured up in Britten's symphonically dense score which masterfully contrasts dramatic scenes with lighter moments.

Presented by Kate Molleson with guest Heather Weibe.

2000 Interval

2020 Act 2

Billy Budd.....Jacques Imbrailo (Baritone)

Captain Edward Vere.....Toby Spence (Tenor)

John Claggart.....Brindley Sherratt (Bass)

Mr Flint.....David Soar (Bass)

Mr Redburn.....Thomas Oliemans (Tenor)

Lieutenant Ratcliffe.....Peter Kellner (Main Artist)

Dansker.....Clive Bayley (Bass)

Bosun.....Alan Ewing (Bass)

Donald.....Duncan Rock (Baritone)

Maintop.....Konu Kim (Tenor)

Novice.....Sam Furness (Tenor)

Novice's Friend.....Dominic Sedgwick (Baritone)

Squeak.....Alasdair Elliott (Tenor)

Red Whiskers.....Christopher Gillett (Tenor)

Royal Opera House Chorus

Royal Opera House Orchestra

Ivor Bolton (Director)

For full synopsis visit the programme page

Opera from the Royal Opera House, Covent Garden

Birtwistle's Punch And Judy20080621In an ENO production from London's Young Vic Theatre, Edward Gardner conducts a performance of Harrison Birtwistle's controversial modernist opera, featuring bass Andrew Shore and mezzo-soprano Lucy Schaufer in the title roles.

The composer's first work for the stage, Punch and Judy takes its inspiration from the traditional seaside puppet shows and follows Mr Punch as he murders a succession of characters, including his own baby, while pursuing his dream girl, Pretty Polly.

Presented by Ivan Hewett.

With Andrew Shore (bass), Lucy Schaufer (mezzo-soprano), Gillian Keith (soprano), Ashley Holland (baritone), Graham Clark (tenor) and Graeme Broadbent (bass).

Orchestra of English National Opera

Edward Gardner (conductor).

Edward Gardner conducts Harrison Birtwistle's controversial modernist opera.

Birtwistle's The Last Supper20170128In the year 2000 the Ghost of Harrison Birtwistle's opera The Last Supper calls on Christ and his disciples to reunite: to remember, and reflect on humanity and the world around them. Originally commissioned by Staatsoper, Berlin and Glyndebourne Festival Opera, this will be the first UK performance since its initial production.

It is described as a 'dramatic tableau', and as with many Birtwistle scores the drama is in the music itself: the opera has all of his characteristically strong-etched colours, ritualised structures, and long-spun lyrical lines, all underpinned by driving rhythmic momentum.

Long associated with the BBC Scottish Symphony Orchestra, Martyn Brabbins conducts an outstanding cast of soloists including Roderick Williams as Jesus, and Susan Bickley as the mysterious presence known as Ghost. Interspersed with the action the BBC Singers perform the Three Latin Motets which represent some of Birtwistle's most haunting and questioning music, along with electonic realisations by Sound Intermedia. Presented by Andrew McGregor.

Christ - Roderick Williams (baritone)

Judas - Daniel Norman (tenor)

Ghost - Susan Bickley (mezzo soprano)

Little James - William Towers (countertenor)

James - Bernhard Landauer (countertenor)

Thomas - Jeffrey Lloyd-Roberts (tenor)

Andrew - Alexander Sprague (tenor)

Simon - Philip Sheffield (tenor)

Bartholomew - Andrew Tortise (tenor)

Philip - Marcus Farnsworth (baritone)

John - Benedict Nelson (baritone)

Matthew - Toby Girling (bass-baritone)

Thaddaeus - Matthew Brook (bass)

Peter - Edward Grint (bass)

Martyn Brabbins (conductor).

From City Halls in Glasgow, a performance of Birtwistle's millennial opera The Last Supper

Birtwistle's The Minotaur20080531In a performance given at the Royal Opera House, Covent Garden in April 2008, Antonio Pappano conducts John Tomlinson in the title role, with Christine Rice as Ariadne in the world premiere of Harrison Birtwistle's latest opera, based on the classic Greek myth.

Hidden away deep in the labyrinth in Crete is a man with a bull's head who feeds on young men and women sent as tribute from Athens. One day the hero Theseus arrives among these innocents and with the help of Ariadne and her thread, he ventures into the labyrinth intending to kill the beast.

Presented by Ivan Hewett.

With Christine Rice (mezzo-soprano), John Tomlinson (bass), Johan Reuter (baritone), Rebecca Bottone (soprano), Pumeza Matshikiza (soprano), Wendy Dawn Thompson (mezzo-soprano), Christopher Ainslie (countertenor), Timothy Mead (countertenor), Amanda Echalaz (soprano), Andrew Watts (countertenor), Philip Langridge (tenor).

The Royal Opera Chorus

The Orchestra of the Royal Opera House

Antonio Pappano (conductor).

Antonio Pappano conducts the world premiere of Harrison Birtwistle's latest opera.

Bizet's Carmen20071103La Boheme

Recorded at the New York Metropolitan Opera, Margaret Juntwait presents Franco Zeffirelli's production of Puccini's masterpiece.

Mimi - Cristina Gallardo-Domas (soprano)

Musetta - Ainhoa Arteta (soprano)

Rodolfo - Marcello Giordani (tenor)

Marcello - Dwayne Croft (baritone)

Schaunard - Aaron St Clair Nicholson (baritone)

Colline - John Relyea (bass)

Benoit/Alcindoro - Paul Plishka (bass)

Metropolitan Opera Chorus and Orchestra

Carlo Rizzi (conductor)

(Acts 1 and 2).

Petroc Trelawny hosts the new production of Bizet's Carmen from English National Opera.

Bizet's Carmen20080223Mezzo-soprano Olga Borodina takes the title role and Marcelo Alvarez makes his Met debut as Don Jose, the proud soldier destroyed by his fascination with the femme fatale Carmen, in this live production from New York. Carmen was among the first operas in the 1870s to go against the trend of glorifying heroes and heroines and Bizet's independent-minded gypsy seductress caused much controversy amongst critics of the time.

The programme, which also includes backstage interviews with the artists during the intervals, is presented from New York by Margaret Juntwait, with Ira Siff as guest commentator.

Carmen - Olga Borodina (mezzo-soprano)

Don Jose - Marcelo Alvarez (tenor)

Escamillo - Lucio Gallo (baritone)

Micaela - Krassimira Stoyanova (soprano)

Frasquita - Rachelle Durkin (soprano)

Mercedes - Edyta Kulczak (mezzo-soprano)

Remendado - Juan-Paul Fouchecourt (tenor)

Dancairo - John Hancock (baritone)

Zuniga - Jeffrey Wells (bass)

Chorus and Orchestra of New York Metropolitan Opera

Emmanuel Villaume (conductor).

Emmanuel Villaume conducts a production of Bizet's tragic opera.

Bizet's Carmen20091024From the Royal Opera House, Covent Garden.

Louise Fryer presents a recent revival of Francesca Zambello's colourful Royal Opera House production of Bizet's Carmen, a work which is one of the most popular of all time and which has been called 'the perfect opera'. Frenchman Bertrand de Billy, a celebrated conductor of Carmen, leads Latvian mezzo-soprano Elina Garanca in the title role alongside Sicilian/French tenor Roberto Alagna, for whom Don Jose has long been a special role.

Bizet: Carmen

Carmen - Elina Garanca (mezzo-soprano)

Don Jose - Roberto Alagna (tenor)

Escamillo - Ildebrando D'Arcangelo (bass)

Micaela - Liping Zhang (soprano)

Morales - Changhan Lim (baritone)

Zuniga - Henry Waddington (bass)

Frasquita - Eri Nakamura (soprano)

Mercedes - Louise Innes (mezzo-soprano)

Le Dancaire - Adrian Clarke (baritone)

Le Remendado - Vincent Ordonneau (tenor)

Royal Opera Chorus

Orchestra of the Royal Opera House, Covent Garden

Bertrand de Billy (conductor).

Louise Fryer presents Bizet's Carmen, in a production from the Royal Opera House.

Bizet's Carmen20180310Bizet's Carmen is one of the most popular and frequently performed of all operas. With famous hit numbers such as the 'Habanera' and the 'Toreador Song' it has proved to be a powerful work of music drama open to many different interpretations. The new production from Barrie Kosky shines a new light on the opera as well as reintroducing parts of the score which are not normally heard in performance. With an exciting cast featuring the mezzo Anna Goryachova, the performance is conducted by Jakub Hr?ša.

Introduced by Martin Handley with guest Sarah Hibberd.

Carmen - Anna Goryachova (mezzo-soprano)

Don Jos退 - Francesco Meli (tenor)

Escamillo - Kostas Smoriginas (bass-baritone)

Mica뀀la - Kristina Mkhitaryan (soprano)

Zuniga - David Soar (bass)

Frasquita - Jacquelyn Stucker (soprano)

Merc退d耀s - Aigul Akhmetshina (mezzo-soprano)

Le Dancare - Pierre Doyen (baritone)

Le Remendado - Jean-Paul Fouch退court (tenor)

Moral耀s - Gyula Nagy (baritone)

Royal Opera Chorus

Orchestra of the Royal Opera House

Jakub Hr?ša (conductor)

6.30pm Acts 1 and 2

8.25pm Interval

8.35pm Act 3.

Jakub Hrusa conducts Bizet's Carmen in a new production from Barrie Kosky.

Bizet's Carmen: Glyndebourne Greats20200530Carmen shocked its original audience. Possibly it was the rawness of the passion and sexual energy that simmers and boils over in this raw drama about freedom, lust and death. From the moment Don Jose picks up the rose thrown at him by the wild cat who works in the local cigarette factory we know we're in for an evening of trouble. It never goes well when a sensitive mummy's boy from the country gets entangled with a feral, death-obsessed femme fatale.

In the second opera in this short season of great performances from the Glyndebourne Opera Festival, this is an opportunity to hear Bizet's masterpiece in a 2002 production that swept away the cliches of a piece that all too often conjures up the fringed shawls and hooped earrings of picture postcard Spain. David McVicar's claustrophobic staging was many miles from sunny Seville, and Anne Sofie von Otter brought a Lieder singer's sensibility to the role of Carmen

Presented by Martin Handley

Carmen.....Anne Sofie von Otter (Mezzo-soprano)

Don Jose.....Marcus Haddock (Tenor)

Escamillo.....Laurent Naouri (Baritone)

Micaela.....Lisa Milne (Soprano)

Frasquita.....Mary Hegarty (Soprano)

Morales.....Hans Voschezang (Bass)

Zuniga.....Jonathan Best (Bass)

Mercedes.....Christine Rice (Mezzo-soprano)

Le Dancaire.....Quentin Hayes (Bass)

Lilas Pastia.....Anthony Wise (Speaker)

Le Remendado.....Colin Judson (Tenor)

Le Guide.....Franck Lopez (Speaker)

London Philharmonic Orchestra

Philippe Jordan (Conductor)

*1830 Act 1

*1925 Act 2

*2030 Acts 3 and 4

Anne Sofie von Otter stars as the wild gypsy who pays the ultimate price for her freedom.

Bizet's Les Pecheurs De Perles20101030Tonight's Opera on 3 is a concert performance of Bizet's Les pꀀcheurs de perles. Leader of the pearl fishers, Zurga and his friend Nadir both fall for the same woman, but decide to put their friendship first and not see her again. When L退la, now a priestess, appears in their camp a few months later, Nadir can't help his feelings, leaving Zurga with the dilemma of punishing or forgiving them. Alexandra Wilson presents, and talks to conductor Antonio Pappano about why there's more to this opera than just the famous duet.

Presented by: Dr Alexandra Wilson

L退la - Nicole Cabell (soprano)

Nadir - John Osborn (tenor)

Zurga - Gerald Finley (baritone)

Nourabad - Raymond Aceto (bass)

Antonio Pappano, conductor

Orchestra of the Royal Opera House

Royal Opera Chorus.

Alexandra Wilson introduces a performance of Bizet's opera Les pecheurs de perles.

Boito's Mefistofele From The Met20181201Perhaps better known as Verdi's librettist, Arrigo Boito was also a composer, and this evening's Met is a chance to hear his only completed opera, Mefistofele. Based on Goethe's Faust, it tells the tale of his pact with the devil, and was heavily criticised at the premiere for being too Wagnerian.

The Met's performance stars bass-baritone Christian Van Horn as the diabolical title character, tenor Michael Fabiano as Faust, and soprano Angela Meade as Margherita.

Presented from New York by Mary Jo Heath and Ira Siff.

6.30pm

Boito: Mefistofele

Margherita - .. Angela Meade (soprano)

Elena - .. Jennifer Check (soprano)

Faust - .. Michael Fabiano (tenor)

Mefistofele - .. Christian Van Horn (bass)

Marta - .. Theodora Hanslowe (contralto)

Pantalis - .. Samantha Hankey (contralto)

Wagner - .. Raúl Melo( tenor)

Ner耀o - .. Eduardo Valdes (tenor)

Metropolitan Opera Chorus

Metropolitan Opera Orchestra

Joseph Colaneri (conductor )

For full synopsis please visit programme page

Arrigo Boito's take on the Faust legend from the Metropolitan Opera House in New York.

Breaking Free: A Century Of Russian Culture: Shostakovich's Lady Macbeth Of The Mtsensk District20171111Shostakovich's groundbreaking opera Lady Macbeth of the Mtsensk District, with Nina Stemme in the principal role, recorded earlier this year at the Salzburg Festival. Part of Radio 3's Breaking Free: a Century of Russian culture season.

First produced in St Petersburg in 1934, it was famously denounced in Pravda two years later after Stalin saw a production in Moscow. Part of Radio 3's Opera Season, this coincides with the current exhibition at the V&A which explores the stories behind seven operatic premieres in seven cities.

The plot centres on Katerina Izmailova who, trapped in an unhappy marriage, becomes involved with the family's new workman, Sergei, with violent consequences.

Presented by Sara Mohr-Pietsch, with Anastasia Belina-Johnson.

Katerina Lvovna Izmailova - Nina Stemme (soprano)

Sergei - Brandon Jovanovich (tenor)

Boris Timofeyevich Izmailov - Dmitry Ulyanov (bass)

Zinoviy Borisovich Izmailov - Maxim Paster (tenor)

Tattered peasant - Andrei Popov (baritone)

Priest - Stanislav Trofimov (bass)

Police inspector - Alexey Shishlyaev (bass)

Sonyetka - Ksenia Dudnikova (contralto)

Aksinya / Labourer - Evgenia Muraveva (soprano)

Second labourer - Andrii Goniukov (bass)

House servant / Sentry - Oleg Budaratskiy (bass)

Porter / Steward - Vasily Efimov (tenor)

Policeman / Sergeant - Valentin Anikin (bass)

Delivery boy - Igor Onishchenko (baritone)

Concert Association of the Vienna State Opera Chorus

Vienna Philharmonic

Mariss Jansons (conductor).

Sara Mohr-Pietsch presents Shostakovich's opera Lady Macbeth of the Mtsensk District.

Brett Dean's Hamlet From The Met20220604Dean's Hamlet

Presented by Debra Lew Harder, with commentator Ira Siff.

Hamlet: Allan Clayton, tenor

Ophelia: Brenda Rae, soprano

Claudius: Rod Gilfry, baritone

Gertrude: Sarah Connolly, mezzo-soprano

Polonius: William Burden, tenor

Horatio: Jacques Imbrailo, baritone

Ghost: John Relyea, bass-baritone

Laertes: David Butt Philip, tenor

Rosencrantz: Aryeh Nussbaum Cohen, countertenor

Guildenstern: Christopher Lowrey, countertenor

Orchestra and Chorus of the Metropolitan Opera

Nicholas Carter, conductor

Some of opera's greatest composers have looked to the works of Shakespeare for inspiration, a tradition that continued in 2017, when Brett Dean's Hamlet was premiered to great acclaim. The Bard's immortal tragedy is among theatre's most captivating psychological portraits, and the incorporation of music — including tour-de-force vocal writing, imposing choral forces, and a powerful orchestral sweep — only escalates the tension of this classic tale.

Read the full synopsis on the Met Opera website: https://bit.ly/3LMRYWh

Brett Dean's operatic version of Hamlet, from The Met.

Britten 100: Billy Budd20130126Presented by Tom Service.

Starting our broadcasts of all of Benjamin Britten's operas in this, his centenary year, is a new production of Billy Budd, recorded last year at the English National Opera in London. Director David Alden sets the events at the HMS Indomitable, based on Herman Melville's novella, in a claustrophobic and dark world where good and evil, innocence and betrayal clash with tragic consequences. Edward Gardner conducts a stellar cast, including the debut of Benedict Nelson in the title role, the ever pure and charismatic, but eventually doomed young sailor; Kim Begley as the tormented Captain Vere, seeking redemption from his moral dilemma, and Matthew Rose as the evil Master-at-Arms Claggart, who masterminds Billy's unfair downfall.

During the broadcast there'll be an introduction to the opera which will be available as a free download as part of the Radio 3 Opera Guides series.

Billy Budd - Benedict Nelson (baritone)

Captain Vere - Kim Begley (tenor)

Claggart - Matthew Rose (bass)

Mr Redburn - Jonathan Summers (baritone)

Mr Flint - Darren Jeffery (bass-baritone)

Lieutenant Ratcliffe - Henry Waddington (baritone)

Red Whiskers - Michael Colvin (tenor)

Donald - Duncan Rock (baritone)

Dansker - Gwynne Howell (bass)

Novice - Nicky Spence (tenor)

Squeak - Daniel Norman (tenor)

Bosun - Andrew Rupp (bass)

The Novice's Friend - Marcus Farnsworth (baritone)

First Mate - Oliver Dunn (bass)

Second Mate - Gerard Collett (bass)

Maintop - Jonathan Stoughton (tenor)

Chorus and orchestra of English National Opera

Edward Gardner, conductor.

Britten's opera Billy Budd, recorded at English National Opera in 2012.

Britten 100: Death In Venice20131019Britten 100:

In the composer's centenary year Louise Fryer introduces Britten's final opera, live from the Grand Theatre, Leeds. The production by the Japanese director Yoshi Oida was originally seen at the Aldeburgh Festival and is now performed by Opera North and conducted by their music director Richard Farnes.

Britten wrote of Death in Venice 'It's either the best or the worst music I've ever written' later adding of the work 'it's everything that Peter Pears and I have stood for.

The libretto is by Myfanwy Piper and is based on the novella by Thomas Mann and deals with the developing infatuation of an ageing writer for a young Polish boy staying with the rest of his family on holiday in Venice.

During the interval there's a chance to hear our Radio 3 Music Guide to the opera which will also be available to download.

7.00 Britten - Death in Venice Act I

8.20 Interval - Radio 3 Opera Guide to Death in Venice

8.40 Britten - Death in Venice Act II

Gustav von Aschenbach - Alan Oke (tenor)

Traveller/Elderly Fop/Old Gondolier/Hotel Manager/Hotel Barber/Leader of the Players/Voice of Dionysus - Peter Savidge (baritone)

Voice of Apollo - Christopher Ainslie (countertenor)

English Clerk - Damian Thantrey (baritone)

Orchestra and Chorus of Opera North

Richard Farnes (conductor).

Live from the Leeds Grand Theatre, an Opera North production of Britten's Death in Venice.

Britten 100: The Rape Of Lucretia20131228Britten 100: The Rape of Lucretia from Glyndebourne, with Claudia Huckle in the title role and Kate Valentine and Allan Clayton as the Chorus. Nicolas Collon conducts.

Premiered at Glyndebourne in 1946, Britten's chamber opera is given a new production by Fiona Shaw, described by one critic as 'opera at its most nakedly powerful'. It is an extraordinary and tightly- focused treatment of a legend which has acquired numerous layers in painting, poetry and drama. Lucretia is raped by the tyrant Tarquinius Superbus, ruler of Rome, and chooses to kill herself rather than live with the shame. The action of the opera is commented on throughout by a Male and Female Chorus who occupy another dimension, at times narrating the story and at times voicing the thoughts of the different characters.

Male Chorus.....Allan Clayton (Tenor)

Lucretia.....Claudia Huckle (Mezzo-soprano)

Female Chorus.....Kate Valentine (Soprano)

Collatinus.....David Soar (Bass)

Junius.....Oliver Dunn (Baritone)

Tarquinius.....Duncan Rock (Baritone)

Bianca.....Catherine Wyn-Rogers (Mezzo-soprano)

Lucia.....Ellie Laugharne (Soprano)

The Glyndebourne Tour Orchestra

Nicholas Collon (conductor).

Nicholas Collon conducts Britten's opera The Rape of Lucretia at Glyndebourne.

Britten Gloriana20180623Gloriana by Benjamin Britten was written for the year long celebrations of Elizabeth II's coronation in 1953. As the nation celebrated the glamorous young queen, promising a new age of peace, Britten produced an opera strangely at odds with the time, but always in tune with his own sensibilities.

Britten takes the stormy personal relationship between a mature Elizabeth I and a young attractive Earl of Essex as related in Lytton Strachey's 'Elizabeth and Essex: A Tragic History' , and gives us a complex portrait of an older woman, who as Queen and last surviving child of Henry VIII, knows only too well what it takes to run a country, and ultimately what personal sacrifices to make, despite her own emotions, to protect her authority.

Andrew McGregor and Sarah Lenton make a case for Gloriana as the least regarded of Britten's Operas in this recent performance from the Teatro Real in Madrid.

Anna Caterina Antonacci is Queen Elizabeth and Leonardo Capalbo the Earl of Essex, and Ivor Bolton conducts this performance from an acclaimed new production.

Britten: Gloriana

Anna Caterina Antonacci - Elizabeth I (soprano)

Leonardo Capalbo - Robert Devereux, Earl of Essex (tenor)

Paula Murrihy - Frances, Countess of Essex (mezzo-soprano)

Duncan Rock - Charles Blount, Lord Mountjoy (baritone)

Sophie Bevan - Penelope (Lady Rich) sister to Essex (soprano)

Leigh Melrose - Sir Robert Cecil, Secretary of the Council (baritone)

David Soar - Sir Walter Raleigh, Captain of the Guard (bass)

Benedict Nelson - Henry Cuffe (baritone)

Elena Copons - Lady-in-Waiting (soprano)

James Creswell - Blind ballad-singer (bass)

Scott Wilde - Recorder of Norwich (bass)

Itxaro Mentxaca - a Housewife (mezzo-soprano)

Sam Furness - The Spirit of the Masque (tenor)

Gerardo L pez - Master of Ceremonies (tenor)

Britten's A Midsummer Night's Dream2017062420200620 (R3)Another chance to hear Britten's adaptation of Shakespeare's magical romance A Midsummer Night's Dream which was recorded and first broadcast in 2017 at Snape Maltings Concert Hall as part Aldeburgh Festival. The cast is led by Iestyn Davies and Sophie Bevan, and conducted by Ryan Wigglesworth.

Andrew McGregor presents and is joined by Britten specialist Paul Kildea in the intervals to discuss Britten's enchanting masterpiece.

Oberon - Iestyn Davies (countertenor)

Tytania - Sophie Bevan (soprano)

Puck - Jack Lansbury (actor)

Theseus - Clive Bayley (bass)

Bottom - Matthew Rose (bass)

Hippolyta - Leah-Marian Jones (mezzo)

Lysander - Nick Pritchard (tenor)

Demetrius - George Humphreys (baritone)

Hermia - Clare Presland (mezzo)

Helena - Eleanor Dennis (soprano)

Quince - Andrew Shore (bass)

Flute - Lawrence Wiliford (tenor)

Snug - Sion Goronwy (bass)

Snout - Nicholas Sharratt (tenor)

Starveling - Simon Butteriss (baritone)

Cobweb - Elliot Harding-smith (treble)

Moth.....Noah Lucas (treble)

Mustardseed.....Adam Warne (treble)

Peaseblossom - Angus Hampson/ Ewan Cacace (treble)

Chorus of Fairies..... Willis Christie, Lorenzo Facchini, Angus Foster,

Nicholas Harding-Smith, Kevin Kurian, Charles Maloney-Charlton, Robert Peters, Matthew Wadey

Aldeburgh Festival Orchestra

Ryan Wigglesworth (conductor).

Britten's opera A Midsummer Night's Dream recorded at the 2017 Aldeburgh Festival.

Britten's Billy Budd20100925From this summer's Festival, a first for Glyndebourne: a new production of Benjamin Britten's Billy Budd, based on Herman Melville's allegorical tale of good versus evil on board an 18th century warship. Jacques Imbrailo sings Budd, a young foretopman whose beauty and goodness makes him immediately popular with the crew. But those same qualities also draw a strong reaction from the Master at Arms, John Claggart, and feelings he would rather leave repressed. John Mark Ainsley sings Captain Vere, whose fateful decision on board haunts him for the rest of his life.

Andrew McGregor talks to director Michael Grandage about his operatic debut, and to Mark Elder who is also conducting Budd for the first time.

Captain Vere - John Mark Ainsley (tenor)

Billy Budd - Jacques Imbrailo (baritone)

Claggart - Phillip Ens (bass)

Mr. Redburn - Iain Paterson (bass)

Mr. Flint - Matthew Rose (bass)

Lieutenant Ratcliffe - Darren Jeffery (bass)

Red Whiskers - Alasdair Elliott (tenor)

Donald - John Moore (baritone)

Dansker - Jeremy White (bass)

The Novice - Ben Johnson (tenor)

Squeak - Colin Judson (tenor)

Bosun - Richard Mosley-Evans (baritone)

The Glyndebourne Chorus

London Philharmonic Orchestra

Mark Elder, conductor.

Britten: Billy Budd from Glyndebourne, starring Jacques Imbrailo and John Mark Ainsley.

Britten's Billy Budd20161126Britten's psychological maritime drama Billy Budd is set on board HMS Indomitable at the close of the 18th century, a time of riotous mutinies amidst the Napoleonic Wars. Adapted from the novella by Hermann Melville, his final work, Britten collaborated with librettists EM Forster and Eric Crozier in this ambiguous tale of good versus evil. In this new co-production from Opera North and Royal Dutch Opera recorded at Leeds Grand Theatre, baritone Roderick Williams makes his debut in the role of Billy Budd, the charismatic and handsome able seaman undone by his one fatal flaw. Bass Alastair Miles plays his nemesis, the depraved Master at Arms Claggart, and tenor Alan Oke is the equally conflicted Captain Vere, who looks back on his life's defining events from the safety of old age. Presented by Donald Macleod.

Captain Vere - Alan Oke (Tenor)

Billy Budd - Roderick Williams (Baritone)

John Claggart - Alastair Miles (Bass)

Mr Redburn - Peter Savidge (Baritone)

Mr Flint - Adrian Clarke (Bass-Baritone)

Lieutenant Ratcliffe - Callum Thorpe (Bass)

Red Whiskers - Daniel Norman (Tenor)

Donald - Eddie Wade (Baritone)

Dansker - Stephen Richardson (Bass)

Novice - Oliver Johnston (Tenor)

Novice's Friend - Gavan Ring (Baritone)

Squeak - David Llewellyn (Tenor)

Bosun - Jeremy Peaker (Bass)

First Mate - Paul Gibson (Bass)

Second Mate - Nicholas Butterfield (Bass)

Maintop - Aled Hall (Tenor)

Arthur Jones - Tim Ochala-Greenough (Tenor)

Children - Cormac Keating, James Slingsby, Jakub Packo, Daniel Simpson, Lucas Walker

Chorus of Opera North

Opera North Orchestra

Garry Walker (Conductor).

Britten's Billy Budd in a new production from Opera North at Leeds Grand Theatre.

Britten's Gloriana20130629Commissioned by the Royal Opera House and 'dedicated by gracious permission to Her Majesty Queen Elizabeth II in honour of whose coronation it was composed', Britten's 'Gloriana' is the story of an old queen's infatuation with a hot-headed younger man.

At its premiere, there were mutterings that the opera's emphasis on an ageing, ungracious monarch was an inappropriate way to celebrate the coronation. But sixty years later it's easier see that with its masterly exploration of the tension between public and private, heart and duty, and its contrasting scenes of grandeur and intimacy, 'Gloriana' is in fact among the finest of Britten's operas.

Broadcast live from the Royal Opera House, Covent Garden, starring Susan Bullock as the Virgin Queen and Toby Spence as the impetuous Earl of Essex.

Presented by Louise Fryer in conversation with John Bridcut, including comments from performers and director Richard Jones. Plus the Radio 3 Opera Guide to Gloriana, with the Britten experts Paul Kildea and Philip Reed, and the soprano Dame Josephine Barstow.

Elizabeth I, Queen of England.....Susan Bullock (soprano)

Robert Devereux, Earl of Essex.....Toby Spence (tenor)

Frances Devereux, Lady Essex.....Patricia Bardon (mezzo-soprano)

Charles Blount, Lord Mountjoy.....Mark Stone (baritone)

Penelope, Lady Rich.....Kate Royal (soprano)

Sir Robert Cecil.....Jeremy Carpenter (baritone)

Sir Walter Raleigh.....Clive Bayley (bass)

Henry Cuffe.....Ben Bevan (baritone)

Lady-in-Waiting.....Nadine Livingston (soprano)

Blind Ballad Singer.....Brindley Sherratt (bass)

Recorder of Norwich.....Jeremy White (bass)

Housewife.....Carol Rowlands (mezzo-soprano)

Spirit of the Masque.....Andrew Tortise (tenor)

Master of Ceremonies.....David Butt Philip (tenor)

City Crier.....Michel de Souza (baritone)

Chorus and orchestra of the Royal Opera House, Covent Garden

Paul Daniel, conductor.

Britten's opera on Elizabeth I, Gloriana, live from the Royal Opera House, Covent Garden.

Britten's Peter Grimes20080315Live from New York, Donald Runnicles conducts a production of the psychological drama whose epic tenor role and orchestral score established Britten as one of the great opera composers of the 20th century.

Peter Grimes, a fisherman living in a small-minded Suffolk village, is as much a misunderstood outsider as a victim of his own weaknesses as he finds himself under suspicion for death of his apprentice.

The programme, which also includes backstage interviews with the artists during the intervals, is presented from New York by Margaret Juntwait, with Ira Siff as guest commentator.

Peter Grimes - Anthony Dean Griffey (tenor)

Ellen Orford - Patricia Racette (soprano)

Balstrode - Anthony Michaels-Moore (baritone)

Mrs Sedley - Felicity Palmer (mezzo-soprano)

Auntie - Jill Grove (mezzo-soprano)

1st Niece - Leah Partridge (soprano)

2nd Niece - Erin Morley (soprano)

Bob Boles - Greg Fedderly (tenor)

Rev Horace Adams - Bernard Fitch (tenor)

Ned Keene - Teddy Tahu Rhodes (baritone)

Swallow - John del Carlo (bass-baritone)

Hobson - Dean Peterson (bass-baritone)

Chorus and Orchestra of New York Metropolitan Opera

Donald Runnicles (conductor).

Donald Runnicles conducts the work that established Britten as a great opera composer.

Britten's Peter Grimes20090711The final offering from Opera on 3 before the Proms, this English National Opera Peter Grimes was the hot ticket of the season. Sold out for its entire run, David Alden's production wowed critics and audiences alike with its unconventional but powerful take on Britten's music drama, set at the time of its premiere - postwar Britain.

The cast that inspired this adulation included Amanda Roocroft as Ellen Orford, Gerald Finley as Captain Balstrode and Australian tenor Stuart Skelton in the epic title role - a compelling interpretation of the misunderstood outsider, victim of his own weaknesses and contradictions, at once unstable and unpredictable, visionary and violent.

Edward Gardiner conducts an orchestra and chorus on top form in an unforgettable operatic experience.

Presented by Martin Handley.

Peter Grimes - Stuart Skelton (tenor)

Ellen Orford - Amanda Roocroft (soprano)

Captain Balstrode - Gerald Finley (bass-baritone)

Auntie - Rebecca de Pont Davies (soprano)

First niece - Gillian Ramm (soprano)

Second niece - Mairéad Buicke (soprano)

Bob Boles - Michael Colvin (tenor)

Swallow - Matthew Best (bass)

Mrs Sedley - Felicity Palmer (mezzo)

Rev Horace - Stuart Kale (tenor)

Ned Keene - Leigh Melrose (baritone)

Hobson - Darren Jeffery (bass)

English National Opera Chorus and Orchestra

Edward Gardner (conductor).

David Alden's ENO production of Peter Grimes with Stuart Skelton in the title role.

Britten's Peter Grimes20160528Jonathan Swain presents a production of Britten's Peter Grimes, recorded at the Theater an der Wien. In one of the most important operas of the 20th Century, Britten turns the sadistic fisherman from the original Crabbe poem into a more ambiguous, tortured individual, despised by the local community after the suspicious death of his apprentice and with only Ellen Orford, the school mistress, as his supporter. Joseph Kaiser and Agneta Eichenholz lead the cast in a musical picture of the intrigue and prejudices within a small English fishing town, dominated by the ever-present sea.

Benjamin Britten: Peter Grimes

Peter Grimes - Joseph Kaiser (tenor)

Ellen Orford - Agneta Eichenholz (soprano)

Auntie - Hanna Schwarz (contralto)

Balstrode - Andrew Foster-Williams (baritone)

Mrs Sedley - Rosalind Plowright (mezzo-soprano)

Swallow - Stefan Cerny (bass)

Bob Boles - Andreas Conrad (tenor)

Ned Keene - Tobias Greenhaigh (baritone)

Rev Horace Adams - Erik Arman (tenor)

Hobson - Lukas Jakobski (bass)

John - Gieorgij Puchalski (silent role)

Niece 1 - Kiandra Howarth (soprano)

Niece 2 - Frederikke Kampmann (soprano)

The Arnold Schoenberg Chorus

ORF Radio Symphony Orchestra

Cornelius Meister (conductor).

Jonathan Swain presents Britten's Peter Grimes in a performance at Theater an der Wien.

Britten's Peter Grimes20220423Britten's opera Peter Grimes is one of the most important operas of the 20th century, with some of the most powerful and evocative music ever written. Set in a small fishing village, Britten's take on the original Crabbe poem paints Grimes as a more tortured character, a man despised by his local community after the suspicious death of his apprentice. The local school teacher Ellen Orford is almost his only supporter, but as the community's mistrust grows, Grimes spirals into a downfall with tragic consequences.

One of the 5 star reviews called this production 'compelling, unsettling and ravishingly sung', so an evening not to be missed.

Martin Handley presents Deborah Warner's new production, and is joined by writer and broadcaster Kate Kennedy.

Peter Grimes - Allan Clayton, tenor

Ellen Orford - Maria Bengtsson, soprano

Captain Balstrode - Bryn Terfel, bass-baritone

Swallow - John Tomlinson, bass

Ned Keene - Jacques Imbrailo, baritone

Auntie - Catherine Wyn-Rogers, mezzo-soprano

Mrs Sedley - Rosie Aldridge, mezzo-soprano

Bob Boles - John Graham-Hall, tenor

First Niece - Jennifer France, soprano

Second Niece - Alexandra Lowe, soprano

Rev. Horace Adams - James Gilchrist, tenor

Hobson - Stephen Richardson, bass

Chorus and Orchestra of the Royal Opera House

Richard Hetherington, conductor

Read the full synopsis on the Royal Opera House website: https://bit.ly/3JlrCcD

Image: © Yasuko Kageyama

Britten's masterpiece, Peter Grimes, from the Royal Opera House, Covent Garden.

Britten's Peter Grimes From Roh, Covent Garden20220423Britten's opera PETER GRIMES is one of the most important operas of the 20th century, with some of the most powerful and evocative music ever written. Set in a small fishing village, Britten's take on the original Crabbe poem paints Grimes as a more tortured character, but is despised by the local community after the suspicious death of Grimes' apprentice. The local school teacher Ellen Orford is his only supporter, but as the community's mistrust grows, Grimes spirals into a downfall with tragic consequences.

One of the 5-star reviews called this production 'compelling, unsettling and ravishingly sung', so an evening not to be missed.

MARTIN HANDLEY presents Deborah Warner's new production, and is joined by writer and boradcaster, Kate Kennedy.

PETER GRIMES - Allan Clayton, tenor

Ellen Orford - Maria Bengtsson, soprano

Captain Balstrode - BRYN TERFEL, bass-baritone

Swallow - John Tomlinson, bass

Ned Keene - Jacques Imbrailo, baritone

Auntie - Catherine Wyn-Rogers, mezzo-soprano

Mrs Sedley - Rosie Aldridge, mezzo-soprano

Bob Boles - John Graham-Hall, tenor

First Niece - Jennifer France, soprano

Second Niece - Alexandra Lowe, soprano

Rev. Horace Adams - James Gilchrist, tenor

Hobson - Stephen Richardson, bass

Chorus and Orchestra of the Royal Opera House

Richard Hetherington, conductor

Read the full synopsis at the Royal Opera House website: https://bit.ly/3JlrCcD

Image: © Yasuko Kageyama

Britten's masterpiece, PETER GRIMES, from ROH, Covent Garden.

Britten's opera PETER GRIMES is one of the most important operas of the 20th century, with some of the most powerful and evocative music ever written. Set in a small fishing village, Britten's take on the original Crabbe poem paints Grimes as a more tortured character, a man despised by his local community after the suspicious death of his apprentice. The local school teacher Ellen Orford is almost his only supporter, but as the community's mistrust grows, Grimes spirals into a downfall with tragic consequences.

One of the 5 star reviews called this production 'compelling, unsettling and ravishingly sung', so an evening not to be missed.

MARTIN HANDLEY presents Deborah Warner's new production, and is joined by writer and broadcaster Kate Kennedy.

Read the full synopsis on the Royal Opera House website: https://bit.ly/3JlrCcD

Britten's masterpiece, PETER GRIMES, from the Royal Opera House, Covent Garden.

Britten's The Rape Of Lucretia20160924The Rape of Lucretia from Glyndebourne, in Fiona Shaw's production, with Claudia Huckle in the title role and Kate Valentine and Allan Clayton as the Chorus. Nicolas Collon conducts.

Premiered at Glyndebourne in 1946, Britten's chamber opera is an extraordinary and tightly focused treatment of a legend, which has acquired numerous layers in painting, poetry and drama.

Lucretia is raped by the tyrant Tarquinius Superbus, ruler of Rome, and chooses to kill herself rather than live with the shame. The action of the opera is commented on throughout by a Male and Female Chorus who occupy another dimension, at times narrating the story and at times voicing the thoughts of the different characters.

Male Chorus - Allan Clayton (tenor)

Lucretia - Claudia Huckle (mezzo-soprano)

Female Chorus - Kate Valentine (soprano)

Collatinus - David Soar (bass)

Junius - Oliver Dunn (baritone)

Tarquinius - Duncan Rock (baritone)

Bianca - Catherine Wyn-Rogers (mezzo-soprano)

Lucia - Ellie Laugharne (soprano)

The Glyndebourne Tour Orchestra

Nicholas Collon (conductor).

A performance of Britten's chamber opera The Rape of Lucretia given at Glyndebourne.

Britten's The Rape Of Lucretia20221126Rome, 500BC. While her husband is away Lucretia, the wife of Roman general Collatinus, is raped by the prince Tarquinius. The following day, the traumatised Lucretia commits suicide. Like its immediate predecessor, PETER GRIMES, The Rape of Lucretia is a grim story exploring dark themes and, as in Grimes, Britten demonstrates his deep understanding of the most sinister corners of the human psyche. But despite all this, The Rape of Lucretia is a lyrical chamber opera with many beautiful moments. It's scored for small instrumental forces and an ensemble cast of soloists, with a title role written for legendary British contralto KATHLEEN FERRIER. She inspired Britten to write, in Lucretia's final aria, one of the most passionate vocal numbers he ever composed.

In this new production by Oliver Mears, Lucretia is sung by Anne Marie Stanley, one of a cast of up-and-coming soloists drawn from two of the UK's most prestigious schemes for youthful musical talent: the Royal Opera House's Jette Parker Artists Programme and the Britten Pears Young Artist Programme. In the pit, Corinna Niemeyer conducts the ever-in-demand Aurora Orchestra.

Recorded earlier this week at the Linbury Theatre at the Royal Opera House, Covent Garden and introduced by TOM SERVICE in conversation with Kate Guthrie.

Britten: The Rape of Lucretia

Act 1

7.25 pm

Interval

7.40 pm

Act 2

Lucretia - Anne Marie Stanley (mezzo-soprano)

Bianca - Carolyn Holt (mezzo-soprano)

Lucia - Sarah Dufresne (soprano)

Tarquinius - Jolyon Loy (baritone)

Collatinus - Thomas D Hopkinson (bass)

Junius - Kieran Rayner (baritone)

Female Chorus - Sydney Baedke (soprano)

Male Chorus - Michael Gibson (tenor)

Corinna Niemeyer (conductor)

Britten's The Rape of Lucretia, recorded at the Royal Opera House, Covent Garden.

7.30

7.45

Collatinus - Anthony Reed (bass)

Britten's The Turn Of The Screw20070929From this summer's Glyndebourne Festival comes Jonathan Kent's inspired production of Britten's thought-provoking opera, with its taut chamber score perfectly suited to Henry James's chilling story. Rising British star Edward Gardner conducts members of the London Philharmonic and an international cast.

The Governess is employed to be in sole charge of two young children, Miles and Flora, at a remote country house. Initially she seems to have found an idyllic world, but gradually she begins to feel a malign influence at work through the ghosts of Quint, a former manservant, and Miss Jessel, the previous governess. She resolves to protect the children and embarks on a battle for the soul of Miles.

Martin Handley presents the broadcast in collaboration with soprano Vivian Tierney who gives her insights into performing Britten on stage.

Prologue/Peter Quint - William Burden (tenor)

Governess - Camilla Tilling (soprano)

Flora - Joanna Songi (soprano)

Miles - Christopher Sladdin (treble)

Mrs Grose - Anne-Marie Owens (mezzo-soprano)

Miss Jessel - Emma Bell (soprano)

London Philharmonic Orchestra

Edward Gardner (conductor).

Edward Gardner conducts the London Phil and an international cast in Britten's opera.

Britten's The Turn Of The Screw20091107From the London Coliseum. Presented by Martin Handley.

Based on Henry James's creepy ghost story, Britten's disturbing chamber opera explores themes of sexual repression and the corruption of innocence. Charles Mackerras, who knew and worked closely with Britten, and has performed this eerie and ambiguous masterpiece for more than 50 years, conducts David McVicar's celebrated English National Opera production from the London Coliseum.

6.15pm

Martin Handley in conversation with award-winning documentary maker and author John Bridcut.

6.30pm

The Turn of the Screw - Act 1

7.25pm

Martin Handley and John Bridcut further explore the themes and composition of the opera, and Valentine Cunningham looks at Henry James's novella, the literary inspiration behind Britten's music.

7.50pm

The Turn of the Screw - Act 2

Prologue/Peter Quint - Michael Colvin (tenor)

Governess - Rebecca Evans (soprano)

Mrs Grose - Anne Murray (mezzo-soprano)

Miss Jessel - Cheryl Barker (soprano)

Miles - Charlie Manton (treble)

Flora - Nazan Fikret (soprano)

Members of the ENO Orchestra

Charles Mackerras (conductor).

From the London Coliseum, Charles Mackerras conducts ENO's production of Britten's opera.

Britten's The Turn Of The Screw20230218Britten's creepy yet compelling opera, based on Henry James's sinister novella, explores the themes which preoccupied Britten: childhood, loss of innocence, night, transgression and evil.

A governess arrives at a large country house whose only occupants are the housekeeper Mrs Grose and two orphans, Miles and Flora. Charged by their absent guardian with looking after the children, the Governess becomes aware of two mysterious figures, identified by the housekeeper as the valet, Peter Quint, and the former governess Miss Jessel. Both of them, the housekeeper tells the Governess, are dead. But at night their malign, ghostly manifestations call to the children and the Governess attempts to protect them. Flora is taken to safety by Mrs Grose but as Quint speaks to Miles, he dies in the arms of the Governess.

Perhaps the opera's most famous line, quoted from WB Yeats's The Second Coming, sums up Britten's disquieting and ambiguous masterpiece: `the ceremony of innocence is drowned??.

Recorded last September at the B退la Bart k National Concert Hall, Budapest and introduced by Kate Molleson.

Benjamin Britten: The Turn of the Screw

Act 1

7.25 pm

Interval

Kate Molleson explores the themes of Britten's The Turn of the Screw with Ivကn Fischer, and talks to best-selling author Neil Gaiman about our enduring fascination with ghost stories.

7.45 pm

Act 2

Governess - .. Miah Persson (soprano)

Mrs Grose - .. Laura Aikin (soprano)

Prologue/Peter Quint - .. Andrew Staples (tenor)

Miss Jessel - .. Allison Cook (soprano)

Miles - Benjamin Fletcher (treble)

Flora - .. Lucy Barlow (soprano)

Budapest Festival Orchestra

Ivကn Fischer (conductor)

Read more about the production - https://bit.ly/3XjR7SK

Iv\u00e1n Fischer conducts the Budapest Festival Orchestra in Britten's The Turn of the Screw.

Perhaps the opera's most famous line, quoted from WB Yeats's The Second Coming, sums up Britten's disquieting and ambiguous masterpiece: `the ceremony of innocence is drowned`.

Candide20081004Martin Handley presents Leonard Bernstein's comic operetta Candide, recorded at London's Coliseum in July. Robert Carsen's controversial production for English National Opera updates Voltaire's savage 18th century satire from Europe to the Unites States of the 1950s, revealing the dystopian reality of the American Dream.

Voltaire/Pangloss/Martin: Alex Jennings

Candide: Toby Spence (tenor)

Cunegonde: Marnie Breckenridge (soprano)

Old Lady: Beverley Klein (mezzo-soprano)

Grand Inquisitor/Captain/Governor: Bonaventura Bottone (tenor)

Paquette: Mair退ad Buicke (soprano)

Maximilian: Mark Stone (baritone)

Cacambo: Ferlyn Brass

Rumon Gamba: Conductor

Orchestra and Chorus of English National Opera

SYNOPSIS:

Act I

In Westphalia, Maximilian and Cunegonde, the children of the most powerful baron in the country, live in perfect harmony with their chambermaid Paquette and their poor relation Candide. They are tutored by Doctor Pangloss, who teaches them that ‘everything is for the best in this best of all possible worlds'. But one day Candide is caught kissing Cunegonde and is thrown out.

He becomes a soldier, but is soon accused of desertion and sentenced to death, only to be pardoned at the last minute. War breaks out in Westphalia. As the fighting subsides, Candide discovers Cunegonde's body among the dead, and also finds his old teacher Pangloss, who is suffering from syphilis.

James, an Anabaptist, offers to help find a cure for Pangloss and suggests that they all set sail on his ship. But James's ship sinks, which doesn't stop Pangloss from insisting that everything is still for the best. As Candide and Pangloss manage to reach dry land an earthquake flattens the entire country, killing thousands. Pangloss and Candide are arrested and accused of being responsible for the catastrophe. An auto-da-f退 is ordered to avoid any further disasters. The defendants are brought before the court, tried, and sentenced to death by hanging.

Cunegonde miraculously survived her death in Westphalia and has now begun to regain her previous quality of life. She shares herself between two rival protectors, Don Issachar and Don Cardinale. In order to make sure that the two men never meet, she relies on the help of an Old Lady with a mysterious past. Candide (who has miraculously survived being hanged) is amazed to discover that Cunegonde is alive and well. As they fall into each other's arms, Don Issachar appears and insults Cunegonde. Candide kills him. Don Cardinale then appears, and the same fate befalls him. Encouraged by the Old Lady, Candide and Cunegonde decide to flee. With the help of a Captain, they all set sail for the New World, in search of a better life.

Act II

Candide, Cunegonde, the Old Lady and Cacambo (a Native American Indian recruited by the Captain to help Candide on his travels), arrive in the New World. The Officer who selects the immigrants is immediately attracted to Cunegonde. Cacambo informs Candide that even in the New World he is still wanted for murder. They have no choice but to leave Cunegonde behind and flee once again.

As they begin their travels, Candide and Cacambo come across a religious group which includes Maximilian. Recognizing Cunegonde's brother, Candide tells him that his sister is still alive and that he intends to marry her. When Maximilian opposes this idea, an argument breaks out and Candide kills Maximilian. Yet again Candide and Cacambo are forced to flee. Discovering Eldorado, Candide becomes incredibly rich, but he is unable to enjoy his new-found wealth by himself. He sends Cacambo back to try and find Cunegonde, while he looks for a ship to take them all to safety.

During his search, Candide meets Martin, a poor man who is as pessimistic as Pangloss is optimistic. Martin tells Candide that the world is a horrible place, full of horrible people. In spite of this new lesson, Candide puts his trust in a greedy businessman, Vanderdendur, who pretends to help Candide while selling him a leaky boat and stealing all his money. The boat sinks, but Candide finds his stolen money floating on the water along with the half-drowned Pangloss (who has also miraculously survived being hanged), who continues to repeat his mantra of optimism.

They end up in a casino where Paquette and Maximilian (who has miraculously survived being killed by Candide) also work. Ragotski, the owner of the casino, encourages Cunegonde and the Old Lady to use their charms to steal Candide's money. Cunegonde's mask falls from her face, and Candide is forced to recognize that she is not the faithful woman he always imagined her to be. He further realizes that human happiness is to be found neither in Pangloss's unconditional optimism nor in Martin's die-hard pessimism, but somewhere in between.

Candide concludes that it would be best to try and ‘make our garden grow'...

©Robert Carse

Rumon Gamba conducts ENO's production of Leonard Bernstein's comic operetta.

Candide, Act 220081004Martin Handley presents Leonard Bernstein's comic operetta Candide, recorded at London's Coliseum in July. Robert Carsen's controversial production for English National Opera updates Voltaire's savage 18th century satire from Europe to the Unites States of the 1950s, revealing the dystopian reality of the American Dream.

7.20 Interval: Martin Handley explores the themes of the opera with its director and Christopher Bigsby, Professor of American Studies at UEA.

7.35 Candide, Act 2

Voltaire/Pangloss/Martin: Alex Jennings

Candide: Toby Spence (tenor)

Cunegonde: Marnie Breckenridge (soprano)

Old Lady: Beverley Klein (mezzo-soprano)

Grand Inquisitor/Captain/Governor: Bonaventura Bottone

Paquette: Mair退ad Buicke (soprano)

Maximilian: Mark Stone

Cacambo: Ferlyn Brass

Rumon Gamba: Conductor

Orchestra and Chorus of English National Opera

SYNOPSIS:

Candide, a young man from Westphalia, is in love with Cunegonde, daughter of the local baron. He is a loyal follower of the teachings of his tutor, Dr Pangloss, who believes ‘Everything that is, is planned, is wisely planned, is right and good'.

Candide is confronted with many disasters. There is a massacre during which Cunegonde is apparently killed; and Pangloss is executed in an auto-da-f退. Candide sets off on his travels. He goes to Paris, where he meets an Old Lady, who accompanies him (along with the miraculously saved Cunegonde) to the New World. He goes to Buenos Aires and to the fabulous land of Eldorado.

He returns to Europe, surviving a shipwreck, goes to Venice and finally back to Westphalia. There he realizes the folly of Pangloss's philosophy and resolves to build his own life rather than assuming that everything that happens is for the best.

© Alison Latham

Rumon Gamba conducts Act 2 of ENO's production of Leonard Bernstein's comic operetta.

Carl Maria Von Weber's Der Freischutz2004091320200919 (R3)A rare chance to hear Weber's Der Freischütz, widely considered one of the first masterpieces in German Romantic opera. An immediate success, the opera premiered in Berlin in 1821 and was soon performed regularly throughout Europe and beyond.

The plot revolves around the forester-hero, Max (tenor Jonas Kaufmann), once an excellent marksman but who has seemingly lost his touch. How far will he go to win the hand of his beloved Agathe (soprano Hillevi Martinpelto)?

Sir Charles Mackerras conducts the Scottish Chamber Orchestra and Philharmonia Chorus.

First broadcast and recorded in 2004 from the Edinburgh International Festival.

Presented by Christopher Cook.

Agathe - Hillevi Martinpelto (soprano)

Ānnchen - Ailish Tynan (soprano)

Max - Jonas Kaufmann (tenor)

Kilian - Ronan Collet (baritone)

Ottakar - Christopher Maltman (baritone)

Kaspar - John Relyea (bass-baritone)

Voice of Samiel, Kuno - Siegfried Vogel (bass)

Hermit - Matthew Rose (bass)

Bridesmaids - Carolyn Dobbin, Catriona Holt, Gail Johnson, Madeleine Shaw (mezzo sopranos)

Philharmonia Chorus (Chorus Master Robert Dean)

Sir Charles Mackerras (conductor)

Weber's Der Freischutz, performed by the SCO conducted by Sir Charles Mackerras.

Carmen From The Met20210320This evening's Opera from the Met is a performance of Bizet's ever-popular and well-loved opera, Carmen. Mezzo-soprano Anita Rachvelishvili portrays the femme fatale Carmen, with tenor Aleksandrs Antonenko as her hapless lover Don Jos退, in this tale of seduction and betrayal. Pablo Heras-Casado conducts the Chorus and Orchestra of the Metropolitan Opera House, New York.

This performance from 2014 is presented from the Met by Mary-Jo Heath and commentator Ira Siff.

Don Jose.....Aleksandrs Antonenko (Tenor)

Carmen.....Anita Rachvelishvili (Mezzo-soprano)

Micaela.....Anita Hartig (Soprano)

Escamillo.....Ildar Abdrazakov (Bass)

Frasquita.....Kiri Deonarine (Soprano)

Mercedes.....Jennifer Johnson Cano (Mezzo-soprano)

Le Remendado.....Eduardo Valdes (Tenor)

Le Dancaire.....Malcolm Mackenzie (Baritone)

Zuniga.....Keith Miller (Bass)

Morales.....John Moore (Baritone)

New York Metropolitan Opera Orchestra

New York Metropolitan Opera Chorus

Pablo Heras-Casado (Conductor)

Bizet's Carmen from the Met staring Anita Rachvelishvili in the title role.

Cav And Pag From The Royal Opera House, Covent Garden2022100120220917 (R3)In Mascagni's Cavalleria rusticana - Rustic Chivalry - a jealous husband metes out murderous revenge on his wife's lover, and in Leoncavallo's Pagliacci - Players - another jealous husband (part of a travelling troupe) wreaks fatal vengeance on his actress wife as the horrified audience look on.

Set in the impoverished Italian south and with sumptuous orchestration and big hits like Cav's Easter Hymn and Pag's impassioned tenor aria 'Vesti la giubba', Cav & Pag have been thrilling audiences since the 1890s as love, jealously and vengeance propel opera's most enduring double bill to its grisly ends. Recorded in July, Antonio Pappano conducts this Olivier Award-winning production.

Introduced by Flora Willson in conversation with ROGER PARKER and including contributions from Antonio Pappano and Giuseppe Crimaldi, journalist on Naples' most read newspaper, Il Mattino.

Pietro Mascagni: Cavalleria rusticana

Turiddu - ..SeokJong Baek (tenor)

Santuzza - ..Aleksandra Kurzak (soprano)

Alfio - ..Dimitri Platanias (baritone)

Lola - ..Aigul Akhmetshina (mezzo-soprano)

Mamma Lucia - ..Elena Zilio (mezzo-soprano)

7.55 pm

Interval

Flora Willson and ROGER PARKER discuss how Cav & Pag, with their gritty realism, violence and dispossessed, low-life characters, set the template for verismo opera. And Flora asks Giuseppe Crimaldi about the clich退d and long-held northern Italian attitude towards the south and how the 'Southern Question' still looms large in 21st-century Italy.

8.10 pm

Ruggero Leoncavallo: Pagliacci

Canio - ..Marco Berti (tenor)

Tonio - ..Dimitri Platanias (baritone)

Nedda - ..Aleksandra Kurzak (soprano)

Silvio - ..Mattia Olivieri (baritone)

Beppe - ..Egor Zhuravskii (tenor)

Two Villagers - .. Andrew O'Connor (tenor) & Olle Zetterstr怀m (bass)

Chorus & Orchestra of the Royal Opera House, Covent Garden

Antonio Pappano (conductor)

Read the full synopsis on the Royal Opera House website: https://bit.ly/3BnK6Iz

Antonio Pappano conducts Mascagni's Cavalleria rusticana and Leoncavallo's Pagliacci.

Cavalleria Rusticana-pagliacci20180113Tonight's opera from the Met is that most famous of double bills, 'Cav and Pag'. Set in small villages in southern Italy/Sicily, both operas are part of the verismo movement, presenting a slice of real life with all its disappointments and betrayals on the stage. Roberto Alagna plays the lead in both - Turidu and Canio, whose destructive relationships with women caus everyone's downfall.

Presented from New York by Mary Jo Heath and Ira Siff.

Pietro Mascagni: Cavalleria Rusticana

Santuzza - Ekaterina Semenchuk (soprano)

Turiddu - Roberto Alagna (tenor)

Alfio - George Gagnidze (baritone)

Ruggero Leoncavallo: Pagliacci

Nedda - Danielle Pastin (soprano)

Canio - Roberto Alagna (tenor)

Tonio - George Gagnidze (baritone)

Silvio - Alexey Lavrov (baritone)

Metropolitan Opera House Chorus

Metropolitan Opera House Orchestra

Nicola Luisotti (Conductor).

Tenor Roberto Alagna stars in the popular double bill from the New York Met: Cav and Pag.

Cavalli: Hipermestra20170923A rare chance to hear Cavalli's little-known opera Hipermestra from this year's Glyndebourne Festival Opera, in an edition prepared by William Christie and staged by Graham Vick. Danao, King of Argos has been told by a prophet that he will be killed by his own nephew. His solution - to marry off his fifty daughters to his brother's fifty sons, and instruct his daughters to kill their grooms on their wedding night. Unfortunately for him, his daughter Hipermestra falls in love with her husband Linceo, and refuses to carry out her father's plan.

Christopher Cook is joined in the box by opera historian Sarah Lenton to talk about the history of the work, and also talks to William Christie about what needed to be done to bring it to the stage.

Hipermestra.....Emoke Barath (soprano)

Linceo.....Raffaele Pe (countertenor)

Arbante.....Benjamin Hulett (tenor)

Elisa.....Ana Quintans (soprano)

Berenice.....Mark Wilde (tenor)

Danao.....Renato Dolcini (baritone)

Vafrino.....Anthony Gregory (tenor)

Arsace.....David Webb (tenor)

Alindo/Delmiro.....Alessandro Fisher (tenor)

Orchestra of the Age of Enlightenment

William Christie (conductor).

Cavalli's Hipermestra from the Glyndebourne Festival, conducted by William Christie.

Cavalli's L'ormindo20140414Louise Fryer introduces a rare Baroque gem, recorded earlier this month at The Sam Wanamaker Playhouse in London, in its inaugural season: Francesco Cavalli's opera L'Ormindo, in a co-production between The Shakespeare's Globe and the Royal Opera House directed by Kasper Holten. Christian Curnyn conducts the Orchestra of the Early Opera Company leading a cast including tenors Samuel Boden and Ed Lyon as the princes Ormindo and Amidas, who fight for the love of Queen Erisbe, sung by Susanna Hurrell. There can only be one winner in this story of fate, adultery and forgiveness...

Ormindo - Samuel Boden (Tenor)

Amidas / Wind - Ed Lyon (Tenor)

Love / Nerillus - James Laing (Countertenor)

Eryka / Wind - Harry Nicoll (Tenor)

Music / Erisbe - Susanna Hurrell (Soprano)

Ariadenus - Graeme Broadbent (Bass)

Destiny / Osman / Wind - Ashley Riches (Baritone)

Lady Luck / Sicile - Joelle Harvey (Soprano)

Mirinda - Rachel Kelly (Mezzo-soprano)

Christian Curnyn (Conductor).

A performance given at the Sam Wanamaker Playhouse in London of Cavalli's opera L'Ormindo.

Chabrier's L'etoile20160220Chabrier: L'ɀtoile

Chabrier's comic opera L'ɀtoile is a rarity but is considered to be a masterpiece of the genre. It was first performed to great success in 1877 and was performed 48 times in its first run. It's a wonderfully ridiculous plot, with each role perfectly characterised in the music. The story begins on King Ouf's birthday (the tenor Christophe Mortagne), which he always celebrates with a public impalement, and this year his victim is the pedlar Lazuli (a role for a mezzo-soprano and sung tonight by Kate Lindsey), who unwittingly struck the King without knowing who he was. However, when the King's astrologer Siroco (bass-baritone Simon Bailey) tells the King that his star and Lazuli's are so closely bound that they will die on the same day, the King cancels the execution. Chabrier's charming and beautiful score includes musical gems such as the comic duet between Ouf and Siroco, and Princess Laoula's Rose Air. Sir Mark Elder conducts the Royal Opera's first ever production of L'ɀtoile, directed by Mariame Cl退ment, live from Covent Garden.

Martin Handley presents and talks to the writer and musicologist Nigel Simeone.

King Ouf I - Christophe Mortagne (tenor)

Siroco - Simon Bailey (bass-baritone)

Prince H退risson de Porc-Epic - Fran瀀ois Piolino (tenor)

Tapioca - Aimery Lef耀vre (baritone)

Lazuli - Kate Lindsey (mezzo-soprano)

Princesse Laoula - H退l耀ne Guilmette (soprano)

Alo耀s - Julie Boulianne (mezzo-soprano)

Patacha - Samuel Sakker (tenor)

Zalzal - Samuel Dale Johnson (baritone)

Smith - Chris Addison (actor)

Dupont - Jean-Luc Vincent (actor)

Royal Opera House Chorus

Royal Opera House Orchestra

Mark Elder (conductor).

Chabrier's comic opera L'Etoile, live from the Royal Opera House, Covent Garden.

Charpentier's David Et Jonathas20120929Donald Macleod presents Marc-Antoine Charpentier's David et Jonathas recorded at this year's Aix-en-Provence festival and conducted by William Christie.

Christie recorded Charpentier's biblical tragedy almost 25 years ago. He returned to the work in a staging by Andreas Homoki first given in July this year at Aix, repeated at the Edinburgh Festival in August and which will travel to New York next year.

The work was written for and first performed at the College Louis-le-Grand, a Jesuit college in Paris in 1688.

The libretto by a Jesuit priest Father Francois Bretonneau is based on the Old Testament story of the friendship between David and the younger Jonathan, son of Saul.

Originally the five acts of the tragedie en musique were each followed by an act of a spoken drama on the subject by another priest.

Here the work is perfomed without the drama and with the original prologue moved to between Acts 3 and 4.

The story is about the very close and homo-erotic relationship between the hero David and Jonathan. Saul, a broken man after the death of his wife, mistrusts David's friendship with his son not least because they are from different tribes and when they go to war with one another David and Jonathan have no choice but to fight on opposing sides with tragic consequences.

Donald Macleod talk to William Christie and Andreas Homoki about the piece and to Pascal Charbonneau and Ana Quintans about their roles.

David.....Pascal Charbonneau (tenor)

Jonathas.....Ana Quintans (soprano)

Saul.....Neal Davies (bass-baritone)

Archis.....Frederic Caton (bass)

Joabel.....Kresimir Spicer (tenor)

La Pythonisse.....Dominique Visse (counter-tenor)

L'Ombre de Samuel.....Pierre Bessiere (bass)

Chorus and Orchestra of Les Arts Florissants

Conductor.....William Christie.

William Christie conducts a performance of Marc-Antoine Charpentier's David et Jonathas.

Charpentier's Louise20071117Alexandra Wilson introduces a production of Charpentier's four-act opera given earlier this year at the Opera Bastille in Paris. Late 19th century Paris is the real hero of the opera, home to Louise, her traditional working-class parents and her bohemian artist lover Julien. It's the tension between Louise's responsibility to her parents and her opportunity to break free with Julien that underpins the work, set among the streets and tenements of Montmartre.

The cast is headed by leading French soprano Mireille Delunsch in the title role, American lyric tenor Paul Groves as Julien and the hugely experienced Belgian bass-baritone Jose van Dam as Louise's father.

Louise - Mireille Delunsch (soprano)

Julien - Paul Groves (tenor)

Her Father - Jos退 van Dam (bass-baritone)

Her Mother - Jane Henschel (mezzo-soprano)

Irma - Marie-Paule Dotti (soprano)

Camille - Natacha Constantin (soprano)

Gertrude - Anne Salvan (mezzo-soprano)

Noctambulist/King of Fools - Luca Lombardo (tenor)

A Rag Picker - Ren退 Schirrer (bass-baritone)

Paris Opera Chorus and Orchestra

Sylvain Cambreling (conductor).

A production of Charpentier's four-act opera given at the Opera Bastille in Paris.

Charpentier's Medea20130518Donald Macleod presents Marc-Antoine Charpentier's Medea at the London Coliseum in a new production for English National Opera by David McVicar. Sarah Connolly sings the title role, as the vengeful sorceress willing to sacrifice her own children to avenge her faithless husband Jason, performed by tenor Jeffrey Francis. Christian Curnyn conducts the chorus and the orchestra of English National Opera.

Medea.....Sarah Connolly (mezzo-soprano)

Jason.....Jeffrey Francis (tenor)

Creon.....Brindley Sherratt (bass)

Creusa/Phantom I.....Katherine Manley (soprano)

Orontes.....Roderick Williams (baritone)

Nerina.....Rhian Lois (soprano)

Cleonis/Cupid......Aoife O'Sullivan (soprano)

Arcas/Vengeance......Oliver Dunn (baritone)

Corinthian/Jealousy......John McMunn (tenor)

Italian woman/Phantom II.....Sophie Junker (soprano)

Corinthian/Argive.....Jeremy Budd (tenor)

Cupid's captives...... Aoife O'Sullivan (soprano)

Sophie Junker (soprano) and John McMunn (tenor)

Chorus and Orchestra of English National Opera

Christopher Curnyn, conductor.

Donald Macleod presents Charpentier's Medea performed at English National Opera.

Chausson's Le Roi Arthus20151121Jonathan Swain presents a performance of Chausson's opera Le roi Arthus from the Paris Opera, recorded earlier this year at the Op退ra Bastille and conducted by Philippe Jordan. The cast includes tenor Roberto Alagna as Sir Lancelot, baritone Thomas Hampson as King Arthur, and mezzo-soprano Sophie Koch as Queen Guinevere. Chausson's little-known opera is based on the King Arthur legend, the love triangle between King Arthur, his wife Queen Guinevere and her lover Sir Lancelot - a tale of sword and sorcery, myth and magic. Jonathan Swain talks to French opera specialist Sarah Hibberd about Chausson's interest in the Arthurian legends, and they discuss the great influence of Wagner on Chausson's music in this sumptuous score.

Arthus - Thomas Hampson (baritone)

Geni耀vre - Sophie Koch (mezzo-soprano)

Lancelot - Roberto Alagna (tenor)

Lyonnel - Stanislas de Barbeyrac (tenor)

Merlin - Peter Sidhom (baritone)

Mordred - Alexandre Duhamel (bass)

Allan - Fran瀀ois Lis (bass)

A Worker - Cyrille Dubois (tenor)

A Knight - Tiago Matos (bass)

An Equerry - Ugo Rabec (bass)

Paris Opera Chorus

Paris Opera Orchestra

Philippe Jordan (conductor).

Chausson's Le roi Arthus from the Paris Opera with Roberto Alagna and Thomas Hampson.

Cherubini's Medea20230107Medea is the very personification of the phrase 'Hell hath no fury like a woman scorned'. Even by Greek myth standards, this is a gruesome tale where jealousy and vengeance collide with truly appalling results. We're in Corinth, 1200 BCE, and Jason (Giasone) is about to be married to Glauce. Medea is not pleased: she and Jason have quite a backstory. With the help of Medea's magic, Jason had seized the Golden Fleece and to make sure he got away with it, Medea killed and dismembered her brother, and then killed King Pelias so that Jason could take his throne. She is also the mother of Jason's children. Now she's determined to stop Jason's wedding: she sends a poisoned robe and crown to Glauce, which duly do their job. Finally, desperately, to teach Jason a lesson, there is one more terrible act of self-destructive vengeance when Medea brutally murders their two children.

Dating from the end of the 18th century, Luigi Cherubini's music - by turns fury-filled and movingly beautiful, elegant and tranquil - triumphantly meets the demands of this exacting drama. The title role has been a favourite of divas down the ages, perhaps most famously Maria Callas. Tonight, soprano Sondra Radvanovsky leads a starry cast, with the Met forces conducted by Carlo Rizzi.

Presented by Debra Lew Harder with commentator Ira Siff.

Medea - Sondra Radvanovsky (soprano)

Glauce - Janai Brugger (soprano)

Neris - Ekaterina Gubanova (soprano)

Giasone - Matthew Polenzani (tenor)

Creonte - Michele Pertusi (bass)

First Lady - Brittany Renee (soprano)

Second Lady - Sarah Larsen (mezzo-soprano)

Leader of the King's Guards - Christopher Job (bass-baritone)

Metropolitan Opera Chorus and Orchestra

Conductor Carlo Rizzi

Cherubini's Medea from the New York Met: jealousy, violence, vengeance and infanticide.

Cherubini's Medea From Wexford Festival Opera20171125Recorded at Wexford Festival Opera 2017, Sean Rafferty introduces a new production by Fiona Shaw of Luigi Cherubini's Medea with Lise Davidsen (soprano) in the title role and Sergey Romanovsky (tenor) as Jason.

Medea is a notorious figure from Greek mythology, a sorceress with blood on her hands. She has already killed her brother to help Jason, the legendary Argonaut, steal the Golden Fleece. Jason promised he would never leave her but, as the plot unfolds and the tension builds, it becomes all too apparent that Jason will not remain true to his word and the consequences are utterly horrifying. Medea is a drama of raw passion and brutal violence - the title role, made famous by Maria Callas, demands an exceptional voice as well as extraordinary dramatic talent.

Medea, first performed at the Th退 tre Feydeau in Paris, 13 March 1797, is an op退ra comique in three acts with libretto by Fran瀀ois Benoit Hoffman (Italian version by Carlo Zangarini), based on Euripides' tragedy of Medea and Pierre Corneille's play M退d退e, and is sung in Italian.

During the interval Sean's guests include tonight's director, Fiona Shaw who has famously played the title role in Euripides' 'Medea' in the West End and on Broadway; tonight's conductor, Stephen Barlow; and the writer, Colm T ib퀀n, who hails from Co. Wexford and whose most recent novel deals with the psychology of Greek tragedy.

Medea - Lise Davidsen (soprano)

Glauce - Ruth Iniesta (soprano)

Neris - Raffaella Lupinacci (mezzo-soprano)

Jason - Sergey Romanovsky (tenor)

King Creon - Adam Lau (bass)

Chorus and Orchestra of Wexford Festival Opera

Stephen Barlow (conductor).

Sean Rafferty introduces a performance of Cherubini's Medea from Wexford Festival Opera.

Cilea's Adriana Lecouvreur20101204From the Royal Opera House, Covent Garden: Cilea's Adriana Lecouvreur.

Not heard at the Royal Opera House since 1906, Cilea's masterpiece is staged in a new production by David McVicar, starring Angela Gheorghiu and Jonas Kaufmann, and conducted by Mark Elder.

Paris, 1730. Backstage at the Comadie-Francaise, preparations are in hand for a performance in which Adriana Lecouvreur will have a starring role. She is much admired, but her heart is set on Maurizio, who she believes is an officer in the service of the Count of Saxony. She is mistaken in this assumption, however, and she has a rival for the man's affections in the form of a princess who will stop at nothing to get rid of her. For a moment, it seems that all will go well - but the Princess will eventually have the upper hand.

Presented by: Donald Macleod

Cast:

Adriana Lecouvreur - Angela Gheorghiu (soprano)

Maurizio - Jonas Kaufmann (tenor)

Prince de Bouillon - Maurizio Muraro (bass)

L'Abate di Chazeuil - Bonaventura Bottone (tenor)

Michonnet - Alessandro Corbelli (baritone)

Quinault - David Soar (bass)

Poisson - Iain Paton (tenor)

Princesse de Bouillon - Olga Borodina (mezzo soprano)

Mlle Jouvenot - Janis Kelly (soprano)

Mlle Dangeville - Sarah Castle (mezzo soprano)

Conductor - Sir Mark Elder

Orchestra of the Royal Opera House

Royal Opera House Chorus.

Donald Macleod presents a new production of Cilea's masterpiece Adriana Levouvreur.

Cosi Fan Tutte20081101Riccardo Muti conducts soprano Barbara Frittoli, mezzo Angelika Kirchschlager and bass Ildebrando D'Arcangelo in a performance of Mozart's comic opera, given at the Vienna State Opera - in the same city where the work was first performed in 1790.

The plot of what is regarded by many as the composer's greatest opera centres on Guglielmo and Ferrando, two army officers who claim to their colleagues that their wives will always be faithful to them. However, their friend Don Alfonso bets otherwise, devising a plan to test the women's fidelity.

Presented by Suzy Klein.

Fiordiligi - Barbara Frittoli (soprano)

Dorabella - Angelika Kirchschlager (mezzo-soprano)

Guglielmo - Ildebrando D'Arcangelo (bass-baritone)

Ferrando - Francesco Meli (tenor)

Don Alfonso - Natale De Carolis (baritone)

Despina - Laura Tatulescu (soprano)

Vienna State Opera Chorus and Orchestra

Riccardo Muti (conductor).

Riccardo Muti conducts Mozart's comic opera about female marital infidelity.

Cosi Fan Tutte20110108Presented by Martin Handley

Sir Colin Davis conducts an exceptional recording of one of Mozart's wittiest operas, with a superlative cast, including Kiri Te Kanawa and Agnes Baltsa. Davis's finely polished account of the score deftly balances the humanity, irony, pain and humour of Da Ponte's complex battle of the sexes.

When two army officers claim to be certain that their fianc退s will be eternally faithful, Don Alfonso cannot resist the urge to prove them wrong. It will take him only a day, he claims, to prove that these - like all women - are fickle. His wager is accepted, and from then on, things get complicated.

Ferrando - Stuart Burrows

Guglielmo - Thomas Allan

Don Alfonso - Richard Van Allan

Fiordiligi - Kiri Te Kanawa

Dorabella - Agnes Baltsa

Despina - Daniela Mazzucato

Chorus and Orchestra of the Royal Opera House

Conducted by Colin Davis.

Colin Davis conducts Kiri te Kanawa in Cosi fan Tutte, one of Mozart's wittiest operas.

Daniel Cat\u00e1n's Florencia En El Amazonas20231209Opening the new season of broadcasts from the Metropolitan Opera in New York City: the story of a Latin American opera star, inspired by the magic realism of Gabriel García Márquez. Music Director Yannick Nézet-Séguin conducts this Met premiere production of Mexican composer Daniel Catán's 1996 opera, which stars Ailyn Pérez as Florencia Grimaldi, the operatic soprano who returns to her native South America to perform at the legendary Amazonas opera house in Manaus – and to search for her lost lover, vanished in the Amazon rainforest.

Presented by Debra Lew Harder, with commentator Ira Siff.

Florencia - Ailyn Pérez (soprano)

Rosalba, journalist - Gabriella Reyes (soprano)

Steamboat Captain - Greer Grimsley (bass-baritone)

Arcadio, his nephew - Mario Chang (tenor)

Riolobo, First Mate - Mattia Olivieri (baritone)

Paula - Nancy Fabiola Herrera (mezzo-soprano)

À?lvaro - Michael Chioldi (baritone)

Sailor - Tyler Simpson (bass-baritone)

Metropolitan Opera Chorus and Orchestra

Conductor Yannick Nézet-Séguin

Opera performance from around the world.

David Lang's Prisoner Of The State20200111Live from the Barbican Hall, the European premiere of a dark new Beethoven-inspired rescue opera. Ilan Volkov conducts a star quartet of soloists, the BBC Singers and BBC Symphony Orchestra. 215 years after the first performance of Beethoven's Fidelio, American composer David Lang takes a fresh view on the opera's story. Beethoven loved the idea of freedom as portrayed in the original play by Jean-Nicolas Bouilly, but Lang discovers that in the 21st century the issues that it raises about gender and personal identity are more than a match for the ideals of the enlightenment.

Lang's ability to glimpse the emotional heart and soul of a story within his focused, distilled and highly absorbing music has won him a Pulitzer Prize. In this opera, designed for performance with an orchestra on stage, both instrumentalists and audience bear witness to the story of a woman striving to rescue her partner from unjust imprisonment.

Presented by Andrew McGregor

The Assistant - Julie Mathevet (soprano)

The Prisoner - Jarrett Ott (baritone)

The Leader - Alan Oke (tenor)

The Jailer - Dav ne Tines (bass-baritone)

BBC Singers (men's voices)

Singers from the Guildhall School of Music and Drama

Ilan Volkov (conductor)

Elkanah Pulitzer (director)

SYNOPSIS

There are four roles. The main character is The Jailer's Assistant (soprano). She has disguised herself as a young man and come to work at the prison to search for her husband, The Prisoner (baritone). She is the assistant to The Jailer (bass), whose society is governed by The Governor (tenor). In addition to these roles there is a Male Chorus. The orchestra and chorus are present in every scene, and function both as the prisoners and as a kind of commentary on the story.

After tonight's Opera on 3, more from Beethoven Unleashed.

Beethoven: Fidelio Overture

Vienna Philharmonic

Claudio Abbado (conductor)

Viktor Ullmann: Sonata for Piano no 6, Op. 49

Gregor Weichert (piano)

Britten: Seven Sonnets of Michelangelo

Philip Langridge (tenor)

Steuart Bedford (piano)

Dmitri Shostakovich: The Song of the Forests Op. 81: Movement 7 - Glory

Alexei Tanovitski (tenor)

Konstantin Andreyev (bass)

Nava Boys Choir

Estonian Concert Choir

Estonian National Symphony Orchestra

Paavo Jarvi (conductor)

Live from the Barbican, the European premiere of a dark new Beethoven-inspired opera.

Death In Venice20191228Britten's final opera in a new production from the Royal Opera House, Covent Garden. Based on a novella by Thomas Mann. The German writer Gustav von Aschenbach travels to Venice in search of creative inspiration, but his thoughts are distracted by a beautiful Polish youth, with whom he becomes obsessed. Mark Padmore sings the troubled writer, and Gerald Finley the seven characters who appear throughout the opera to lead him to his eventual demise. Kate Molleson presents and is joined in the box by Dr Lucy Walker from the Britten-Pears Foundation to discuss Britten's late great opera.

Britten: Death in Venice

Gustav von Ashenbach - Mark Padmore (tenor)

Traveller/Old Gondolier/Hotel Manager/Elderly Fop/Hotel Barber/Leader of Players/Voice of Dionysus - Gerald Finley (bass-baritone)

Voice of Apollo - Randall Scotting (countertenor)

Strawberry Seller - Rebecca Evans (soprano)

Lace Seller - Masabane Cecilia Rangwanasha (soprano)

Danish Lady - Elizabeth Weisberg (soprano)

English Lady - Katy Batho (soprano)

Russian Nanny - Rosie Aldridge (mezzo-soprano)

German Mother - Hanna Hipp (mezzo-soprano)

Russian Spinster - Amanda Baldwin (mezzo-soprano)_

French Mother - Rebecca Lodge Birkebaek (mezzo-soprano)

Hotel Porter - Colin Judson (tenor)

Boy Player - Andrew Tortise (tenor)

Glass Maker - Sam Furness (tenor)

Steward - Andrew O'Connor (tenor)

English Clerk - Dominic Sedgwick (baritone)

German Father - Michael Mofidian (bass-baritone)

Lido Boatman - ByeonMin Gil (bass-baritone)

Russian Father - Dominic Barrand (bass-baritone)

Chorus and Orchestra of Royal Opera House

Richard Farnes (conductor)

Britten's Death in Venice from the Royal Opera House, Covent Garden.

Debussy: Pelleas Et Melisande20111008Debussy's opera Pelleas et Melisande in a concert performance recorded in May this year at the Theatre des Champs-Elysees, Paris.

Presented by Ivan Hewett with comments from Maeterlinck expert Patrick McGuinness.

Melisande - Natalie Dessay (Soprano)

Pelleas - Simon Keenlyside (Baritone)

Genevieve - Marie-Nicole Lemieux (Contralto)

Golaud - Laurent Naouri (Baritone)

Arkel - Alain Vernhes (Bass)

Yniold.....Khatouna Gardelia (soprano)

The Doctor - Nahuel di Pierro (Bass)

The Paris Orchestra and Chorus conducted by Louis Langree

Debussy based his only completed opera on the play by the Belgian poet and playwright Maurice Maeterlinck.

Pelleas is one of Simon Keenlyside's most celebrated roles and the husband and wife duo of Natalie Dessay and Laurent Naouri take the other central roles of Melisande and Golaud.

When Debussy came to write Pelleas he was keen not to write an opera like the typical 19th century classics which preceded him. 'The drama of Pelleas', he wrote 'contains far more humanity than those so-called 'real-life' documents'.

A concert performance of Debussy's opera Pelleas et Melisande given in Paris in May 2011.

Debussy's Paris, Pelleas Et Melisande20180324Debussy: Pell退as et M退lisande

Presented by Tom Service as part of 'Debussy's Paris' marking the 100th anniversary of the composer's death this weekend. During the intervals Tom speaks with Professor Barbara Kelly, Debussy expert and Director of Research at Royal Northern College of Music.

Golaud - Simon Keenlyside (baritone)

M退lisande - Olga Bezsmertna (soprano)

Pell退as - Adrian Er怀d (baritone)

Genevi耀ve - Bernarda Fink (contralto)

Arkel - Franz-Josef Selig (bass)

Yniold - Maria Nazarova (soprano)

The Doctor - Marcus Pelz (bass)

Pell退as's father - Andreas Bettinger (baritone)

Vienna State Opera Chorus

Vienna State Opera Orchestra

Alain Altinoglu (conductor).

A performance of Debussy's supreme masterpiece, presented by Tom Service.

Debussy's Pelleas Et Melisande20170325Carolyn Sampson (M退lisande), Roland Wood (Golaud) and Andrei Bondarenko (Pell退as) star in Scottish Opera's new production of Debussy's masterpiece Pell退as et M退lisande. Prince Golaud finds a young woman, M退lisande, lost in the woods, marries her and takes her home to his castle. M退lisande however becomes increasingly unhappy and finds herself drawn to Golaud's brother Pell退as. As they fall in love, their fate is sealed.

Presented by Donald Macleod with guest Kate Molleson.

M退lisande - Carolyn Sampson (soprano)

Pell退as - Andrei Bondarenko (tenor)

Golaud - Roland Wood (baritone)

Arkel - Alastair Miles (bass)

Genevi耀ve - Anne Mason (mezzo-soprano)

Yviold - Cedric Amamoo (treble)

Doctor - Jonathan May (bass-baritone)

The Orchestra of Scottish Opera

The Chorus of Pell退as et M退lisande

Stuart Stratford (conductor)

Photo credit: Richard Campbell.

A new Scottish Opera production of Debussy's masterpiece Debussy's Pelleas et Melisande.

Debussy's Pelleas Et Melisande20240302In a forest in the vaguely medieval kingdom of Allemonde, Prince Golaud finds a mysterious young woman weeping by a fountain. They are soon married but six months later, apart from finding out her name, Golaud knows little more about Mélisande than at their first meeting. When she meets Golaud's half-brother Pelléas they fall in love and the tragic end of the story is inexorably set.

The huge dramatic and psychological power of Pelléas et Mélisande hangs on Debussy's extraordinary and subtle score where minutely calculated effects, especially near-silence and flickering half-lights, so often hover on the threshold of hearing. Debussy himself described it as 'a means of expression that seems to me quite special' – a judgement vindicated by history and many of the 20th century's foremost composers and musicians.

Iván Fischer was both conductor and director of this critically acclaimed production, its outstanding cast led by Bernard Richter and Patricia Petibon in the title roles. Like his Budapest Festival Orchestra, Fischer wore a cloak of leaves, all of them immersed in the action, the stage a forest with singers, players and conductor among the trees.

Recorded at the Béla Bartók National Concert Hall, Budapest, last September and introduced by Kate Molleson in conversation with Iván Fischer.

Debussy: Pelléas et Mélisande

Pelléas - Bernard Richter (tenor)

Mélisande - Patricia Petibon (soprano)

Golaud - Tassis Christoyannis (baritone)

Arkel - Nicolas Testé (bass)

Geneviève - Yvonne Naef (contralto)

The Doctor / voice of shepherd - Peter Harvey (bass)

Yniold - Oliver Michael (boy soprano)

Iván Fischer (conductor)

Bernard Richter and Patricia Petibon take the title roles, and Iv\u00e1n Fischer conducts.

Bernard Richter and Patricia Petibon take the title roles and Iván Fischer conducts the Budapest Festival Orchestra in an acclaimed production of Debussy's powerful, subtle opera.

Der Rosenkavalier From The Met20230415Strauss - Der Rosenkavalier

The aging Marschallin knows that, despite his protestations, one day her lover Octavian will fall for a younger woman. When Octavian is chosen to perform the presentation of the rose ceremony to the beautiful young Sophie, the Marschallin's worst fears are confirmed. With its mixture of Viennese waltzes, comedy, and the most sumptuous vocal writing, Strauss's opera has the lot. Simone Young conducts a stellar cast, with Lise Davidsen, Samantha Hankey and Erin Morley as the love triangle, and Gu?nther Groissbo?ck as Baron Ochs.

Presented from the Met by Debra Lew Harder.

Marschallin - Lise Davidsen (soprano)

Octavian - Samantha Hankey (mezzo soprano)

Sophie - Erin Morley (soprano)

Baron Ochs - Gu?nther Groissbo?ck (bass)

Faninal - Brian Mulligan (baritone)

Annina - Katharine Goeldner (mezzo soprano)

Italian Singer - Ren退 Barbera (tenor)

Valzacchi - Thomas Ebenstein (tenor)

Metropolitan Opera Chorus and Orchestra

Simone Young (conductor)

Simone Young conducts, with cast including Lise Davidsen, Samantha Hankey and Erin Morley.

Detlev Glanert's Caligula20120707Presented by Christopher Cook

From the English National Opera at the London Coliseum - an appropriate setting - the UK premiere of Detlev Glanert's opera Caligula, already acclaimed as perhaps the finest German opera of the 21-st century. Baritone Peter Colman-Wright takes the title role as a larger-than-life, timeless dictator in a veritable tour-de-force inspired by Albert Camus' existentialist play portraying the Roman Emperor in the shadow of Hitler and Stalin. This disturbing spectacle of tyranny, corruption and decadence is set by director Benedict Andrews in a contemporary football stadium.

Caligula.....Peter Coleman-Wright (baritone)

Caesonia.....Yvonne Howard (mezzo-soprano)

Helicon.....Christopher Ainslie (countertenor)

Cherea.....Pavlo Hunka (bass-baritone)

Scipio.....Carolyn Dobbin (mezzo-soprano)

Mucius.....Brian Galliford (tenor)

Mereia/Lepidus.....Eddie Wade (baritone)

Livia.....Julia Sporsen (soprano)

English National Opera Chorus

English National Opera Orchestra

Conductor.....Ryan Wigglesworth.

Detlev Glanert's Caligula at ENO with Peter Coleman-Wright. Ryan Wigglesworth conducts.

Dido And Aeneas20230715Music by Purcell, including Sarah Connolly's much-praised recording of Dido and Aeneas.

Purcell: Dido and Aeneas

Dido - Sarah Connolly (mezzo-soprano)

Aeneas - Gerald Finley (baritone)

Belinda - Lucy Crowe (soprano)

Sorceress - Patricia Bardon (mezzo-soprano)

First Witch - Carys Lane (soprano)

Second Witch - Rebecca Outram (soprano)

Second Woman - Sarah Tynan (soprano)

Spirit - William Purefoy (countertenor)

Sailor - John Mark Ainsley (tenor)

Age of Enlightenment Orchestra

Choir of the Enlightenment

Elizabeth Kenny, Steven Devine (directors)

Die Frau Ohne Schatten20191116On the 10th October 1919 Richard Strauss's grand opera Die Frau ohne Schatten received its premiere at the Vienna State Opera, and 100 years later a top line-up of soloists including Camilla Nylund, Stephen Gould and Nina Stemme give a performance on the same stage under Christian Thielemann. The 'woman without a shadow' of the title is the half-mortal Empress. If she doesn't acquire a shadow within three days, she will be returned to the spirit world, and her Emperor turned to stone. Will she maintain her integrity, or steal a mortal woman's shadow instead? Modeled on Mozart's Magic Flute, the moral fairy-tale is musically very influenced by Wagner, and is on a grand scale with a huge orchestra including an organ, wind machines and a glass harmonica.

Flora Willson presents, and is joined by William Mival to discuss the history and importance of Strauss's score.

6.30pm

Strauss Die Frau ohne Schatten

The Emperor.....Stephen Gould (tenor),

The Empress.....Camilla Nylund (soprano)

The Nurse.....Evelyn Herlitzius (mezzo-soprano)

The Messenger of Keikobad.....Sebastian Holecek (baritone)

The Guardian of the Threshold / Voice of a Falcon.....Maria Nazarova (soprano)

Apparition of a Youth.....Benjamin Bruns (tenor)

Voice from Above.....Monika Bohinec (contralto)

The Dyer....Wolfgang Koch (bass-baritone)

The Dyer's Wife.....Nina Stemme (soprano)

The One-eyed Man, Barak's brother.....Samuel Hasselhorn (bass)

The One-armed Man, Barak's brother.....Ryan Speedo Green (bass)

The Hunchback, Barak's brother.....Thomas Ebenstein (tenor)

First Servant of the Empress / First Voice of the Unborn / First Soloist.....Ileana Tonca (soprano)

Second Servant of the Empress / Second Voice of the Unborn / Second Soloist.....Mariam Battistelli (soprano)

Third Servant of the Empress / Fourth Voice of the Unborn / Fourth Soloist.....Szilvia V怀r怀s (mezzo-soprano)

Third Voice of the Unborn / Third Soloist.....Virginie Verrez (mezzo-soprano)

Fifth Voice of the Unborn / Fifth Soloist.....Bongiwe Nakani (mezzo-soprano)

Sixth Soloist.....Zoryana Kushpler,(mezzo-soprano)

Vienna State Opera Chorus

Stage Orchestra of the Vienna State Opera

Vienna State Opera Orchestra

Christian Thielemann (conductor)

Background

While out hunting, the Emperor shoots a gazelle. She is transformed into a young woman; he falls in love with her and marries her. She is the daughter

of the Spirit King Keikobad. However, she must cast a shadow within twelve months or the Emperor will turn to stone and the Empress will have to return to her father. Finally, there are just three days left.

SYNOPSIS

The Emperor is unaware of the impending danger and leaves to go hunting again. Accompanied by the Nurse, the Empress secretly sets off for the human world in order to acquire a shadow. They stop at the home of the Dyer, Barak, and his Wife. The couple live in poverty with Barak's brothers; they have no children. The Dyer‘s Wife, dissatisfied with her life and her husband, allows herself to be seduced by the promise of riches and is willing to surrender her shadow to the Empress. But if she does this, the Dyer's Wife will never become a mother. Initially she desires a handsome young man, conjured up by the Nurse, but her conscience prevents her from actually betraying Barak, who loves her more than anything else.

Troubled, she confesses to him what has happened. For Barak, whose sole goal in life is attaining the happiness of a large, close-knit family, his world collapses. He feels a desire to commit murder. At that moment, their world is swallowed up, and the two find themselves separated, in a stone vault. The couple are overcome by remorse, they once again confess their love for each other. For his part, the Emperor believes that the Empress has been unfaithful to him and wishes her dead. However, even in his wrath he cannot kill his wife. The Empress realizes that she can only attain happiness through the misfortune of others - of Barak and his Wife. She decides against her own well-being and does not drink the magic water that will secure her the shadow of the Dyer's Wife and save the Emperor from being turned to stone.

She has passed the trial to become human, as she has now shown empathy and compassion for others and placed her own personal happiness after that of others. In becoming human she has acquired a shadow - and the Emperor, whom she loves, is saved, as are the Dyer and his Wife. The triumphant closing exultation is softly echoed by the voices of the (as yet)

Unborn Children:

Father, nothing threatens you,

See, Mother, the terror

That led you astray

Is already receding.

Was there ever a feast

Where in secret

We were both the guests

And also the Hosts?

Richard Strauss's Die Frau ohne Schatten from the Vienna State Opera.

Domingo Celebration2011110520141206 (R3)Presented by Andrew McGregor

A special homage to Placido Domingo, one of the greatest voices of all time and an artist renowned world-wide, well beyond the realm of music. The Royal Opera House celebrates the 40th anniversary of his London debut with acts from three Verdi operas that have had special significance in the Spanish tenor's career. In the title roles of Otello, Rigoletto and Simon Boccanegra, Domingo - who also turned 70 this year - portrays three immensely complex characters, all facing dramatic actions. The recently added baritone roles of the last two are testimony to both his incredibly wide repertory and his artistic hunger. This once-in-a-life-time celebration starts with Domingo as Otello, perhaps his most legendary portrayal and a role he's made entirely his own. Antonio Pappano, the Royal Opera House Music Director, conducts a star-studded cast.

Otello/Rigoletto/Boccanegra.....Placido Domingo (Tenor - Baritone)

Desdemona/Amelia.....Marina Poplavskaya (Soprano)

Gilda.....Ailyn Perez (Soprano)

Duke/Adorno.....Francesco Meli (Tenor)

Ludovico/Sparafucile/Fiesco.....Paata Burchuladze (Bass)

Iago.....Jonathan Summers (Bass)

Royal Opera House Orchestra & Chorus

Conductor, Antonio Pappano

First broadcast 05/11/2011.

A Placido Domingo celebration, featuring acts from Otello, Rigoletto and Simon Boccanegra.

Donizetti's Caterina Cornaro20121027Presented by John Shea.

Set in Venice in the 15th century, Caterina's wedding to Gerardo is interrupted by a masked man who says it's the senate's wish that Caterina should marry Lusignano, the King of Cyprus. On threat of death, Caterina agrees. Gerardo, though is determined to get her back, and begins to realise that Lusignano is actually not an enemy, but as much a victim of circumstance as he is.

A rare chance to hear Donizetti's late opera, based on the true story of Caterina Cornaro, Queen of Cyprus, Jerusalem and Armenia in a new recording by the BBC Symphony Orchestra. John Shea presents, and is joined by Italian opera expert Francesco Izzo to explain the opera's troubled history.

Caterina Cornaro.....Carmen Giannattasio (Soprano)

Gerardo.....Colin Lee (Tenor)

Lusignano..... Troy Cook (Baritone)

Andrea Cornaro.....Graeme Broadbent (Bass)

Strozzi & A Knight of the King.....Loic Felix (Tenor)

Mocenigo.....Vuyani Mlinde (Bass-baritone)

BBC Singers

Conductor.....David Parry.

With rare and fascinating operatic performances.

Donizetti's Don Pasquale20191123Don Pasquale is an old and wealthy but miserable bachelor who is looking to marry off his nephew Ernesto, who wants to marry the beautiful but penniless widow Norina. Don Pasquale disinherits him, and at the advice of his friend and Doctor Malatesta, decides to take a young wife of his own. The young couple run rings around him, including disguising Norina and a fake wedding, they reveal their trickery but an exhausted Don Pasquale forgives them, happy to remain quietly single.

Bryn Terfel stars as Don Pasquale, and heads a glittery and virtuosic cast with soprano Olga Peretyatko as Norina, and Ioan Hotea as Ernesto in Damiano Michieletto's new production from the Royal Opera House conducted by Evelino Pido.

Sean Rafferty presents this sparkling production and chats to opera commentator, Sarah Lenton.

Don Pasquale.....Bryn Terfel (Baritone)

Ernesto.....Ioan Hotea (Tenor)

Doctor Malatesta.....Markus Werba (Baritone)

Norina.....Olga Peretyatko (Soprano)

Notary.....Bryan Secombe (Bass)

Royal Opera House Orchestra

Royal Opera House Chorus

Evelino Pido (Conductor)

Donizetti's comic opera Don Pasquale from the Royal Opera House, Covent Garden.

Donizetti's La Fille Du Regiment20080426French Soprano Natalie Dessay stars in Donizetti's opera about a girl adopted by soldiers.
Donizetti's L'elisir D'amore20071201Nemorino is in love with the fickle Adina, who refuses to marry him. When Sergeant Belcore proposes to her too, Nemorino is desperate enough to put his faith in the love potion that worked for Queen Isolde, sold by the dubious Dr Dulcamara. But it takes 24 hours to work, and Adina and Belcore's wedding is the next day. Several plot twists, and many wonderful melodies later, all ends happily ever after.

Laurent Pelly's production for the Royal Opera House stars Aleksandra Kurzak, Stefano Secco and Ludovic Tezier, under the baton of Mikko Franck. Tom Service presents, and is joined in the box by Italian opera expert Professor Roger Parker to guide us through one of Donizetti's most popular works.

Nemorino - Stefano Secco (tenor)

Adina - Aleksandra Kurzak (soprano)

Belcore - Ludovic T退zier (baritone)

Giannetta - Kishani Jayasinghe (soprano)

Dulcamara - Paolo Gavanelli (baritone)

Royal Opera Chorus

The Orchestra of the Royal Opera House

Mikko Franck (conductor).

Mikko Franck conducts Laurent Pelly's production for the Royal Opera House.

Donizetti's L'elisir D'amore20121201Presented by Sara Mohr-Pietsch

Laurent Pelly's production of Donizetti's comic opera L'elisir d'amore live from the Royal Opera House, Covent Garden, starring Roberto Alagna and Aleksandra Kurzak and conducted by Bruno Campanella.

The young farm worker Nemorino is passionately in love with Adina, the farm's beautiful owner, but his attempts at winning her heart are thwarted by the boastful military sargeant Belcore, who secures Adina's hand in marriage. Can Nemorino's fortunes in love be turned around by the quack doctor Dulcamara and his magic potions?

Sara Mohr-Pietsch is joined by the opera historian Sarah Lenton and dramaturg Simon Rees, and during the interval Sara visits the Wellcome Library in London for a look at the art of quackery.

Adina - Aleksandra Kurzak (soprano)

Nemorino - Roberto Alagna (tenor)

Belcore - Fabio Capitanucci (bass)

Dulcamara - Ambrogio Maestri (bass)

Giannetta - Susana Gaspar (soprano)

Chorus of the Royal Opera

Orchestra of the Royal Opera House, Covent Garden

Bruno Campanella, conductor.

Live from the Royal Opera House, Covent Garden, Donizetti's comic opera L'elisir d'amore.

Donizetti's L'elisir D'amore20141129Presented by Ivan Hewett.

Live from the Royal Opera House, Covent Garden, in London, Donizetti's everlasting comic opera L'elisir d'amore, in an acclaimed production by Laurent Pelly. Desperate for the love of Adina, Nemorino tries to win her with the help of a quack doctor, a fake potion and a furtive tear. The cast is led by tenor Vittorio Grigolo and soprano Lucy Crowe as the lovers, as well as Bryn Terfel as doctor Dulcamara. Daniele Rustioni conducts the orchestra and chorus of the Royal Opera House.

Adina.....Lucy Crowe (Soprano)

Nemorino.....Vittorio Grigolo (Tenor)

Dulcamara.....Bryn Terfel (Baritone)

Belcore.....Levente Molnar (Baritone)

Giannetta.....Kiandra Howarth (Soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

Daniele Rustioni (Conductor).

Live from the Royal Opera House, Covent Garden, Donizetti's L'elisir d'amore.

Donizetti's L'elisir D'amore20180210From The Met in New York, Donizetti's comic opera L'Elisir d'Amore in which a simple hero, Nemorino (tenor Matthew Polenzani), is about to lose his loved one, Adina (soprano Pretty Yende), before a furtive tear and a love potion, provided by quack doctor Dulcamara (bass Ildebrando D'Arcangelo), come to the rescue. Domingo Hindoyan conducts the Metropolitan Opera Orchestra and Chorus.

Presented by Mary Jo Heath and Ira Siff.

Adina - Pretty Yende (soprano)

Nemorino - Matthew Polenzani (tenor)

Belcore - Davide Luciano (baritone)

Dulcamara - Ildebrando D'Arcangelo (bass)

Metropolitan Opera Chorus

Domingo Hindoyan (Conductor).

From The Met in New York Donizetti's L'elisir d'amore with Matthew Polenzani as Nemorino.

Donizetti's L'elisir D'amore20230121Romantic comedy from the New York Met, starring Golda Schultz and Javier Camarena. Donizetti's tune-packed classic is a love story between a rich landowner and a poor peasant - but this is Cinderella in reverse: it's the woman who's rich and the man who's poor. Nemorino has fallen for his boss, the beautiful Adina, and he's in despair when she agrees to marry the boastful but hunky man in uniform, Sergeant Belcore. His only hope for a happy ending is quack Dr Dulcamara's fake love potion.

Adina - Golda Schultz (soprano)

Nemorino - Javier Camarena (tenor)

Sergeant Belcore - Davide Luciano (baritone)

Dr Dulcamara - Ambrogio Maestri (baritone)

Giannetta, Adina's friend - Brittany Renee (soprano)

Metropolitan Opera Chorus and Orchestra

Conductor Michele Gamba

Read the full synopsis on the MET opera website: https://bit.ly/3Re5jeF

Donizetti's L'elisir D'amore20231028Donizetti's L'elisir d'amore from the Royal Opera House, Covent Garden, starring Nadine Sierra and Liparit Avetisyan, conducted by Sesto Quatrini.

Donizetti's romantic comedy is a love story between the peasant Nemorino and his boss, the beautiful Adina, who hastily agrees to marry Sergeant Belcore. Nemorino's hopes are lifted when he meets the wheeler-dealer Doctor Dulcamara selling his so-called magic ‘elixir of love', and believes this will be the answer to winning Adina's heart. The opera is full of wonderful melodies, and performed by an all-star cast including soprano Nadine Sierra making her ROH debut, Liparit Avetisyan as the naive Nemorino, and Ambrogio Maestri as the travelling quack Dulcamara.

Presented by Andrew McGregor with guest Sarah Lenton.

Adina - Nadine Sierra (soprano)

Nemorino - Liparit Avetisyan (tenor)

Doctor Dulcamara - Ambrogio Maestri (baritone)

Belcore - Boris Pinkhasovich (baritone)

Giannetta - Sarah Dufresne (soprano)

Orchestra and Chorus of the Royal Opera House

Sesto Quatrini, conductor

Read the full synopsis on the Royal Opera House website: https://bit.ly/45VVKGZ

Donizetti's L'elisir d'amore from the Royal Opera House, Covent Garden.

Donizetti's L'elisir d'amore from the Royal Opera House, Covent Garden, starring Nadine Sierra and Liparit Avetisyan, and conducted by Sesto Quatrini.

Donizetti's romantic comedy is a love story between the peasant Nemorino and his boss, the beautiful Adina, who hastily agrees to marry Sergeant Belcore. Nemorino's hopes are lifted when he meets the wheeler-dealer Doctor Dulcamara selling his so-called magic ‘elixir of love', and believes this will be the answer to winning Adina's heart. The opera is full of wonderful melodies, and performed by an all-star cast including soprano Nadine Sierra making her ROH debut, Liparit Avetisyan as the naive Nemorino, and Ambrogio Maestri as the travelling quack Dulcamara.

Donizetti's Les Martyrs20141115Donizetti's unjustly neglected Les Martyrs, revived at the Royal Festival Hall by Opera Rara and the Orchestra of the Age of Enlightenment, conducted by Mark Elder.

Presented by Ivan Hewett and Simon Rees.

Polyeucte.....Michael Spyres (tenor)

Pauline.....Joyce El-Khoury (soprano)

S退v耀re..... David Kempster (baritone)

F退lix.....Brindley Sherratt (bass)

Calisth耀nes.....Clive Bayley (bass-baritone)

N退arque..... Wynne Evans (tenor)

Opera Rara Chorus

Renato Balsadonna (chorus director)

Sir Mark Elder (conductor)

Les Martyrs was Donizetti's first grand opera for Paris. It was based on his Italian work, Poliuto, written for Naples but banned there because of its religious content.

Donizetti, well aware his new Paris opera was an important international debut, went to enormous pains to adapt Les Martyrs for the French stage, adding an elaborate new overture, the obligatory ballet score, and - most importantly - several complex and musically innovative ensemble scenes. The end result is one of the composer's most challenging and musically varied scores, with a level of orchestral and harmonic detail not found in his more popular Italian operas.

Les Martyrs soon disappeared from the Paris Op退ra's repertory, although it had some circulation in an Italian version in the mid 19th century. Since then, however, it has very rarely been heard.

In this revival by Opera Rara Les Martyrs is performed on period instruments by the Orchestra of the Age of Enlightenment and with singers adept at the particular demands of French grand opera at this period. Sir Mark Elder conducts, restoring to life one of Donizetti's most remarkable and most unjustly neglected late operas.

Recorded 4th November 2014.

Donizetti's Les Martyrs, revived at the Royal Festival Hall by Opera Rara and Mark Elder.

Donizetti's Lucia Di Lammermoor20080308Donizetti's famous tragic heroine is portrayed by one of her greatest recent interpreters, French soprano Natalie Dessay, in a new production directed by James Levine, and broadcast live from New York.

Set in Scotland, Donizetti's opera centres on a tragic love triangle. Lucia and Edgardo secretly become engaged but Lucia is forced by her cruel brother to marry Arturo. She obeys, imagining that Edgardo is unfaithful. But after realising her mistake, Lucia turns mad with anguish.

The programme, which also includes backstage interviews with the artists during the intervals, is presented from New York by Margaret Juntwait, with Ira Siff as guest commentator.

Lucia - Natalie Dessay (soprano)

Edgardo - Giuseppe Filianoti (tenor)

Enrico - Mariusz Kwiecien (baritone)

Raimondo - John Relyea (bass)

Alisa - Michaela Martens (mezzo-soprano)

Arturo - Stephen Costello (tenor)

Normanno - Michael Myers (tenor)

Chorus and Orchestra of New York Metropolitan Opera

James Levine (conductor).

James Levine conducts Natalie Dessay as the tragic heroine in Donizetti's tragic opera.

Donizetti's Lucia Di Lammermoor20160514Donizetti: Lucia di Lammermoor

Donizetti's tragic masterpiece Lucia di Lammermoor from the Royal Opera House, Covent Garden, with Diana Damrau as the innocent Lucia who is forced into a marriage with Arturo Bucklaw by her brother Enrico to save the family fortunes, although Lucia is desperately in love with Edgardo Ravenswood. Enrico's ruthlessness and deceit devastate his fragile sister Lucia, with tragic consequences.

German soprano Diana Damrau stars as Lucia, with Ludovic T退zier as her determined brother Enrico, and Charles Castronovo as her doomed lover Edgardo. Daniel Oren conducts the Chorus and Orchestra of the Royal Opera House, Covent Garden, in the recent new production by Katie Mitchell.

Christopher Cook presents this performance with commentary from Italian opera specialist Flora Willson.

Lucia Ashton - Diana Damrau (soprano)

Enrico Ashton - Ludovic T退zier (baritone)

Normanno - Peter Hoare (tenor)

Alisa - Rachael Lloyd (mezzo-soprano)

Edgardo Ravenswood - Charles Castronovo (tenor)

Raimondo Bidebent - Kwangchul Youn (bass)

Arturo Bucklaw - Taylor Stayton (tenor)

The Chorus of the Royal Opera House, Covent Garden

The Orchestra of the Royal Opera House, Covent Garden

Daniel Oren (conductor).

From the Royal Opera House, Covent Garden, Donizetti's Lucia di Lammermoor.

Donizetti's Lucia Di Lammermoor From The Met20220521Soprano Nadine Sierra, always a favourite at the Met, takes on one of the repertory's most formidable roles, the haunted heroine of Lucia di Lammermoor. Tenor Javier Camarena adds to the bel canto fireworks as Lucia's beloved, Edgardo, with baritone Artur Ruci?ski as her overbearing brother, Enrico, and bass Matthew Rose as her tutor, Raimondo. Riccardo Frizza conducts.

Presented by Debra Lew Harder, in conversation with Ira Siff.

Lucia: Nadine Sierra, soprano

Edgardo: Javier Camarena, tenor

Enrico: Artur Ruci?ski, baritone

Raimondo: Matthew Rose, bass

Chorus and Orchestra of the Metropolitan Opera

Riccardo Frizza, conductor

Donizetti's tragic masterpiece tells of the innocent Lucia who is forced into a marriage by her brother Enrico to save the family fortunes, although she is desperately in love with another man. Enrico's ruthlessness and deceit devastate his fragile sister Lucia, with tragic consequences.

Nadine Sierra takes the title role in Donizetti's tale of unhappy love.

Raimondo: Christian Van Horn, bass

Read the full synopsis on the Met Opera website: https://bit.ly/3Myfl6X

Donizetti's Maria Stuarda20100619Donizetti's 3-act opera Maria Stuarda was inspired by Schiller's play, and is based on fictional events leading to the execution of Mary Queen of Scots, and caused such controversy that it was originally banned in 1834. After then the opera was occasionally performed in Italy but in a censored version, and the opera's twentieth century revival was in 1958.

The focus of the opera is on the fictional and confrontational meeting between Mary Stuart, the Catholic Queen of Scotland, and the Protestant Queen Elizabeth I, resulting in Mary's condemnation and execution. The opera is now considered one of Donizetti's most powerful and compelling, culminating in a dramatic final scene.

Sarah Connolly sings the title role of Mary Stuart, and Antonia Cifrone sings Elizabeth. This new production by Opera North is directed by Antony McDonald, and is conducted by Guido Johannes Rumstadt, who makes his debut with the company.

Presented by Donald Macleod.

Mary Stuart - Sarah Connolly (mezzo-soprano)

Queen Elizabeth - Antonia Cifrone (soprano)

Robert Dudley, Earl of Leicester - Bülent Bezdüz (tenor)

Sir William Cecil - David Kempster (baritone)

George Talbot, Earl of Shrewsbury - Fr退d退ric Bourreau (bass)

Hannah Kennedy - Michelle Walton (soprano)

Orchestra and Chorus of Opera North conducted by Guido Johannes Rumstadt.

Donald Macleod presents a performance of Donizetti's opera about Mary, Queen of Scots.

Donizetti's Maria Stuarda20140714Donizetti's tragic opera Maria Stuarda portrays the bitter rivalry between the Scottish Mary Stuart and Queen Elizabeth I of England. They never actually met in real life, but in the operatic version the sparks fly in all directions as Donizetti sets a fictitious confrontation between the two queens. In this new staging by directors Patrice Caurier and Moshe Leiser, Bertrand de Billy conducts a star cast with Joyce DiDonato and Carmen Giannattasio.

Christopher Cook presents live from the Royal Opera House, Covent Garden, with guest Roger Parker and interviews with the directors and cast.

Maria Stuarda.....Joyce DiDonato (Mezzo-soprano)

Elisabetta.....Carmen Giannattasio (Soprano)

Leicester.....Ismael Jordi (Tenor)

Lord Cecil.....Jeremy Carpenter (Baritone)

Talbot .....Matthew Rose (Bass)

Anna Kennedy.....Kathleen Wilkinson (Mezzo-soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

Bertrand de Billy (Conductor)

* 1930 Act 1

* 2045 Interval

* 2110 Act 2.

Live from the Royal Opera House, Covent Garden, a performance of Donizetti's Maria Stuarda

Donizetti's Poliuto20150622A rare chance to hear Donizetti's grand opera Poliuto, in its UK professional premiere by Glyndebourne. Set in c.257-9 AD, Armenia has been conquered by the Romans, who have outlawed Christianity. Michael Fabiano sings Poliuto, persecuted for his religious beliefs, and tortured by the knowledge that his wife Paolina, sung by Ana Maria Martinez, is in love with another man. Poliuto's courage is so moving though, that Paolina decides to convert to Christianity too, and follow him to his tragic fate. Donald Macleod is joined in the box by Roger Parker to discuss the history and significance of this little known work, plus there'll be contributions from the director Mariame Cl退ment, conductor Enrique Mazzola and the principal singers.

Presented by Donald Macleod.

Donizetti - Poliuto

Poliuto.....Michael Fabiano (Tenor)

Paolina.....Ana Maria Martinez (Soprano)

Severo.....Igor Golovatenko (Baritone)

Callistene.....Matthew Rose (Bass)

Felice.....Timothy Robinson (Tenor)

Nearco.....Emanuele d' Aguanno (Tenor)

London Philharmonic Orchestra

Glyndebourne Festival Chorus

Enrique Mazzola (Conductor).

Donizetti's Poliuto from Glyndebourne, starring Michael Fabiano and Ana Maria Martinez.

Donizetti's Roberto Devereux20131104Presented by Mary King

Alessandro Talevi's new production of Donizetti's rarely heard Roberto Devereux is headed by soprano Alexandra Deshorties as Elizabeth, Queen of England, and tenor Leonardo Capalbo as Robert Devereux the Earl of Essex, with David Kempster and Leah-Marian Jones as the Duke and Duchess of Nottingham, Geraint Dodd as Lord William Cecil, and William Robert Allenby as Sir Walter Raleigh, with the chorus and orchestra of Welsh National Opera. The performance is conducted by Daniele Rustioni.

Donizetti's third Tudor opera, Roberto Devereux, is given a new look by Director Alessandro Talevi, and Designer Madeleine Boyd. It is a story of love and deceit; Devereux is the lover of Queen Elizabeth I but Parliament has pushed through a charge of treason against him. The Queen's attempts to save Devereux are frustrated by her suspicions that he loves another. Devereux and Sarah, the Duchess of Nottingham, have been seeing each other for some time, and upon discovery of this fact by both the Queen and the Duke of Nottingham, Devereux must meet an inevitable end. The Queen in turn, is forced to confront her old age and a lonely journey towards her own death, and in a fit of frustration and anger, announces her abdication in favour of Charles I.

Elizabeth, Queen of England - Alexandra Deshorties (soprano)

Robert Devereux, Earl of Essex - Leonardo Capalbo (tenor)

Duke of Nottingham - David Kempster (baritone)

Duchess of Nottingham - Leah-Marian Jones (mezzo-soprano)

Lord William Cecil - Geraint Dodd (tenor)

Sir Walter Raleigh - William Robert Allenby (baritone)

A page - George Newton-Fitzgerald (bass)

A servant of Nottingham - Stephen Wells (bass)

Conductor, Daniele Rustioni.

Mary King presents WNO's production of Donizetti's rarely-heard opera Roberto Devereux.

Donizetti's Roberto Devereux2016041620210626 (R3)Sondra Radvanovsky plays Elizabeth I in the last years of her life and reign, portraying the disastrous relationship with her favourite Devereux, the man she loves, and whose death warrant she is forced to sign. Recorded at New York's Metropolitan Opera in April 2016, with star tenor Matthew Polenzani singing the role of Devereux, and Elina Garanca and Mariusz Kwiecien completing the principal quartet. Donizetti specialist Maurizio Benini conducts.

Presented by Mary Jo Heath with commentary by Ira Siff.

Donizetti: Roberto Devereux

Elisabetta - Sondra Radvanovsky (soprano)

Sara - Elina Garanca (mezzo-soprano)

Roberto Devereux - Matthew Polenzani (tenor)

The Duke of Nottingham - Mariusz Kwiecien (baritone)

Lord Cecil...Brian Downen (tenor)

Sir Walter Raleigh...Christopher Job (bass)

Page...Yohan Yi (contralto)

Servant of Nottingham...Paul Corona (bass)

Chorus and Orchestra of the Metropolitan Opera, New York

Maurizio Benini (conductor)

Donizetti's Roberto Devereux, from the Metropolitan Opera, New York

Donizetti's Zoraida Di Granata20231125Wexford, a small fishing town on the south east coast of Ireland is the seemingly unlikely world epicentre for the resurrection of forgotten opera. But since 1951 those in search of exciting exhumations have beaten a path to Wexford Festival Opera every autumn as obscure corners of operatic history are brought to life once more.

Following Erlanger's L'Aube rouge in Opera on 3 last Saturday our second opera from the 2023 Festival is the 24-year-old Donizetti's Zoraida di Granata. Premiered in Rome in 1822, it tells the story of a love triangle (of course) set in fifteenth-century Granada, as Almuzir, the wicked usurper King of Granada, and the Moorish General Abenamet tussle over Zoraida's heart. Despite Almuzir's every effort to keep the betrothed Abenamet and Zoraida apart they remain steadfast, the King relents, and true love triumphs.

Recorded last month at the O'Reilly Theatre, National Opera House, Wexford and presented by Sean Rafferty.

Zoraida - Claudia Boyle (soprano)

Almuzir - Konu Kim (tenor)

Abenamet - Matteo Mezzaro (tenor)

Almanzor - Julian Henao Gonzalez (tenor)

Ines - Rachel Croash (soprano)

Ali Zegri - Matteo Guerzè (baritone)

Wexford Festival Chorus and Orchestra

Diego Ceretta (conductor)

From the 2023 Wexford Festival, a love triangle happily resolved in 15th-century Granada.

From the 2023 Wexford Festival, Donizetti's tale of triumphant love in 15th-century Granada stars Claudia Boyle in the title role and Konu Kim and Matteo Mezzaro as her love rivals.

Duke Bluebeard's Castle20100320Béla Bartók only wrote one opera, Duke Bluebeard's Castle in a career that concentrated mainly on music for orchestra, piano and string quartet. A one-act opera, its libretto is by the poet Béla Balázs who actually wrote it for either Bartók or fellow composer Kodály to set to music, as he was much influenced by the peasant ballads and lyrics they were both collecting at the time and Bartók's setting of the text reminds us constantly that we are in the world of the folk ballad. The story centres entirely on only two characters, Duke Bluebeard and his new, and latest wife Judith. It is a story of the failure of trust. For Judith, love is not enough. She must know everything about her husband's past. With each of the seven doors she opens into his past, she distances herself from his present and eventually becomes confined with him in the dungeon his castle has become.

Duke Bluebeard: Gábor Bretz (baritone)

Judith: Elena Zhidkova (soprano)

Narrator: Ors Kisfaludy

Adam Fischer (Conductor)

Netherlands Opera Residentie Orchestra.

Adam Fischer conducts Gabor Bretz and Elena Zhidkova in Bartok's only opera.

Dvo\u0159\u00e1k's Armida20221119For those who seek out obscure and neglected operas, the siren call coming from the small town of Wexford on the south-east coast of Ireland has long been irresistible. Among the resurrected treats from this year's Wexford Festival is Dvo?ကk's final operatic essay, Armida. A flop at its 1904 Prague premiere, and rarely revived since, Armida is based on Torquato Tasso's mythic account of the crusades, Gerusalemme liberata. By the time Dvo?ကk chose part of the 16th-century Italian epic poem for his opera, the text (once all the rage for librettists and composers) had been out of fashion for more than a century. Perhaps that accounted for the Prague audience's lukewarm reaction which might have been more positive if Dvo?ကk had, as usual, chosen a Slavonic setting.

SEAN RAFFERTY introduces this tale in which a de rigueur love triangle and a dollop of good and evil magic ends in tragedy when the crusader knight Rinald kills not only his love rival Ismen (a wicked sorcerer) but also, by mistake, Armida - the woman he loves.

Recorded earlier this month.

Anton퀀n Dvo?ကk: Armida

King Hydraoth of Damascus - Jozef Benci (bass)

Armida - Jennifer Davis (soprano)

Ismen - Stanislav Kuflyuk (baritone)

Petr - Jan Hnyk (bass)

Bohumir / Muezin - Rory Dunne (bass-baritone)

Rinald - Gerard Schneider (tenor)

Dudo - Chris Mosz (tenor)

Sven - Josef Moravec (tenor)

Roger - Thomas Birch (tenor)

Gernand - Andrii Kharlamov (baritone)

Ubald - Josef Kova??i?? (bass)

Siren / A nymph - Libuse Santorisova (soprano)

Chorus and Orchestra of Wexford Festival Opera

Norbert Baxa (conductor)

Love and sorcery combine in Dvo\u0159\u00e1k's Armida, recorded at the Wexford Festival.

Ubald - Josef Kova?i? (bass)

Read the synopsis and further details about the production on the Wexford Festival web page: https://bit.ly/3TIDnPq

Dvorak's Rusalka20091003Presented by Louise Fryer.

In a performance given at 2009's Glyndebourne Festival, Jiri Belohlavek conducts a production of Rusalka, Dvorak's best-known opera. It's the first time in its history that the famous festival has staged this tale, loosely based on Hans Christian Andersen's The Little Mermaid, but translated into a Czech idiom.

Rusalka, a water nymph, lives in a pool in a dark and brooding forest. She's doomed not only to lose her lover but to live forever as a will-o-the-wisp tempting other men to their deaths. This critically-praised production is directed by Melly Still, making her operatic debut, with Anna Maria Martinez as Rusalka and American tenor Brandon Jovanovich as the prince she falls in love with.

Rusalka - Ana Maria Martinez (soprano)

Prince - Brandon Jovanovich (tenor)

Vodnik - Mischa Schelomianski (bass)

Jezibaba - Larissa Diadkova (mezzo-soprano)

First Wood Nymph - Natasha Jouhl (soprano)

Second Wood Nymph - Barbara Senator (mezzo-soprano)

Third Wood Nymph - Elodie Mechain (contralto)

Hunter - John Mackenzie (tenor)

Gamekeeper - Alasdair Elliott (tenor)

Kitchen Girl - Diana Axentii (mezzo-soprano)

Foreign Princess - Tatiana Pavlovskaya (soprano)

London Philharmonic Orchestra

The Glyndebourne Chorus

Jiri Belohlavek (conductor).

Jiri Belohlavek conducts the 2009 Glyndebourne production of Dvorak's Rusalka.

Dvorak's Rusalka20120602Dvo?ak's Rusalka

Presented by Louise Fryer

Tonight's Opera on 3 is a recording of the Royal Opera's first fully staged production of Dvo?ak's Rusalka. In a radical interpretation by Jossi Wieler and Sergio Morabito, Dvo?ak's 'lyric fairytale' stars Finnish soprano Camilla Nylund in the title role and Yannick Nezet-Seguin makes his Royal Opera debut conducting the late Romantic score, which features the celebrated aria 'Song to the Moon'.

Rusalka.....Camilla Nylund (Soprano)

Vodnik, Spirit Of The Lake.....Alan Held (Baritone)

Prince.....Brian Hymel (Tenor)

Foreign Princess.....Petra Lang (Mezzo-Soprano)

Jezibaba.....Agnes Zwierko (Mezzo-Soprano)

Voice Of Huntsman.....Daniel Grice (Bass Baritone)

Gamekeeper.....Gyula Orendt (Baritone)

Kitchen Boy.....Ilse Eerens (Soprano)

Wood Nymph.....Anna Devin (Soprano)

Wood Nymph.....Madeleine Pierard (Soprano)

Wood Nymph.....Justina Gringyte (Mezzo-Soprano)

Chorus and Orchestra of the Royal Opera House

Conductor.....Yannick N退zet-S退guin.

From the Royal Opera House, Covent Garden, Louise Fryer presents Dvorak's Rusalka.

Dvorak's Rusalka20230506Dvorak's fairy-tale opera from the Royal Opera House starring Asmik Grigorian and David Butt Philip as the water spirit Rusalka and her human prince. Semyon Bychkov conducts. Rusalka falls for the Prince when he swims in her woodland lake, and rejecting the advice of her father, the water goblin Vodn퀀k, she accepts the local witch Ježibaba's offer to turn her into a human - at the price of losing the power of speech. At first the Prince seems enchanted by Rusalka; but when he takes her home to his court, things start to go wrong... Dvorak was inspired by the Czech fairytale forest setting to compose some of his most beautiful music, including Rusalka's famous Song to the Moon in Act 1 and one of the greatest final scenes in all opera: can Rusalka and the Prince find redemption at last in each other's love?

Presented by Martin Handley with commentator Sarah Lenton.

Rusalka - Asmik Grigorian (soprano)

Prince - David Butt Philip (tenor)

Vodn퀀k - Aleksei Isaev (baritone)

Ježibaba - Sarah Connolly (mezzo-soprano)

Duchess - Emma Bell (soprano)

Huntsman - Josef Jeongmeen Ahn (baritone)

Forester - Ross Ramgobin (baritone)

Kitchen boy - Hongni Wu (mezzo-soprano)

Wood spirits - Vuvu Mpofu (soprano), Gabriel? Kupšyt? and Anne Marie Stanley (mezzo-sopranos)

Royal Opera Chorus

Orchestra of the Royal Opera House

Conductor Semyon Bychkov

Read the full synopsis on the Royal Opera House website: https://bit.ly/3V8OPGz

Dvorak's fairy-tale opera from the Royal Opera House, starring Asmik Grigorian.

Dvorak's fairy-tale opera from the Royal Opera House, starring Asmik Grigorian and David Butt Philip as the water spirit Rusalka and her human Prince. Semyon Bychkov conducts. Rusalka falls for the Prince when he swims in her woodland lake, and rejecting the advice of her father, the water goblin Vodn퀀k, she accepts the local witch Ježibaba's offer to turn her into a human - at the price of losing the power of speech. At first the Prince seems enchanted by Rusalka; but when he takes her home to his court, things start to go wrong... Dvorak was inspired by the Czech fairytale forest setting to compose some of his most beautiful music, including Rusalka's famous Song to the Moon in Act 1 and one of the greatest final scenes in all opera: can Rusalka and the Prince find redemption at last in each other's love?

Dvorak's fairytale opera from the Royal Opera House, starring Asmik Grigorian

Dvorak's Rusalka From The Met20140210Another chance to hear soprano Ren退e Fleming in one of her signature roles as Dvorak's Rusalka at the New York Metropolitan Opera in 2014. The water nymph Rusalka falls in love with a prince when he comes to swim in her lake. The witch Jezibaba agrees to let her become human, but warns her that if she doesn't find love she will be damned and the man she loves will die. (Spoiler alert: this is opera.) Alongside Ren退e Fleming, Dvorak's lyrical opera stars Piotr Beczala as her doomed Prince.

Presented by Mary-Jo Heath and Ira Siff.

Rusalka - Ren退e Fleming (soprano)

Prince - Piotr Beczala (tenor)

Foreign Princess - Emily Magee (soprano)

Jezibaba - Dolora Zajick (mezzo-soprano)

Water Sprite - John Relyea (bass)

Kitchen-Boy - Julie Boulianne (mezzo-soprano)

Gamekeeper - Vladimir Chmelo (baritone)

1st Sprite - Disella Larusdottir (soprano)

2nd Sprite - Renee Tatum (mezzo-soprano)

3rd Sprite - Maya Lahyani (mezzo-soprano)

Huntsman - Alexey Lavrov (baritone)

New York Metropolitan Opera Chorus and Orchestra

Yannick N退z退t-S退guin (conductor)

Dvorak's Rusalka from the New York Metropolitan Opera, starring Renee Fleming.

Dvorak's Rusalka From The Met20210508Another chance to hear soprano Ren退e Fleming in one of her signature roles as Dvorak's Rusalka at the New York Metropolitan Opera in 2014. The water nymph Rusalka falls in love with a prince when he comes to swim in her lake. The witch Jezibaba agrees to let her become human, but warns her that if she doesn't find love she will be damned and the man she loves will die. (Spoiler alert: this is opera.) Alongside Ren退e Fleming, Dvorak's lyrical opera stars Piotr Beczala as her doomed Prince.

Presented by Mary-Jo Heath and Ira Siff.

Rusalka - Ren退e Fleming (soprano)

Prince - Piotr Beczala (tenor)

Foreign Princess - Emily Magee (soprano)

Jezibaba - Dolora Zajick (mezzo-soprano)

Water Sprite - John Relyea (bass)

Kitchen-Boy - Julie Boulianne (mezzo-soprano)

Gamekeeper - Vladimir Chmelo (baritone)

1st Sprite - Disella Larusdottir (soprano)

2nd Sprite - Renee Tatum (mezzo-soprano)

3rd Sprite - Maya Lahyani (mezzo-soprano)

Huntsman - Alexey Lavrov (baritone)

New York Metropolitan Opera Chorus and Orchestra

Yannick N退z退t-S退guin (conductor)

Renee Fleming stars in Dvorak's Rusalka from the Metropolitan Opera in New York

Enescu's Oedipe20160604Oedipus, the man who unwittingly murdered his father and married his mother is one of the most resonant mythical archetypes of Western culture; and tonight's live relay from the Royal Opera House, Covent Garden is an opportunity to hear a rare performance of Romanian composer Georges Enescu's powerful retelling of the story in his opera, Oedipe. Whereas the great dramatists of Ancient Greece focused on specific events in the life of Oedipus, Enescu's opera covers the whole narrative from birth to death. The highly individual musical style combines a rich harmonic idiom with subtle orchestration. The gorgeous, shimmering sounds of the scene with the Sphinx is one of the highlights of the score. This new production from the iconoclastic Catalan company, La Fura dels Baus, is conducted by Leo Hussain with a cast that includes Johan Reuter, John Tomlinson, Sophie Bevan, Sarah Connolly and Marie-Nicole Lemieux.

Presented by Andrew McGregor who is joined by composer and broadcaster William Mival to discuss the opera; including interviews with members of the cast.

7.15pm: Acts I & II

c.8.35pm: Interval

c.9.05pm: Acts III & IV

Enescu: Oedipe

Oedipe - Johan Reuter (tenor)

Tir退sias - John Tomlinson (bass)

Antigone - Sophie Bevan (soprano)

M退rope - Claudia Huckle (contralto)

Jocaste - Sarah Connolly (mezzo-soprano)

The sphinx - Marie-Nicole Lemieux (contralto)

A shepherd - Alan Oke (tenor)

The Theban High Priest - Nicolas Courjal (bass)

Laos - Hubert Francis (tenor)

Cr退on - Samuel Youn (bass-baritone)

Phorbas - In Sung Sim (bass)

The watcher - Stefan Kocan (bass)

Th退s退e - Samuel Dale Johnson (baritone)

Theban woman - Lauren Fagan (soprano)

The Chorus of the Royal Opera House, Covent Garden

The Orchestra of the Royal Opera House, Covent Garden

Leo Hussain (conductor)a.

Live from the Royal Opera House in Covent Garden, a performance of Enescu's Oedipe.

Eno: Nico Muhly's Marnie20171209Tom Service presents Nico Muhly's 'Marnie', from ENO. Based on the novel by Winston Graham and set in the 1950's, Marnie makes her living by embezzling from her employers before moving on. She is finally caught in the act by one of her employers, Mark Rutland who then blackmails her into marriage. Sasha Cooke stars in the title role, with Daniel Okulitch as Mark Rutland., with ENO Music Director Martyn Brabbins. Tom Service is joined by Fiona Maddocks for the World Premiere of this compelling psychological thriller.

Marnie - Sasha Cooke (mezzo-soprano)

Mark Rutland - Daniel Okulitch (bass-baritone)

Terry - James Laing (countertenor)

Mrs Rutland - Lesley Garrett (soprano)

Lucy - Diana Montague (mezzo-soprano)

Mr Strutt - Alasdair Elliott (tenor)

Marnie's Mother - Kathleen Wilkinson (mezzo-soprano)

Laura Fleet - Eleanor Dennis (soprano)

Malcolm Fleet - Matthew Durkan (baritone))

Dr Roman - Darren Jeffery (bass-baritone)

Little boy - Leo Sellis

English National Opera Chorus and Orchestra

Martyn Brabbins (conductor).

World premiere of Nico Muhly's Marnie from ENO conducted by Martyn Brabbins.

Erlanger's L'aube Rouge20231118From the 2023 Wexford Festival: a tragic love triangle among Russian anarchists in France, starring Andreea Soare and Andrew Morstein as star-crossed lovers Olga and Serge. Presented by Sean Rafferty.

The mission of Wexford Festival Opera in Ireland is to discover and stage forgotten operatic masterpieces. Today French composer Camille Erlanger (1863–1919) is more forgotten than most, but he wrote nine operas for houses including the Paris Opéra and his fame spread far and wide: he has a street named after him in Quebec City. L'Aube rouge (The Red Dawn) was premiered in Rouen in 1911 and its passionate music tells a classic Romeo-and-Juliet story of love across political divides - Serge is the leader of a group of anarchists, Olga the daughter of the general who's sworn to destroy them.

Olga - .. Andreea Soare (soprano)

Serge - .. Andrew Morstein (tenor)

Pierre de Ruys, Olga's husband - .. Philippe-Nicolas Martin (baritone)

Sonia - .. Ava Dodd (soprano)

Tatiana - .. Hannah O'Brien (soprano)

Natacha / Sister Therese - .. Emma Jüngling (mezzo-soprano)

Countess (Olga's mother) / Sister Marthe - .. Dominica Williams (mezzo-soprano)

Women - .. Ami Hewitt, Leah Redmond, Corina Ignat (sopranos), Judith Le Breuilly (mezzo-soprano)

Kouraguine - .. Giorgi Manoshvili (bass)

General Lovarof (Olga's father) - .. Connor Baiano (bass)

Captain / Doctor - .. Andrii Kharlamov (bass-baritone)

Grand Duke Gregorief - .. Rory Musgrave (baritone)

Vassili / Neapolitan singer - .. Thomas Birch (tenor)

Danilo - .. Rory Lynch (tenor)

Yvan - .. Gabriel Seawright (tenor)

Voice - .. Vladimir Sima (tenor)

Wexford Festival Chorus and Orchestra

Conductor Guillaume Tourniaire

More from the 2023 Wexford Festival in Opera on 3 next Saturday: Donizetti's Zoraida di Granata.

From the 2023 Wexford Festival: a tragic love triangle among Russian anarchists in France.

Opera performance from around the world.

Eugene Onegin20180616Scottish Opera present one of the greatest of all Russian operas, Tchaikovsky's Eugene Onegin in a new production by Covent Garden director Oliver Mears. This tragic tale of based on Pushkin's verse novel tells the story of an unrequited love by a young passionate girl (Tatyana) for the sophisticated and arrogant young aristocrat Eugene Onegin. When he enrages his best friend Lensky by flirting with Olga, Lensky challenges him to a duel. Tragedy unfolds as Lensky is killed. A few years later, Onegin, a broken man meets Tatyana again, now married to Prince Gremin and realises that he loves her and begs her to run away with him. The tables are turned and Tatyana, though still in love with him, rejects him for the new life she has chosen.

Performed at the Theatre Royal in Glasgow and presented by Donald Macleod with contributions from vocal coach and director Mark Hathaway.

Eugene Onegin - Samuel Dale Johnson (baritone)

Tatyana - Natalya Romaniw (soprano)

Lensky - Peter Auty (tenor)

Olga - Sioned Gwen Davies (mezzo-soprano)

Madame Larina - Alison Kettlewell (soprano)

Filipyevna - Anne-Marie Owens (mezzo-soprano)

Prince Gremin - Graeme Broadbent (bass)

Monsieur Triquet. - Christopher Gillett (tenor)

Zaretsky - James Platt (bass)

Captain - Alexey Gusev

The Orchestra of Scottish Opera

Stuart Stratford (conductor)

The Chorus of Eugene Onegin

Jonathan Swinard (chorus master).

Scottish Opera's new production of Tchaikovsky's Eugene Onegin presented by Donald Macleod

Everest, By Joby Talbot And Gene Scheer20230708The UK premiere of the opera by composer Joby Talbot and librettist Gene Scheer. May 1996, and as their plans disintegrate and a blizzard closes in, four climbers confront the summit of Mount Everest - and a life-or-death choice. Based on a true story, the opera has a contemporary setting but an eternal theme: the limits of human courage, and the unbreakable power of nature.

Presented by Andrew McGregor

Recorded at the Barbican on Friday 23rd June 2023

Joby Talbot/Gene Scheer: Everest UK Premiere

Beck Weathers: Daniel Okulitch (baritone)

Doug Hansen: Craig Verm (baritone)

Jan Arnold: Si n Griffiths (soprano)

Rob Hall: Andrew Bidlack (tenor)

Meg Weathers: Matilda McDonald (treble)

Guy Cotter: Jimmy Holliday (bass)

Mike Groom: Charles Gibbs (bass)

BBC Singers

BBC Symphony Orchestra

Nicole Paiement (conductor)

Stephen Higgins (chorus master)

Leonard Foglia (director)

Kristen Barrett (revival director)

This opera contains occasional references and strong language which some listeners may find offensive or upsetting.

SYNOPSIS

Everest, May 10-11, 1996: Bad weather has affected this year's climbing season, and now multiple expeditions are attempting to summit on the same day. A bottleneck of climbers at the notorious Hillary Step has delayed the progress of Rob Hall's group and he now finds himself near the top of the mountain with his client Doug Hansen, long after the agreed turnaround time has passed. Unbeknownst to the two mountaineers, a ferocious storm is brewing below. Meanwhile, further down the mountain, another of Rob's clients, Beck Weathers, lies unconscious as the storm rages around him.

From the shadows of Mount Everest, the spirits of all those who have died attempting to reach the summit sing to Beck Weathers, who is unconscious on the mountain's South Col. These ethereal spirits now turn their attention to Rob Hall, the expedition leader and guide, who is just reaching Everest's highest peak at 2:30 p.m., thirty minutes past the safe turnaround time. Rob sees his client Doug Hansen a mere forty feet below.

The scene shifts back to Beck Weathers. In his unconscious, dreamlike state, he hallucinates that he is in his backyard enjoying a Texas barbecue. Beck holds court and begins to describe his experiences on Everest. Suddenly, from the edge of Beck's consciousness, the voice of his daughter Meg sings to him.

As we see Rob straining to help Doug reach the summit, time stops and Doug sings an aria in which he describes the tormenting deep-seated obsession that has led him to this moment. As Rob takes a picture of Doug, Rob is jarred by the memory of taking pictures of his wife, Jan.

While Rob endeavours to get his client down from the summit of Everest, we see Beck, lying, delirious, on the South Col. Once again, his daughter calls out to him in vain. From the depths of his consciousness, ruminations on his struggle with profound depression slowly merge with the memory of the events that took place on the climb earlier that same day.

Rob is increasingly desperate. He has a disabled client on the top of the mountain as the storm begins raging around them both. Jan, Rob's wife, is contacted and told of her husband's life-threatening situation.

Beck, beginning to emerge from his coma, sees the climbers on the South Col huddling together in a frantic attempt to survive the storm. Beck's internal soliloquy slowly allows him to make sense of what is happening, and to comprehend the cold, hard truth: he is dying.

In a quartet, Doug, Rob, Jan and Beck sing of their plight. As the quartet concludes, we see Rob desperately trying to get Doug to the South Summit, where he hopes they can make it through the night.

Beck has finally woken up to the harsh reality that if he is going to be saved, he will need to do it himself.

[Synposis by Gene Scheer and Joby Talbot, reproduced by permission of Chester Music Ltd.]

Post-Opera mountain music sequence:

Alan Hovhaness: Symphony No. 2 Op 132 (Mysterious Mountain)

BBC Symphony Orchestra, Sakari Oramo (conductor)

(Live performance at the Barbican on 11/12/2015)

Judith Weir: Ox Mountain was covered by trees

Susan Bickley (mezzo-soprano) Ailish Tynan (soprano)

Iain Burnside (piano)

Delius: Song of the High Hills

Olivia Robinson (soprano)

Christopher Brown (tenor)

BBC Symphony Chorus

Andrew Davis (conductor)

Peter Sculthorpe: Mountains for piano

John McCabe (piano)

Jan Sandstrom: Yoik to the Mountain Wind

Swedish Chamber Choir

Simon Phipps (conductor)

Strauss: Alpine Symphony

Semyon Bychkov (conductor)

(Live performance from the BBC Proms on 28/08/2016)

Composer Joby Talbot and librettist Gene Scheer's Everest. Life or death choices await.

Falla's La Vida Breve And Puccini's Gianni Schicchi20150601Recorded at the Grand Theatre, Leeds, Jac Van Steen conducts the Orchestra of Opera North in director Christopher Alden's feted, funny and brutally exciting double-bill of operatic masterpieces: Manuel de Falla's La Vida Breve and Puccini's Gianni Schicchi.

FALLA: LA VIDA BREVE

Anne Sophie Duprels (Salud)

Elizabeth Sikora (La Abuela)

Beth Mackay (Carmel)

Jesús @lvarez (Paco)

Gavan Ring (Manuel)

Brian Bannatyne-Scott (Uncle Salvador)

PUCCINI: GIANNI SCHICCHI

Christopher Purves (Gianni Schicchi)

Jennifer France (Lauretta)

Jesús @lvarez (Rinuccio)

Victoria Sharp (Nella)

Claire Pascoe (La Ciesca)

Elizabeth Sikora (Zita)

Daniel Norman (Gherardo)

Jac van Steen (conductor).

Opera North's double-bill of Falla's La vida breve and Puccini's Gianni Schicchi.

Felicien David's Herculanum20161029Live from Ireland's National Opera House, Sean Rafferty introduces Herculanum by F退licien David in a new production for Wexford Opera Festival 2016 by director Stephen Medcalf. Jean-Luc Tingaud conducts Wexford Festival Opera Chorus and Orchestra and a cast of soloists including soprano Olga Busuioc and tenor Andrew Haji as the young Christian couple Lilia and Helios, Daniela Pini (mezzo-soprano) as the evil pagan queen and bass Simon Bailey as her brother Nicanor.

The plot is set in 79 AD in Herculaneum, the ancient city neighbouring Pompeii just before the famous volcanic eruption of Mount Vesuvius which destroyed the cities. F退licien David's Herculanum puts the volcano and its eruption centre-stage: a potent symbol of sexual passion according to director Stephen Medcalf, but with very different intentions to those featured in Mozart's Cos쀀 fan tutte, which also places Mount Vesuvius as a backdrop. David's puritanical Victorian perspective sees the rumbling as God's anger against the beauty-worshipping world of the pagan queen Olympia, her brother Nicanor and the hedonistic kingdom they rule - the volcano remains a clandestine sexual symbol but its overt presence is as the guardian of morality. The story pits the young Christian couple, H退lios and Lilia, against the evil Olympia. Olympia finds herself attracted to H退lios and so ignores the advice of her brother Nicanor to put the slave to death. Nicanor then attempts to seduce the slave Lilia but is struck dead when he tells her that her God does not exist ...

The 4-act grand opera with libretto by Joseph M退ry and T退rence Hadot was first performed in Th退 tre Imp退rial de l'Op退ra in Paris on 4th March 1859 and has only recently been revived from obscurity. In 1859, Herculanum was a success and was performed on the Op退ra stage 74 times during the following nine years - in fact it was performed at the Op退ra nearly as often as Gounod's Faust and more often than Mozart's Don Giovanni.

Lilia - Olga Busuioc (Soprano)

Olympia - Daniela Pini (Mezzo-soprano)

H退lios - Andrew Haji (Tenor)

Nicanor/Satan - Simon Bailey (Bass)

Magnus - Rory Musgrave (Baritone)

Wexford Festival Opera Orchestra

Jean-Luc Tingaud (Conductor).

Sean Rafferty introduces Felicien David's Herculanum at Wexford Opera Festival 2016.

Frank Martin's Le Vin Herbe20170304From the Wales Millennium Centre, a story of love as Welsh National Opera perform Frank Martin's rarity Le Vin herb退. Considered to be more of an oratorio, Martin described it as his first major work in which he spoke his own language, a synthesis of French tonal music and Schoenberg's 12-tone technique. Le Vin herb退 started life as a thirty minute oratorio setting words from Joseph B退dier's Roman de Tristan et Iseut. Martin later added two further scenes from B退dier's novel, where in this new form it was premiered in 1942 on the concert platform in Zurich to great success. Many performances followed around Europe and in 1948, Le Vin herb退 received its first staged performance in Salzburg. Martin remained unconvinced about staging this work, but in the 1950s it was quickly taken up by opera houses and translated into other languages.

Le Vin herb退 is in three parts, framed with a Prologue and an Epilogue. It is a tale of love and death, but one that is not overtly theatrical; a far cry musically from Wagner's interpretation in Tristan und Isolde. In this performance James Southall conducts the Welsh National Opera Chorus and Orchestra, who are joined by the soloists Caitlin Hulcup, Tom Randle and Catherine Wyn-Rogers. Andrew McGregor presents this opera, and is joined by Nigel Simeone to discuss this haunting and concentrated work about love.

Iseult - Caitlin Hulcup (mezzo soprano)

Tristan - Tom Randle (tenor)

Iseult's mother & narrator - Catherine Wyn-Rogers (mezzo soprano)

Brangien - Rosie Hay (soprano)

Iseult of the White Hands - Sian Meinir (mezzo soprano)

King Mark of Cornwall & narrator - Howard Kirk (tenor)

Kaherdin - Gareth Dafydd Morris (tenor)

Duke Ho뀀l & narrator - Stephen Wells (bass)

Narrator - Anitra Blaxhall (soprano)

Narrator - Rosie Hay (soprano)

Narrator - Sarah Pope (soprano)

Narrator - Joe Roche (tenor)

Members of Welsh National Opera Orchestra

James Southall, conductor

Produced by Luke Whitlock.

A Welsh National Opera performance of Frank Martin's Le Vin herbe.

From The House Of The Dead2010032020210522 (R3)Janacek's final opera From the House of the Dead, Starring Willard White (Gorianchikov) and Kurt Streit (Skuratov), conducted by Esa-Pekka Salonen.

From the House of the Dead is set in a prison and focuses on the daily lives and pasts of its various inmates such as Shishkov, imprisoned for murdering his wife, and the wrongly imprisoned young Tatar Alyeya. Through their bleak existence, hope is given to the inmates by the defiance of an injured eagle, captive with them.

The cast, recorded at the New York Metropolitan Opera in 2009, includes Willard White, Kurt Streit and Peter Mattei and is conducted by Esa-Pekka Salonen.

Presented by Mary Jo Heath and Ira Siff.

Gorianchikov: Willard White (bass-baritone)

Skuratov: Kurt Streit (tenor)

Shishkov: Peter Mattei (tenor)

Filka Morozov: Stefan Margita (tenor)

Shapkin: Peter Hoare (tenor)

Alyeya: Eric Stoklossa (tenor)

Nikita: Peter Straka (tenor)

Short Prisoner: Vladimir Chmelo (baritone)

Prison Commandant: Vladimir Ognovenko (bass)

Chekunov: Jeffrey Wells (bass)

The Cook: Richard Bernstein (bass)

Drunk Prisoner: Adam Klein (tenor)

Priest: John Cheek (bass)

Esa-Pekka Salonen (conductor)

Chorus and Orchestra of Metropolitan Opera

Janacek's final opera, recorded at the New York Metropolitan Opera in 2009.

From The Met20220108From the Metropolitan Opera in New York: Yannick N退zet-S退guin conducts a new production of Fire Shut Up in My Bones, by Grammy Award-winning jazz musician and composer TERENCE BLANCHARD. His adaptation of Charles M Blow's moving memoir was first performed in 2019 at the Opera Theatre of Saint Louis.

Featuring a libretto by film-maker Kasi Lemmons, the opera tells a poignant and profound story about a young man's journey to overcome a life of trauma and hardship.

Baritone Will Liverman stars as Charles, alongside soprano Angel Blue as Destiny, soprano Latonia Moore as Billie and Walter Russell III as Char'es-Baby.

This broadcast of the first opera by a Black composer ever to be performed by the Met is presented by Debra Lew Harder in conversation with Ira Siff.

TERENCE BLANCHARD: Fire Shut Up in My Bones

Charles - Will Liverman (baritone)

Char'es-Baby - Walter Russell III (treble)

Destiny/Loneliness/Greta - Angel Blue (soprano)

Billie, Charles's mother - Latonia Moore (soprano)

Spinner, her husband - Chauncey Packer (tenor)

Uncle Paul - Ryan Speedo Green (bass-baritone)

Chester - Chris Kenney (baritone)

Evelyn - Brittany Renee (soprano)

Metropolitan Opera Orchestra and Chorus

Conductor Yannick N退zet-S退guin

Image: Ken Howard / Met Opera

Fire Shut Up in My Bones, by TERENCE BLANCHARD

From The Met, Philip Glass's Akhnaten20191207From New York, today's Met opera: Philip Glass's Akhnaten, with countertenor Anthony Roth Constanzo as the Egyptian pharaoh who worshipped the Sun, revolutionising his kingdom's ancient religious practices, with tragic consequences for him and his family. Sung in original languages in a text put together by the composer and writers, with a narration in English. It's the third and last of Glass's so-called biographical operas together with Einstein on the Beach, on Einstein, and Satyagraha, on Ghandi. Karen Kamensek, a Glass specialist, conducts the chorus and orchestra of the New York Metropolitan Opera House.

Akhnaten by Philip Glass - opera in 3 acts

Queen Tye.....Disella Larusdottir (Soprano)

Nefertiti.....J'nai Bridges (Mezzo-soprano)

Akhnaten.....Anthony Roth Constanzo (Countertenor)

High Priest.....Aaron Blake (Tenor)

Horemhab.....Will Liverman (Baritone)

Aye.....Richard Bernstein (Bass)

Amenhotep III.....Zachary James (Bass)

Bekhataten.....Lindsay Ohse (Soprano)

Meretaten.....Karen-chia-ling Ho (Soprano)

Maketaten.....Chrystal E Williams (Mezzo-soprano)

Ankhesepaaten.....Annie Rosen (Mezzo-soprano)

Neferneferuaten.....Olivia Vote (Mezzo-soprano)

Sotopenre.....Suzanne Hendrix (Mezzo-soprano)

New York Metropolitan Opera Orchestra

New York Metropolitan Opera Chorus

Karen Kamensek (Conductor)

With countertenor Anthony Roth Constanzo as the Egyptian pharaoh who worshipped the sun.

From The Met: Bellini's Norma20171216Bellini's masterpiece, Norma, from the Metropolitan Opera House, New York. Angela Meade leads the cast as the Druid priestess, Norma, with Jamie Barton as her arch-rival, Adalgisa, and star tenor Joseph Calleja as Pollione, Norma's unfaithful lover. The opera is an archetypal situation: a powerful woman compromises her ideals for love, only to find herself betrayed by her lover. Bellini's score and deep understanding of the human voice combine sublime melodies with vocal challenge and dramatic power. Joseph Colaneri conducts the Metropolitan Opera House Chorus and Orchestra.

Presented by Mary Jo Heath with commentator Ira Siff.

Norma - Angela Meade (soprano)

Adalgisa - Jamie Barton (soprano)

Pollione - Joseph Calleja (tenor)

Oroveso - Matthew Rose (bass)

Joseph Colaneri (conductor).

From the Met: Bellini's Norma with Angela Meade and Joseph Calleja.

From The Met: Gounod's Faust2011121020210130 (R3)When the New York Metropolitan Opera opened in 1883 the very first opera to be staged was Gounod's Faust and it has been enormously popular there ever since. It tells the famous story of Dr Faust and how he sells his soul to the devil, Mephistopheles, in order to regain his youth. It's the opera that features in the plot of 'Phantom of the Opera' and it's music includes some very famous numbers, including the 'Jewel Song' and the Soldiers Chorus. Initially something of a failure, Gounod's Faust has been providing a great night out at the opera (and a great challenge to star singers) ever since its first revival in 1863 and will no doubt do so for many years to come.

This performance from the Met archive was first broadcast in December 2011, and this evening is presented by Mary-Jo Heath with guest commentator Ira Siff.

Faust.....Jonas Kaufmann (tenor)

M退phistoph退l耀s.....Ren退 Pape (bass)

Marguerite.....Marina Poplavskaya (soprano)

Valentin.....Russell Braun (baritone)

Wagner.....Jonathan Beyer (baritone)

Si退bel.....Mich耀le Losier (mezzo-soprano)

Marthe Schwerlein.....Wendy White (mezzo-soprano)

New York Metropolitan Opera Orchestra and Chorus

Conductor.....Yannick N退zet-S退guin

Gounod's Faust with Jonas Kaufmann from the Met. Yannick Nezet-Seguin conducts.

From The Met: Il Trovatore20180203From the Met: Verdi's Il Trovatore

Il Trovatore was one of the great trio of operas Verdi wrote within a couple of years in the 1850s, along with Rigoletto and La Traviata. The melodramatic plot involves a love triangle between Leonora, who loves Manrico, and the Count di Luna, Manrico's sworn enemy and, unbeknown to him, his long-lost brother who also loves Leonora. The story is complicated further by Manrico's mother, Azucena, whose desire for revenge costs the lives of the the lovers Leonora and Manrico. Soprano Maria Agresta stars as the heroine Leonora, Yonghoon Lee as the troubadour Manrico who loves her, Quinn Kelsey as his rival the Count di Luna, and mezzo-soprano Anita Rachvelishvili as the Gypsy Azucena. Marco Armiliato conducts the Orchestra and Chorus of the Metropolitan Opera, New York.

Presented by Mary Jo Heath and commentator Ira Siff.

Leonora - Maria Agresta (soprano)

Azucena - Anita Rachvelishvili (mezzo-soprano)

Manrico - Yonghoon Lee (tenor)

Di Luna - Quinn Kelsey (baritone)

Ferrando - Štefan Kocကn (bass)

Metropolitan Opera Chorus

Metropolitan Opera Orchestra

Marco Armiliato (Conductor).

Il Trovatore from New York, with Maria Agresta as Leonora and Yonghoon Lee as Manrico.

From The Met: Lucia Di Lammermoor20180407Donizetti's tragic masterpiece Lucia di Lammermoor, with Olga Peretyatko-Mariotti as the innocent Lucia who is forced into an unhappy marriage by her brother Enrico to save the family fortunes, despite the fact that Lucia is desperately in love with Edgardo Ravenswood. Enrico's ruthlessness and deceit devastate his fragile sister Lucia, with tragic consequences.

Olga Peretyatko-Mariotti stars as Lucia, with Massimo Cavalletti as her determined brother Enrico, and Vittorio Grigolo as her doomed lover Edgardo. Gareth Morrell conducts this chilling production by Tony Award-winning director Mary Zimmerman.

Presented by Mary Jo heath and commentator Ira Siff.

Donizetti: Lucia di Lammermoor

Lucia - Olga Peretyatko-Mariotti (soprano)

Edgardo - Vittorio Grigolo (tenor)

Enrico - Massimo Cavalletti (baritone)

Raimondo - Vitalij Kowaljow (bass)

Metropolitan Opera Orchestra

Metropolitan Opera Chorus

Gareth Morrell (conductor).

From the Met: Gareth Morrell conducts Lucia di Lammermoor by Donizetti.

From The Met: Massenet's Thais20180120A performance from the Met of Massenet's Thas - an opera based around the inner lives of the two main roles and set in 4th-century Alexandria. Thas is an Egyptian courtesan who the monk Athana뀀l seeks to reform. Ultimately she achieves salvation but he succumbs to his lust for her. Massenet's score contains some beautifully romantic music, including the much-loved Meditation. Ailyn P退rez stars in the title role and Gerald Finley is the monk who tries to resist her powers of seduction. Emmanuel Villaume conducts the Chorus of the Metropolitan Opera House.

Presented by Mary Jo Heath and Ira Siff.

Thas - Ailyn P退rez (soprano)

Nicias - Jean-Francois Borras (tenor)

Athana뀀l - Gerald Finley (baritone)

Pal退mon - David Pittsinger (bass-baritone)

Metropolitan Opera House Chorus

Metropolitan Opera House Orchestra

Emmanuel Villaume, conductor.

From the Met: Massenet's Thais with Ailyn Perez and Gerald Finley.

From The Met: Verdi's Il Trovatore In An Archive Recording20210206From the archives of the Metropolitan Opera House in New York, a veritable jewel, recorded in 1961: Verdi's Il trovatore featuring the tenor Franco Corelli as Manrico, the troubadour, and the soprano Leontyne Price as his lover Leonora, in honour of the 60th anniversary of their Met debuts, in this tragic story of revenge, treason, misfortune and mixed identities. The Metropolitan Opera Chorus and Orchestra is conducted by Fausto Cleva.

Presented by Mary Jo Heath with Ira Siff.

Manrico, a troubadour and officer in the army - Franco Corelli (tenor)

Leonora, noble lady, in love with Manrico - Leontyne Price (soprano)

Count di Luna, a nobleman in the service of the Prince of Aragon - Mario Sereni (baritone)

Azucena, a Gypsy, supposedly Manrico's mother - Irene Dalis (mezzo-soprano)

Ferrando, di Luna's officer - William Wilderman (bass)

Ines, Leonora's confidante - Helen Vanni (soprano)

Ruiz, Manrico's henchman - Charles Anthony (tenor)

A Messenger - Robert Nagy (tenor)

An Old Gypsy - Carlo Tomanelli (bass)

Metropolitan Opera Orchestra

Conductor Fausto Cleva

Verdi's Il trovatore with Franco Corelli and Leontyne Price, recorded in 1961.

George And Ira Gershwin's Porgy And Bess20181226English National Opera's universally acclaimed production of George Gershwin's 1935 opera was this season's hot ticket. From its opening number 'Summertime', through songs including 'I Got Plenty of Nothin', 'Bess, You is My Woman Now' and `It Ain't Necessarily So`, Porgy and Bess is stuffed full of hits as it tells a compelling story of love and violence in a poor South Carolina fishing community, played here by the Porgy and Bess Ensemble. This international chorus, specially formed for the run, together with an outstanding cast led by Eric Greene and Nicole Cabel in the title roles and the Orchestra of ENO conducted by John Wilson proved beyond a doubt that Porgy and Bess is one of the great operatic masterpieces of the 20th century.

Recorded in October at the Coliseum and presented by Geoffrey Smith in conversation with anthropologist and critic Dr Kit Davis, and including contributions from director James Robinson, conductor John Wilson and members of the cast.

Acts 1 and 2

8.20pm

Interval

8.40pm

Act 3

Porgy.....Eric Greene (tenor)

Bess - - Nicole Cabell (soprano)

Crown - - Nmon Ford (baritone)

Serena - - Latonia Moore (soprano)

Clara - - Nadine Benjamin (soprano)

Maria - - Tichina Vaughn (mezzo-soprano)

Jake - - Donovan Singletary (bass-baritone)

Sporting Life - - Frederick Ballentine (tenor)

Mingo - - Rheinaldt Tshepo Moagi (tenor)

Robbins/Crab Man - - Chaz'men Williams-Ali (tenor)

Peter - - Ronald Samm (tenor)

Frazier - - Byron Jackson (baritone)

Annie - - Sarah-Jane Lewis (mezzo-soprano)

Lily - - Pumza Mxinwa (soprano)

Strawberry Woman - - Nozuko Teto (mezzo-soprano)

Jim - - Njabulo Madlala (baritone)

Undertaker......Whitaker Mills (baritone)

Nelson - - Thando Mjandana (tenor)

Detective - - Stephen Pallister

Policeman - - Christian Hurst

Coroner - - Neil Kelly

Porgy and Bess Ensemble (chorus)

Orchestra of English National Opera

John Wilson (conductor)

Photo credit: Tristram Kenton / ENO

For full synopsis visit the programme page

John Wilson conducts the acclaimed English National Opera production at the Coliseum.

George And Ira Gershwin's Porgy And Bess20220430From the New York Metropolitan Opera, a sell-out production of GEORGE GERSHWIN's 1935 opera which has been acclaimed by audiences and critics on both sides of the Atlantic. Porgy and Bess is one of the great operatic masterpieces of the 20th century, stuffed full of hits from its opening number 'Summertime', through songs including 'I Got Plenty of Nothin', 'Bess, You is My Woman Now' and `It Ain't Necessarily So??, as it tells a compelling story of love and violence in a poor South Carolina fishing community.

Recorded in November 2021 and presented by Debra Lew Harder with commentator Ira Siff.

Porgy.....Eric Owens (baritone)

Bess - - Angel Blue (soprano)

Crown - - Alfred Walker (bass-baritone)

Serena - - Latonia Moore (soprano)

Clara - - Janai Brugger (soprano)

Maria - - Denyce Graves (mezzo-soprano)

Annie......Brittany Renee (soprano)

Jake - - Ryan Speedo Green (bass-baritone)

Sportin' Life - - Frederick Ballentine (tenor)

New York Metropolitan Opera Chorus and Orchestra

DAVID ROBERTSON (conductor)

The Gershwins' Porgy and Bess, recorded at the New York Metropolitan Opera.

From the New York Metropolitan Opera, a sell-out production of George Gershwin's 1935 opera which has been acclaimed by audiences and critics on both sides of the Atlantic. Porgy and Bess is one of the great operatic masterpieces of the 20th century, stuffed full of hits from its opening number 'Summertime', through songs including 'I Got Plenty of Nothin', 'Bess, You is My Woman Now' and `It Ain't Necessarily So`, as it tells a compelling story of love and violence in a poor South Carolina fishing community.

Read the full synopsis on the Met Opera website: https://bit.ly/3MELxVX

George Benjamin's Picture A Day Like This20231014Consumed by grief after the death of her child, a woman is promised the opportunity to bring the infant back to life: during the course of one day she has to find a happy person. It proves harder than she (or we) would like. But towards the end of her increasingly desperate journey, will her final encounter, with the enigmatic owner of a splendid garden, change her fate?

Picture a day like this, which contains language and themes that some might find offensive and disturbing, is George Benjamin's eagerly awaited fourth opera with librettist Martin Crimp, a moving fable of human nature and self-discovery.

Recorded at the Linbury Theatre of the Royal Opera House and presented by Andrew McGregor.

George Benjamin: Picture a day like this

Woman - .. Ema Nikolovska (mezzo-soprano)

Zabelle - .. Jacquelyn Stucker (soprano)

Lover 1/Composer - Beate Mordal (soprano)

Lover 2/Composer's Assistant - .. Cameron Shahbazii (countertenor)

Artisan/Collector - .. John Brancy (baritone)

Orchestra of the Royal Opera House, Covent Carden

Corinna Niemeyer (conductor)

Read the full synopsis on the Royal Opera House website: https://bit.ly/46mkrgy

7.45 pm

George Benjamin introduces his favourite opera, JanáĀ?ek's Káťa Kabanová. 'A perfect opera' he calls it, at once violent and painful, compassionate and touching.

JanáĀ?ek: Káťa Kabanová

Káťa - Amanda Majeski (soprano)

Boris - Simon O'Neill (tenor)

Kabanicha .....Katarina Dalayman (mezzo-soprano)

Tichon - Andrew Staples (tenor)

Kudrjaš - Ladislav Elgr (tenor)

Varvara - Magdalena Kožená (mezzo-soprano)

Dikój - Pavlo Hunka (bass-baritone)

Glaša; Fekluša - Claire Barnett-Jones (mezzo-soprano)

Kuligin - Lukáš Zeman (baritone)

London Symphony Chorus

London Symphony Orchestra

Sir Simon Rattle (conductor)

(Recorded in January at the Barbican Hall, London)

UK premiere production of George Benjamin's latest opera, conducted by Corinna Niemeyer.

Picture a day like this, a fable of human nature and self-discovery, is George Benjamin's latest opera. Corinna Niemeyer conducts the UK premiere at the Linbury Theatre.

Woman - ¦.. Ema Nikolovska (mezzo-soprano)

Zabelle - ¦.. Jacquelyn Stucker (soprano)

Lover 2/Composer's Assistant - ¦.. Cameron Shahbazii (countertenor)

Artisan/Collector - ¦.. John Brancy (baritone)

George Benjamin introduces his favourite opera, Janက??ek's Kက?a Kabanovက. 'A perfect opera' he calls it, at once violent and painful, compassionate and touching.

Janက??ek: Kက?a Kabanovက

Kက?a - Amanda Majeski (soprano)

Kudrjaš - Ladislav Elgr (tenor)

Varvara - Magdalena Koženက (mezzo-soprano)

Dik j - Pavlo Hunka (bass-baritone)

Glaša; Fekluša - Claire Barnett-Jones (mezzo-soprano)

Kuligin - Luk  Zeman (baritone)

George Benjamin introduces his favourite opera, Janက?ek's Kက?a Kabanovက. 'A perfect opera' he calls it, at once violent and painful, compassionate and touching.

Janက?ek: Kက?a Kabanovက

George Benjamin's Written On Skin20130622Recorded earlier this year at the Royal Opera House, Covent Garden.

The British premiere production, by the director Katie Mitchell, of George Benjamin's new opera Written on Skin, which was first performed at the Aix-En-Provence Festival in 2012. With a poetic text by Martin Crimp, it has has been hailed by critics as 'exquisitely crafted and deeply resonant' (The Telegraph) and 'nothing short of a triumph' (The Guardian).

With a beautifully rich score by Benjamin which makes use of instruments such glass harmonica, cowbells and mandolins, the opera is an emotional drama of sex, suicide, murder and cannibalism based on a 13th century Provencal story. A powerful Protector commissions the Boy, a young artist, to create an illuminated book to celebrate his life's achievements; a project which sparks the rebellion of the Protector's wife Agn耀s and sets the scene for a dramatic act of revenge.

The Protector.....Christopher Purves (bass-baritone)

Agn耀s.....Barbara Hannigan (soprano)

Angel 1/The Boy.....Bejun Mehta (countertenor)

Angel 2/Marie.....Victoria Simmonds (mezzo-soprano)

Angel 3/John.....Allan Clayton (tenor)

Orchestra of the Royal Opera House, Covent Garden

George Benjamin (conductor).

From the Royal Opera House, Covent Garden, George Benjamin's new opera Written on Skin.

Gerald Barry's The Importance Of Being Earnest20120519Irish composer Gerald Barry's three-act opera based on the iconic Oscar Wilde play - 'a trivial comedy for serious people' - was premiered in Los Angeles last year, an occasion which the Los Angeles Times described as 'engagingly funny and mind-boggingly virtuosic'. In this performance, recorded last month in London's Barbican Hall, Thomas Ades conducts the Birmingham Contemporary Music Group.

CAST

Barbara Hannigan - Cecily Cardew

Peter Tantsits - John Worthing

Joshua Bloom - Algernon Moncrieff

Katalin Karolyi - Gwendolen Fairfax

Hilary Summers - Miss Prism

Alan Ewing - Lady Bracknell

Benjamin Bevan - Lane/Merriman

Joshua Hart - Dr Chasuble

Thomas Ades (conductor).

Gerald Barry's opera based on the Oscar Wilde play The Importance of Being Earnest.

Gershwin's Let 'em Eat Cake20090926Presented by Donald Macleod.

In a performance from the Grand Theatre in Leeds, Wyn Davies conducts the British premiere of George and Ira Gershwin's 1933 Broadway hit musical Let 'em Eat Cake - the sequel to his more popular Of Thee I Sing.

Like its follow-up, Let 'em Eat Cake was based on a book by George S Kaufman and Morrie Ryskind, and had the same producer, writers and stars in its original Broadway incarnation. Its tone is much darker, though, and the issues are more complex - including ironic references to Fascism. However, Gershwin himself believed the piece contained some of his best music, and thought it to be his greatest achievment to date - although it never received the plaudits he thought it deserved.

It centres on US President John P Wintergreen, who after serving four years seeks re-election, only to find voters do not fall for his slogans and his 1930s spin. He loses the election by a landslide, but under the new regime, the political and economic situation spirals completely out of control. Soon, Wintergreen leads a blue-shirted revolution to victory, and the US is under the control of a new, albeit tried and tested, dictator.

This production by Opera North is directed by Caroline Gawn, with choreography by Caroline Pope.

Wintergreen - William Dazeley (bass)

Mary (his wife) - Rebecca Moon (soprano)

Throttlebottom - Steven Beard (tenor)

Louis Lipman - Nicholas Sharratt (tenor)

Francis X Gilhooly/Uncle William - Martin Hyder (baritone)

Matthew Arnold Fulton - Rob Edwards (baritone)

Carver Jones - Richard Morris (baritone)

Senator Robert E Lyons - Graham Howes (baritone)

Orchestra and Chorus of Opera North

Wyn Davies (conductor).

Wyn Davies conducts the British premiere of George and Ira Gershwin's Broadway musical.

Gershwin's Porgy And Bess20100123Porgy and Bess isn't a work one would associate with Nikolaus Harnoncourt, who has been in the forefront of the period instrument movement for almost 50 years. But in recent years his repertoire has moved into the 19th and 20th centuries. Last July at his own Styriarte Festival in Graz, Austria fulfilled a long held desire to conduct Gershwin's opera and this recording was made then. Harnoncourt is adamant that Porgy is an opera not a musical and in his performances has adopted many of the cuts Gershwin himself made during the initial run of the opera.

Presented by Suzy Klein.

Porgy: Jonathan Lemalu (bass-baritone)

Bess: Isabelle Kabatu (soprano)

Serena: Angela Renée Simpson (soprano)

Sportin' Life: Michael Forest (tenor)

Crown: Gregg Baker (baritone)

Clara: Bibiana Nwobilo (soprano)

Maria: Roberta Alexander (soprano)

Jake: Rodney Clarke (baritone)

Mingo/Robbins/Peter/Honeyman and Crab-man: Previn Moore (tenor)

The Arnold Schoenberg Chorus

The Chamber Orchestra of Europe

conducted by Nikolaus Harnoncourt.

Nikolaus Harnoncourt conducts Jonathan Lemalu in Gershwin's opera Porgy and Bess.

Gilbert And Sullivan's Hms Pinafore20150919~Opera On 3 returns this Saturday evening, and the season opens with operas from this year's Summer Festivals, starting with Gilbert and Sullivan's HMS Pinafore from the Edinburgh International Festival. Richard Egarr conducts the Scottish Opera orchestra in this much-loved nautical comic opera. The story unfolds on the ship HMS Pinafore where the captain's daughter, Josephine has fallen love with the lowly sailor Ralph Rackstraw, though her father has plans for her to marry Sir Joseph Porter. Sir Joseph, First Lord of the Admiralty, played by John Mark Ainsley, is a perfect lampoon of the British class system of the day; a pompous and gloriously incompetent man. This none-the-less likeable character expounds his liberal views on the equality of all humanity and unwitting encourages the couple in love to reject social conventions and elope. A twist in the tale brings this epitome of British silliness and humour to a happy conclusion for all parties. Performed in concert from the Usher Hall in Edinburgh, the story unfolds with additional narration from comic actor and broadcaster, Tim Brooke-Taylor. Presented by Donald Macleod.

Cast:

The Rt Hon Sir Joseph Porter, KCB - John Mark Ainsley (tenor)

Captain Corcoran - Andrew Foster-Williams (baritone)

Ralph Rackstraw - Toby Spence (tenor)

Josephine - Elizabeth Watts (soprano)

Mrs Cripps (Little Buttercup) - Hilary Summers (contralto)

Cousin Hebe - Kitty Whately (mezzo-soprano)

Dick Deadeye - Neal Davies (bass-baritone)

Bill Bobstay - Gavan Ring (baritone)

Bob Becket - Barnaby Rea (baritone)

Tim Brooke-Taylor (narrator)

Chorus of HMS Pinafore

The Orchestra of Scottish Opera

Richard Egarr (conductor).

Richard Egarr conducts the Orchestra of Scottish Opera in the comic opera HMS Pinafore.

Gilbert And Sullivan's Ruddigore20111022Sir Despard Murgatroyd has inherited a witch's curse from centuries previously, compelling each baronet of Ruddigore to commit a daily crime, or die in agony. So when his long-lost elder brother, Robin Oakapple, is exposed as the rightful heir to the title, it's a huge relief. Despard atones for his previous 10 years of evil acts, and marries Mad Margaret, while Robin's troubles start when his weak attempts at committing crimes drag his ancestors back from the dead. However, with a Gilbertian twist, all ends happily when the curse is rescinded. Ruddigore, or The Witch's Curse, one of the comic operas that Gilbert and Sullivan wrote for the Savoy Theatre, contains some of the most engaging music Sullivan ever wrote, and under John Wilson's baton it should be a riveting performance of Jo Davies's production. Richard Burkhard takes the role of Sir Despard Murgatroyd, along with Grant Doyle as Robin Oakapple.

Presented by Christopher Cook

Robin Oakapple / Sir Ruthven Murgatroyd - Grant Doyle (baritone)

Sir Despard Murgatroyd - Richard Burkhard (baritone)

Mad Margaret - Heather Shipp (mezzo-soprano)

Richard Dauntless - Hal Cazalet ((tenor)

Sir Roderick Murgatroyd - Steven Page (baritone)

Old Adam Goodheart - Richard Angas (bass)

Rose Maybud - Amy Freston (soprano)

Dame Hannah - Anne Marie Owens (contralto)

Zorah - Gillene Herbert (soprano)

Orchestra and Chorus of Opera North.

Conductor, John Wilson.

From the Grand Theatre, Leeds, Christopher Cook presents Gilbert and Sullivan's Ruddigore.

Gilbert And Sullivan's The Pirates Of Penzance20150629The Pirates of Penzance tells the story of Frederic who, having turned 21, is released from his apprenticeship to a group of soft-hearted pirates. Frederic falls in love with Mabel, the Major-General's daughter, and all seems well until he discovers that he was born on 29 February and only has a birthday every leap year. Poor Frederic is now faced with being an apprentice to the pirates for another 63 years! Bubbling over with keen wit and catchy tunes, is directed by award-winning film-maker Mike Leigh in his operatic directorial debut and features an exceptional cast. Presented by Martin Handley.

Gilbert and Sullivan's The Pirates of Penzance in a new production from English National Opera.

Major-General Stanley - Andrew Shore (Bass)

The Pirate King - Joshua Bloom (Bass)

Frederic - Robert Murray (Tenor)

Sergeant of Police - Jonathan Lemalu (Baritone)

Mabel - Claudia Boyle (Soprano)

Ruth - Rebecca de Pont Davies (Soprano)

Samuel - Alexander Robin Baker (Baritone)

Edith - Soraya Mafi (Soprano)

Kate - Angharad Lyddon (Mezzo-soprano)

English National Opera Chorus

English National Opera Orchestra

David Parry (Conductor).

An English National Opera production of Gilbert and Sullivan's The Pirates of Penzance.

Gilbert And Sullivan's The Yeomen Of The Guard20221224English National Opera's new staging of Gilbert & Sullivan's most heartfelt collaboration. At the Tower of London, the unjustly imprisoned Colonel Fairfax awaits his execution... Can he be saved by his old friend the Beefeater Sergeant Meryll? Or by the Sergeant's daughter Phoebe, who's fallen in love with him? Or even, strange as it may seem, by the roving street performers Jack Point and Elsie Maynard?

Presented from the London Coliseum by Andrew McGregor with guest commentator Catrine Kirkman.

Colonel Fairfax - Anthony Gregory (tenor)

Sergeant Meryll of the Yeomen - Neal Davies (bass-baritone)

Phoebe, his daughter - Heather Lowe (mezzo-soprano)

Jack Point - Richard McCabe (actor)

Elsie Maynard - Alexandra Oomens (soprano)

Wilfred Shadbolt, Jailer of the Tower - John Molloy (bass)

Sir Richard Cholmondeley, Lieutenant of the Tower - Steven Page (baritone)

Dame Carruthers, Housekeeper to the Tower - Susan Bickley (mezzo-soprano)

Leonard Meryll, Phoebe's brother - Innocent Masuku (tenor)

Kate, Carruthers' niece - Isabelle Peters (soprano)

English National Opera Chorus and Orchestra

Conductor Chris Hopkins

Read the full synopsis on the ENO website: https://bit.ly/3v8DFWc

Giordano's Andrea Chenier20150131Umberto Giordano's opera Andrea Chenier in David McVicar's new production live from the Royal Opera House Covent Garden. With tenor Jonas Kaufmann in the title role and soprano Eva-Maria Westbroek as Maddalena de Coigny, conducted by Antonio Pappano. Giordano's melodramatic story is a passionate tale of the ill-fated love of a dashing poet and an aristocratic lady, set against the backdrop of the French Revolution. It is based loosely on the life of the French poet, Andr退 Ch退nier, who was executed during the French Revolution. Giordano wrote some of his best music for the lead tenor which is a role that has been tackled by some of the world's greatest tenors

Presented by Andrew McGregor with guest Alexandra Wilson and interviews with the singers and conductor.

Andrea Chenier.....Jonas Kaufmann (Tenor)

Maddalena de Coigny.....Eva-Maria Westbroek (Soprano)

Carlo Gerard.....Zeljko Lucic (Baritone)

Bersi.....Denyce Graves (Mezzo-soprano)

Madelon.....Elena Zilio (Mezzo-soprano)

Contessa de Coigny.....Rosalind Plowright (Soprano)

Roucher.....Roland Wood (Baritone)

Pietro Fleville.....Peter Coleman-Wright (Baritone)

Fouquier Tinville.....Eddie Wade (Baritone)

Mathieu.....Adrian Clarke (Baritone)

Un incredible.....Carlo Bosi (Tenor)

Abbe.....Peter Hoare (Tenor)

Schmidt.....Jeremy White (Bass)

Major Domo.....John Cunningham (Bass Baritone)

Dumas.....Yuriy Yurchuk (Bass Baritone)

Royal Opera House Orchestra

Royal Opera House Chorus

Antonio Pappano (Conductor)

*7.35pm Acts 1 and 2

*8.35pm Interval

*9.05pm Acts 3 and 4.

From the Royal Opera House, Covent Garden, Umberto Giordano's opera Andrea Chenier.

Giordano's Andrea Chenier At The Royal Opera House20190629A gigantic verismo opera and Giordano's most accomplished work, recorded earlier this month at the Royal Opera House, Covent Garden, with the tenor Roberto Alagna in the title role of Andrea Ch退nier, inspired in the heroic poet who gave his life during the French Revolution. The soprano Sondra Radvanovsky is Maddalena de Coigny, an aristocratic lady and Ch退nier's love interest in this melodramatic tale of ill-fated romance and tragedy. Daniel Oren conducts the ROH orchestra and chorus.

Presented by James Naughtie.

Andrea Ch退nier - Roberto Alagna (tenor)

Maddalena de Coigny - Sondra Radvanovsky (soprano)

Carlo Gerard - Dimitri Platanias (baritone)

Bersi - Christine Rice (mezzo-soprano)

Countess di Coigny - Rosalind Plowright (soprano)

Master of the Household - John Cunningham (bass baritone)

Pietro Fleville - Stephen Gadd (bass)

Abb退 - Aled Hall (tenor)

Mathieu - Adrian Clarke (baritone)

The Incredible - Carlo Bosi (tenor)

Roucher - David Stout (baritone)

Madelon - Elena Zilio (mezzo-soprano)

Dumas - German E Alacantara (baritone)

Schmidt - Jeremy White (bass)

Royal Opera House Chorus

Royal Opera House Orchestra

Daniel Oren (conductor)

Full synopsis available on the programme page

Photo credit: Catherine Ashmore

A verismo opera set during the French Revolution with Roberto Alagna in the title role.

Giordano's Fedora20230114St Petersburg, winter, 1881. When Princess Fedora Romazov's fianc退 is shot and mortally wounded on the eve of their wedding, she points the finger at Count Loris Ipanoff. By the end of Act 2, placated by Ipanoff's revelation that his wife and Fedora's fianc退 were having an affair and that Ipanoff killed him in self-defence, Fedora has fallen in love with him. But the path of true love does not run smooth: Fedora has dobbed in Ipanoff to his political enemies who go after his family and Iapnoff vows vengeance on the woman who set the wheels in motion. Despairing, Fedora admits that she is the culprit, drinks poison and dies in Ipanoff's arms.

A superb vehicle for a prima donna and a charismatic tenor - Caruso created the role of Ipanoff at Fedora's 1898 Milan premiere - Fedora gets both of those in spades in this Met production with Sonya Yoncheva in the title role and Piotr Becza?a as Ipanoff.

Presented by Debra Lew Harder with commentator Ira Siff.

Fedora - Sonya Yoncheva (soprano)

Loris Ipanoff - Piotr Becza?a (tenor)

Olga - Rosa Feola (soprano)

De Siriex .....Artur Ruci?ski (baritone)

Metropolitan Opera Chorus and Orchestra

Marco Armiliato (conductor)

Umberto Giordano's opera Fedora, from the Metropolitan Opera in New York.

St Petersburg, winter, 1881. When Princess Fedora Romazov's fianc退 is shot and mortally wounded on the eve of their wedding, she points the finger at Count Loris Ipanoff. By the end of Act 2 (placated by Ipanoff's revelation that his wife and Fedora's fianc退 were having an affair and that Ipanoff killed him in self-defence) Fedora has fallen in love with him. But the path of true love does not run smooth: Fedora has dobbed in Ipanoff to his political enemies who go after his family and Iapnoff vows vengeance on the woman who set the wheels in motion. Despairing, Fedora admits that she is the culprit, drinks poison and dies in Ipanoff's arms.

More a vehicle for a prima donna and a charismatic tenor (Caruso created the role of Ipanoff at Fedora's 1898 Milan premiere) than a wholly convincing piece of dramatic theatre, Fedora gets both of those in spades in this Met production with Sonya Yoncheva in the title role and Piotr Becza?a as Ipanoff.

Giulio Cesare In Egitto20200229Martin Handley presents this performance of one of the most popular operas of the Baroque, Handel's 'Giulio Cesare in Egitto' first performed in London in 1724, recorded at the 2019 George Enescu International Festival held biannually in Bucharest. With Christopher Lowry as Cesare and Karina Gauvin as Cleopatra and Les Talens Lyriques conducted by Christophe Rousset.

Veni, Vidi, Vici', 'Et tu Brute?' and crossing the Rubicon - just three things that come readily to mind when thinking of Julius Caesar - a historical figure with a huge literary legacy.

Since his own time, and his memoirs and contemporary accounts of deeds and misdeeds, to Shakespeare, to the operatic stage, and on to Goscinny and Uderzo's comic creation in Asterix and Obelix, and countless Latin textbooks; Julius Caesar has attracted repeated attention across the ages, and Martin is joined by noted classicist Mary Beard to discuss the legacy of the man who would be King of Rome.

[this is the 1725 performing version omitting the characters Nireno and Curio]

Cleopatra.....Karina Gauvin (Soprano)

Sesto.....Ann Hallenberg (Mezzo-soprano)

Giulio Cesare.....Christopher Lowrey (Counter-tenor)

Tolomeo.....Kacper Szelazek (Counter-tenor)

Cornelia.....Eve-Maud Hubeaux (Mezzo-soprano)

Achilla.....Ashley Riches (Baritone)

Les Talens Lyriques Orchestra

Christophe Rousset (Harpsichord)

Handel's Giulio Cesare in Egitto from the 2019 George Enescu International Festival.

Glass's Satyagraha20080419Philip Glass's opera, which recounts Mahatma Gandhi's early experiences in South Africa.
Gluck's Iphigenie En Tauride20071006Geoffrey Smith introduces an exciting new production of Gluck's Iphigenie en Tauride from the Royal Opera House, Covent Garden. Director Robert Carsen's innovative production and Susan Graham's performance in the title role have already received great acclaim in the USA and, together with tenor Simon Keenlyside and conductor Ivor Bolton, they give their insights into the opera.

Considered by many as the greatest of Gluck's 'reform operas', Iphigenie en Tauride tells the story of tortured princess Iphigenie, exiled to the island of Tauride and forced to commit sacrificial murder by its paranoid King Thoas. When her estranged brother, Orestes, arrives on the island fleeing the Furies and his own guilt, the story takes a complicated turn. In what is a tragedy of terrifying psychological ordeal, Gluck expertly combined music and theatre with great dramatic intensity.

Iphig退nie, High Priestess of Diana - Susan Graham (mezzo-soprano)

Oreste, Iphig退nie's brother - Simon Keenlyside (baritone)

Pylade, Oreste's friend - Paul Groves (tenor)

Thoas, King of Tauris - Clive Bayley (bass)

First Priestess/A Greek Woman - Gail Pearson (soprano)

Second Priestess - Claire Wild (soprano)

Diane, goddess of hunting - C退cile van de Sant (soprano)

A Scythian - Jacques Imbrailo (baritone)

A Minister - Krzysztof Szumanski (bass-baritone)

Coryph退e - Kiera Lyness (soprano), Ann Osborne (soprano), Dervla Ramsay (mezzo-soprano), Kate McCarney (mezzo-soprano)

The Royal Opera Chorus

The Orchestra of The Age of Enlightenment

Ivor Bolton (conductor).

Mezzo-soprano Susan Graham sings the title role in this new Royal Opera House production.

Gluck's Iphigenie En Tauride20071208Gluck's Iphig退nie en Tauride

Presented live from the New York Met by Margaret Juntwait.

The new season of broadcasts from New York's Metropolitan Opera House opens with one of the supreme dramatic works of the 18th century. Gluck's Iphig退nie was the crowning achievement of his career, and ever since its premiere, it has gripped audiences with its insights into practical and psychological family problems in the aftermath of the Trojan War.

American mezzo-soprano Susan Graham sings the title role, while tenor Plကcido Domingo plays her long-lost brother Oreste for the first time and French conductor Louis Langr退e makes his Met debut.

Iphig退nie, High Priestess of Diana - Susan Graham (mezzo-soprano)

Oreste, Iphig退nie's brother - Plကcido Domingo (tenor)

Pylade, Oreste's friend - Paul Groves (tenor)

Thoas, King of Tauris - William Shimell (bass)

Diane - Michele Losier (soprano)

First Priestess/A Greek Woman - Lisette Oropesa (soprano)

Second Priestess - Sasha Cooke (soprano)

A Scythian/A Minister - David Won (baritone)

Orchestra and Chorus of the New York Metropolitan Opera

Louis Langr退e (conductor).

Mezzo-soprano Susan Graham sings the title role in this production from the New York Met.

Gluck's Orfeo Ed Euridice20150525Tonight's opera Gluck's Orfeo ed Euridice based on the Greek myth, follows the fortunes of Orfeo (sung by Caitlin Hulcup) who is distraught at the loss of his lover Euridice (sung by Lucy Hall) and will do anything to get her back. With the help of Amore (Ana Quintans) Orfeo is given permission to retrieve Euridice from the Underworld so long as he does not look at her until they are safely returned. The inevitable misunderstandings and upset arise between the lovers and a tragic ending is only averted through a second intervention by Amore who decides that Orfeo has proved his love and Euridice can be saved after all. Ashley Page highlights the story with the inclusion of contemporary dance sequences in the Underworld and chorus scenes. Kenneth Montgomery conducts this new production recorded at the Theatre Royal, Glasgow.

Orfeo.....Caitlin Hulcup (mezzo-soprano)

Euridice.....Lucy Hall (soprano)

Amore.....Anna Quintans (soprano)

Orchestra of Scottish Opera

The Chorus of Orfeo ed Euridice

Kenneth Montgomery (conductor).

From the Theatre Royal in Glasgow, a performance of Gluck's opera Orfeo ed Euridice.

Gluck's Orfeo Ed Euridice From Opera North20210501Laurence Cummings conducts Gluck's seminal 1762 opera Orpheus and Eurydice with Opera North.

Orpheus has been allowed by the gods to visit the Underworld to bring his deceased Eurydice back, on condition that he doesn't look at her.

This performance recorded at Leeds Town Hall in March is presented by Hannah French.

Orfeo - Paula Murrihy (soprano)

Euridice - Fflur Wyn (soprano)

Amore - Daisy Brown (soprano)

Opera North Chorus

Opera North Orchestra

Laurence Cummings (conductor)

Gluck's Orpheus and Eurydice with Paula Murrihy and Fflur Wyn. Laurence Cummings conducts.

Gluck's Orphee Et Eurydice From The Royal Opera House2015102420200404 (R3)Donald Macleod presents Gluck's Orph退e et Eurydice in a new production from the Royal Opera House Covent Garden, which literally puts the orchestra centre stage. John Eliot Gardiner conducts the English Baroque Soloists, and Monteverdi Choir in a rare outing for the French 1774 version of Gluck's opera, written for a high tenor, and with extended ballet sequences to suit the Parisian audiences. Orpheus has been allowed by the gods to visit the Underworld to bring his deceased Eurydice back, on condition that he doesn't look at her. Juan Diego Florez makes his role debut as Orpheus, and Lucy Crowe his beloved Eurydice. Plus Donald Macleod talks to John Eliot Gardiner about the opera's historical significance, and directors John Fulljames and Hofesh Shechter discuss their production in which the orchestra and dancers are completely integrated with the soloists and chorus.

First broadcast October 2015.

Gluck: Orph退e et Eurydice

Orph退e - Juan Diego Florez (tenor)

Eurydice - Lucy Crowe (soprano)

Amour - Amanda Forsythe (soprano)

John Eliot Gardiner (conductor)

Another chance to hear Gluck's Orphee et Eurydice from the Royal Opera House in 2015.

Gounod, Romeo Et Juliette From The Met20180505The final opera in this year's Met season is Gounod's take on Romeo and Juliet. A success since its premiere in 1859, Gounod's opera follows Shakespeare's story faithfully, and includes some magnificent duets for the star-crossed lovers, sung tonight by Ailyn P退rez and Bryan Hymel. Plကcido Domingo conducts.

Presented from New York by Mary Jo Heath and Ira Siff.

Gounod Rom退o et Juliette

Juliette - Ailyn P退rez (Soprano)

Rom退o - Charles Castronovo (Tenor)

St退phano - Karine Deshayes (Soprano)

Mercutio - Joshua Hopkins (Baritone)

Frere Laurent - Kwangchul Youn (Bass)

Metropolitan Opera Orchestra

Metropolitan Opera Chorus

Plကcido Domingo (Conductor).

Gounod's Romeo et Juliette from the New York Met, conducted by Placido Domingo.

Gounod's Faust20110924Granted, the plot's not up to much. Cursed by her brother, the virginal Marguerite is left pregnant, miserable, mad and seemingly beyond redemption by the ageing Faust who's made a devilish pact to exchange his soul for youth. All's well that ends well though, because by close of play Marguerite has been borne up to heaven by a chorus of angels. But when has an implausible story ever been a problem for an opera? Because what matters about Gounod's 'Faust' (and what has kept it in the repertoire for over 150 years) is a succession of showstoppers, including solo numbers (the famous Jewel Song among them), ensembles and choruses. What 'Faust' needs is a stellar cast, which is what we get in this revival of David McVicar's Royal Opera House production broadcast live from Covent Garden. It's led by Angela Gheorghiu as Marguerite who's joined by a trio of fetching men. The young Italian tenor Vittorio Grigolo plays the vile seducer of the title role, the charismatic bass Ren退 Pape is the diabolical M退phistoph退l耀s who makes Faust an offer he can't refuse, and smouldering Russian baritone Dmitri Hvorostovsky is Valentin, the brother Marguerite could live without.

Presented by Louise Fryer in conversation with Claire Launchbury.

Faust - Vittorio Grigolo (Tenor)

M退phistoph退l耀s - Ren退 Pape (Bass)

Marguerite - Angela Gheorghiu (Soprano)

Valentin - Dmitri Hvorostovsky (Baritone)

Siebel - Michele Losier (Mezzo-soprano)

Martha Schwerlein - Carole Wilson (Mezzo-soprano)

Conductor - Evelino Pid 

Orchestra and Chorus of the Royal Opera House, Covent Garden.

From the Royal Opera House, Covent Garden, Louise Fryer presents Gounod's Faust.

Gounod's Faust20121110Louise Fryer presents Opera North's new production of Gounod's Faust - bringing a modern spin to one of the most popular 19th Century Operas.

Faust............... Peter Auty (tenor)

M退phistoph退l耀s.....James Creswell (bass)

Wagner................Paul Gibson (bass)

Valentin.......Marcin Bronikowski (baritone)

Si退bel....Robert Anthony Gardiner (tenor)

Marguerite.......Juanita Lascarro (soprano)

Marthe..........Sarah Pring(mezzo-soprano)

Orchestra and Chorus of Opera North

Conductor.....Stuart Stratford.

Opera North's new production of Gounod's Faust, with Peter Auty and James Creswell.

Gounod's Faust20140422Tonight's Opera on 3 is a performance of Gounod's Faust, once one of the most famous and most performed operas. Based on Goethe's dramatic poem, it's a tale of romance, temptation and tragedy, and the clash between religion and satanic powers. Faust, sung by the Maltese tenor Joseph Calleja, has become bored with life and its limitations, and makes a pact with the Devil, represented by M退phistoph退l耀s, baritone Bryn Terfel: the Devil promises that he will satisfy Faust's hedonistic requests in exchange for his soul. Gounod's Faust contains many musical highlights including the Soldiers' Chorus, and Marguerite's stunning Jewel Song - sung tonight by soprano Sonya Yoncheva. The Orchestra and Chorus of the Royal Opera House are conducted by Maurizio Benini, and tonight's live performance is presented by Donald Macleod.

Live from the Royal Opera House, Covent Garden

Faust - Joseph Calleja (Tenor)

M退phistoph退l耀s - Bryn Terfel (Baritone)

Marguerite - Sonya Yoncheva (Soprano)

Valentin - Simon Keenlyside (Baritone)

Wagner - Jihoon Kim (Bass Baritone)

Si退bel - Renata Pokupic (Mezzo-soprano)

Martha Schwerlein - Diana Montague (Mezzo-soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

Maurizio Benini (Conductor).

Live from the Royal Opera House, Covent Garden, Donald Macleod presents Gounod's Faust.

Gounod's Faust20211120Cursed by her brother, the previously virginal Marguerite is left pregnant, miserable, mad and seemingly beyond redemption by the ageing Faust who's made a devilish pact to exchange his soul for youth. All's well that ends well though, as Marguerite is borne up to heaven by a chorus of angels.

The second of Opera on 3's two French takes on the Faust legend is Charles Gounod's version based on Part 1 of Goethe's Faust. What has kept Gounod's 'Faust' as an operatic staple for the past 150 years is perhaps not the plausibility of its plot so much as its succession of showstoppers, including solo numbers (the famous Jewel Song among them), ensembles and choruses. It needs a starry cast which it receives in this recording made live at the Op?ra Bastille, Paris, earlier this year. Acclaimed Albanian soprano Ermonela Jaho is the hapless Marguerite, let down by an unscrupulous trio: baritone Florian Sempey is Valentin, the brother no sister deserves, French lyric tenor Benjamin Bernheim plays the vile seducer of the title role and the appositely named US bass-baritone Christian Van Horn is the diabolical M?phistoph?l?s.

Introduced by Tom Service.

Gounod: Faust

Faust.......Benjamin Bernheim (tenor)

M?phistoph?l?s.......Christian Van Horn (bass-baritone)

Valentin.......Florian Sempey (baritone)

Wagner.......Christian Helmer (baritone)

Marguerite.......Ermonela Jaho (soprano)

Si?bel.......Mich?le Losier (mezzo-soprano)

Marthe Schwertlein.......Sylvie Brunet-Grupposo (mezzo-soprano)

Paris Opera Chorus and Orchestra

Lorenzo Viotti (conductor)

You can hear last week's Opera on 3, La Damnation de Faust by Berlioz, on BBC Sounds.

Gounod's retelling of Goethe's timeless story, recorded live at the Opera Bastille, Paris.

The second of Opera on 3's two French takes on the Faust legend is Charles Gounod's version based on Part 1 of Goethe's Faust. What has kept Gounod's 'Faust' as an operatic staple for the past 150 years is perhaps not the plausibility of its plot so much as its succession of showstoppers, including solo numbers (the famous Jewel Song among them), ensembles and choruses. It needs a starry cast which it receives in this recording made live at the Op退ra Bastille, Paris, earlier this year. Acclaimed Albanian soprano Ermonela Jaho is the hapless Marguerite, let down by an unscrupulous trio: baritone Florian Sempey is Valentin, the brother no sister deserves, French lyric tenor Benjamin Bernheim plays the vile seducer of the title role and the appositely named US bass-baritone Christian Van Horn is the diabolical M退phistoph退l耀s.

Introduced by Tom Service in conversation with Flora Willson who helps put Gounod and his opera into French 19th-century cultural, political and musical context.

6.35 pm

Acts 1 & 2

7.25pm

Interval 1

7.35 pm

Act 3

8.20

Interval 2

8.30

Acts 4 & 5

M退phistoph退l耀s.......Christian Van Horn (bass-baritone)

Si退bel.......Mich耀le Losier (mezzo-soprano)

Paris Opera Chorus & Orchestra

Image: © Monika Rittershaus

Gounod's Romeo Et Juliette20071215Gounod: Rom退o et Juliette

Margaret Juntwait and English tenor Philip Langridge introduce the New York Met's production of Gounod's emotional rollercoaster of an opera. Operatic superstars Anna Netrebko and Roberto Alagna are the star-crossed lovers in this romantic setting of Shakespeare's tragedy conducted by Plကcido Domingo. Including a feature about setting Shakespeare and backstage interviews with members of the cast.

Juliette, daughter of Capulet - Anna Netrebko (soprano)

Rom退o, son of Montague - Roberto Alagna (tenor)

Tybalt, Juliette's cousin - Marc Heller (tenor)

Mercutio, Rom退o's best friend - Nathan Gunn (baritone)

St退phano, Rom退o's page - Isabel Leonard (mezzo-soprano)

Gertrude, Juliette's nurse - Jane Bunnell (mezzo-soprano)

Count P ris, friend of Tybalt - Louis Otey (baritone)

Benvolio, friend of Rom退o - Tony Stevenson (baritone)

Gr退gorio, Capulet's servant - David Won (baritone)

Fr耀re Laurent, a friar - Robert Lloyd (bass)

Count Capulet, head of the Capulet family - Charles Taylor (bass)

Duke of Verona - Dean Peterson (bass)

Orchestra and Chorus of New York Metropolitan Opera

Plကcido Domingo (conductor).

Placido Domingo conducts Gounod's setting of Shakespeare's tragedy.

Gounod's Romeo Et Juliette20080607In an Opera North performance given at the Grand Theatre in Leeds, John Fulljames directs Gounod's opera based on Shakespeare's tragic love story, with rising stars Leonardo Capalbo as Romeo and Slovenian soprano Bernarda Bobro in her British debut as Juliette.

When Rome and Juliette meet at a party in Verona, they instantly fall in love with each other and marry in secret shortly after. They soon face separation after Romeo is banished from the kingdom and when Juliette is told by her parents she must marry another man, she takes action with tragic consequences.

Introduced by Donald Macleod.

With Leonardo Capalbo (tenor), Bernarda Bobro (soprano), Grant Doyle (baritone), Peter Wedd (tenor), Frances Bourne (soprano), Geoffrey Dolton (baritone), Peter Savidge (bass), Nicholas Sharratt (tenor), Yvonne Howard (mezzo-soprano), Henry Waddington (bass).

Orchestra of Opera North

Martin Andre (conductor)

John Fulljames (director).

John Fulljames directs tenor Leonardo Capalbo and soprano Bernarda Bobro as the two lovers

Gounod's Romeo Et Juliette20101106Presented by Suzy Klein.

From the Royal Opera House, in London, French specialist Daniel Oren conducts Charles Gounod's version of the Shakespeare eternal lovers, Rom退o et Juliette, as they fight against hatred and intolerance before paying the ultimate price... The lovers' passionate liaison unravels magnificently through the most romantic duets, but this opera by the composer of Faust, is much more than that as the many rich ensembles and characters make for a compelling musical spectacle, true to The Bard's best dramatic intentions. This revival production by Nicolas Jo뀀l, not seen in a decade, features a cast led by Piotr Beczala and Nino Machaidze in the title roles.

Cast:

Rom退o - Piotr Beczala (tenor)

Juliette - Nino Machaidze (soprano)

Mercutio - St退phane Degout (tenor)

Tybalt - Alfie Boe (tenor)

St退phano - Ketevan Kemoklidze (mezzo soprano)

Duke of Verona - Simon Neal (bass)

Count Paris - ZhengZhong Zhou (baritone)

Fr退re Laurent - Vitalij Kowaljow (bass)

Count Capulet - Darren Jeffery (baritone)

Gertrude - Diana Montague (mezzo soprano)

Gr退gorio - James Cleverton (baritone)

Orchestra of the Royal Opera House

Royal Opera House Chorus

Daniel Oren, conductor.

Daniel Oren conducts Charles Gounod's version of Shakespeare's Romeo and Juliet.

Gounod's Romeo Et Juliette20240323From the Metropolitan Opera in New York: Nadine Sierra and Benjamin Bernheim sing the star-crossed lovers. Yannick Nézet-Séguin conducts Gounod's sumptuous score. Capulet Juliette and Montague Roméo meet at a ball, and fall instantly in love. But their warring families mean that things are never going to go smoothly.

Presented by Debra Lew Harder with commentator Ira Siff.

Juliette.....Nadine Sierra (soprano)

Roméo..... Benjamin Bernheim (tenor)

Mercutio....Will Liverman

Tybalt.....Frederick Ballentine

Frère Laurent.....Alfred Walker

Stéphano.....Samantha Hankey

Gertrude...Eve Gigliotti (mezzo-soprano)

Metropolitan Opera Chorus and Orchestra

Conductor Yannick Nézet-Séguin

From the Metropolitan Opera in New York: Nadine Sierra and Benjamin Bernheim star.

Programme presenting rare and fascinating operatic performances

Haas's Morgen Und Abend20151205Austrian composer Georg Friedrich Haas's new commission Morgen und Abend - Morning and Evening - recorded at the Royal Opera House, Covent Garden, and starring the great actor Klaus Maria Brandauer with the Chorus and Orchestra of the Royal Opera House conducted by Michael Boder. The opera follows a day in the life of a fisherman called Johannes, sung by German baritone Christoph Pohl, who slowly realises that he has died. Haas has based his new work on a novel by Norwegian writer Jon Fosse, and this world premiere is directed by Graham Vick. Haas's musical language is characterised by soundscapes, and as he describes is 'not based on notated structures, but only on the perception of the sound.' Ivan Hewett introduces the opera, and the broadcast features interviews with the composer and the director Graham Vick.

Signe/Midwife - Sarah Wegener (soprano)

Johannes - Christoph Pohl (baritone)

Erna - Helena Rasker (contralto)

Peter - Will Hartmann (tenor)

Olai - Klaus Maria Brandauer (actor)

Chorus and Orchestra of the Royal Opera House, Covent Garden

Michael Boder (conductor).

From the Royal Opera House, the world premiere of Georg Friedrich Haas's Morgen und Abend.

Halevy's La Juive20160709Hal退vy: La Juive

Although Fromental Hal退vy wrote almost forty operas, La Juive is the only opera of his that we're likely to hear today, but it is an early high point of French grand opera and was one of the most performed works in the nineteenth century. Hal退vy was among the most successful composers of his time, and his distinguished admirers included Berlioz, Wagner and Mahler, who regarded La Juive as one of the greatest operas ever created. The libretto was by Scribe, a dramatic writer of the time too, but despite the opera's grandeur, La Juive tells a profoundly human story, of an impossible love between a Christian man and a Jewish woman.

Alexandra Wilson introduces this recent performance from the Bavarian State Opera, which stars soprano Aleksandra Kurzak as Rachel, the opera's title character, and Roberto Alagna as her father, the Jewish goldsmith Eleazar. The Chorus and Orchestra of the Bavarian State Opera are conducted by Bertrand de Billy.

Rachel - Aleksandra Kurzak (soprano)

El退azar - Roberto Alagna (tenor)

L退opold - John Osborn (tenor)

Princess Eudoxie - Vera-Lotte B怀cker (soprano)

Cardinal Gian Francesco de Brogni - Ain Anger (bass)

Ruggiero - Andrea Borghini (baritone)

Albert - Tariq Nazmi (bass)

A Herald in the Imperial Army - Christian Rieger (baritone)

An Officer to the Emperor - Petr Nekoranec (baritone)

Executioner - Peter Lobert (bass)

The Chorus of the Bavarian State Opera

The Orchestra of the Bavarian State Opera

Bertrand de Billy (conductor).

Halevy's La Juive from Bavarian State Opera conducted by Bertrand de Billy.

Handel's Agrippina20191019Handel's early masterpiece, Agrippina, is a gripping drama of high politics and low deceit set to some of the composer's most ravishing music. Agrippina is the first in a long line of fascinating female characters that Handel portrays with acute psychological depth, portraying both her magnetic charm and steely ambition. In this production by Barrie Kosky from the Roya Opera House, Covent Garden, Joyce DiDonato heads a cast of leading Handelian singers accompanied by The Orchestra of the Age of Enlightenment under Maxim Emelyanychev.

Presented by James Naughtie with guest Elin Manahan Thomas

Agrippina.....Joyce DiDonato (Mezzo-soprano)

Nerone.....Franco Fagioli (Countertenor)

Poppea.....Lucy Crowe (Soprano)

Ottone.....Iestyn Davies (Countertenor)

Claudio.....Gianluca Buratto (Bass)

Pallante.....Andrea Mastroni (Bass)

Narciso.....Eric Jurenas (Countetenor)

Lesbo.....Jose Coca Loza (Bass)

Maxim Emelyanychev (Conductor)

Joyce DiDonato stars as Handel's antiheroine at the Royal Opera House, Covent Garden.

Handel's Alcina20160102Handel's Alcina, starring the soprano Patricia Petibon as the doomed magician and the countertenor Philippe Jaroussky as her love interest Ruggiero, in this tale of magic and seduction, based on Ludovico Ariosto's Orlando Furioso. Andrea Marcon conducts the Freiburg Baroque Orchestra and MusicAeterna, in this production by Katie Mitchell, recorded at last summer's Aix Festival, in Provence, France.

Presented by Jonathan Swain.

Alcina - Patricia Petibon (soprano)

Ruggiero - Philippe Jaroussky (countertenor)

Morgana - Anna Prohaska (soprano)

Bradamante - Katarina Bradi (mezzo-soprano)

Oronte - Anthony Gregory (tenor)

Melisso - Krzysztof Baczyk (bass)

Oberto - Elias M䀀dler (boy soprano)

Andrea Marcon.

Handel's Alcina, recorded at the Aix Festival in Provence with soprano Patricia Petibon.

Handel's Alcina20220409Laurence Cummings conducts Handel's spellbinding opera, Alcina. Starring soprano Mကire Flavin in the title role with countertenor Patrick Terry as Ruggiero; mezzo-soprano Mari Askvik as Bradamante; and soprano Fflur Wyn as Morgana. Opera North's new production is directed by Tim Albery and Laurence Cummings conducts the Orchestra of Opera North.

Alcina is an enchantress who transforms her discarded lovers into non-human form. Her island is a barren wasteland and its beauty is maintained only by Alcina's powers of illusion. When Bradamante arrives on the island in disguise, she is intent on reclaiming her fiance, Ruggiero, and Alcina's magic is tested to breaking point.

Presented by DONALD MACLEOD

Alcina .....Mကire Flavin (soprano)

Ruggiero ......Patrick Terry (countertenor)

Bradamante ......Mari Askvik (mezzo soprano)

Morgana ......Fflur Wyn (soprano)

Oronte ......Nick Pritchard

Melissa .....Claire Pascoe

Conductor .....Laurence Cummings

Director .....Tim Albery

From Opera North, Handel's spellbinding opera featuring the enchantress Alcina.

Laurence Cummings conducts Handel's spellbinding opera, Alcina. Starring soprano, Mကire Flavin in the title role with countertenor, Patrick Terry as Ruggiero; mezzo-soprano, Mari Askvik as Bradamante; and soprano, Fflur Wyn as Morgana. Opera North's new production is directed by Tim Albery and Laurence Cummings conducts the Orchestra of Opera North.

Alcina is an enchantress who transforms her discarded lovers into non-human form. Her island is a barren wasteland and its beauty is maintained only by Alcina's powers of illusion. When Bradamante arrives on the island in disguise, she is intent on reclaiming her fianc退, Ruggiero, and Alcina's magic is tested to breaking point.

Alcina - Mကire Flavin (soprano)

Ruggiero - Patrick Terry (countertenor)

Bradamante - Mari Askvik (mezzo-soprano)

Morgana - Fflur Wyn (soprano)

Oronte - Nick Pritchard

Melissa - Claire Pascoe

Conductor, Laurence Cummings

Director, Tim Albery

Read the full synopsis at the Opera North website: https://bit.ly/3O8ttFt

Image: © James Glossop

Handel's Alcina20221203DONALD MACLEOD presents Handel's magical opera from the Royal Opera House, Covent Garden, starring Lisette Oropesa as sorceress Alcina and Emily D'Angelo as the bewitched Ruggiero, together with Mary Bevan as Alcina's sister Morgana and Varduhi Abrahamyan as Ruggiero's abandoned wife Bradamante. Ruggiero is merely the latest in Alcina's long line of conquests: she's turned all her previous lovers into the animals who now populate her enchanted island. But now Bradamante has discovered the island, on a mission to find her lost husband - and so has young Oberto, seeking his father, turned into a lion. Is Alcina's hedonistic reign at last under threat? Find out in this brand new Royal Opera production directed by RICHARD JONES and conducted by Christian Curnyn.

DONALD MACLEOD's guest in the Radio 3 box is writer and Handel fan JEANETTE WINTERSON.

Handel: Alcina

Alcina - Lisette Oropesa (soprano)

Ruggiero - Emily D'Angelo (mezzo-soprano)

Morgana - Mary Bevan (soprano)

Bradamante - Varduhi Abrahamyan (mezzo-soprano)

Oronte, Morgana's lover - Rupert Charlesworth (tenor)

Atlante (Melisso) - Jos退 Coca Loza (bass)

Oberto - Rafael Flutter (treble)

Orchestra of the Royal Opera House

Conductor Christian Curnyn

DONALD MACLEOD presents Handel's magical opera from the Royal Opera House, Covent Garden.

Read the full synopsis on the Royal Opera House website: https://bit.ly/3VKxRx0

Handel's Ariodante20201128Andrew McGregor presents Handel's Ariodante, recorded at the Royal opera House last week, with expert commentary by Suzanne Aspden.

Continuing its celebration of the operas Handel wrote for Covent Garden, The Royal Opera presents Ariodante in concert. Ariodante was the first opera written by Handel for the first theatre on the current Royal Opera House site in 1735 and has not been performed at Covent Garden since.

Set in medieval Scotland and based on a sixteenth-century epic poem, the same source as Shakespeare's Much Ado About Nothing, Ariodante tells the story of a prince, in love with the daughter of the King, who is driven to despair by a false accusation of his loved one's infidelity and finally reunited with her when the treachery is revealed.

During the interval, Catherine Fletcher, one of Radio 3's New Generation Thinkers, looks at the origins of the opera's plot in the chivalric romances of the Italian Renaissance.

Ariodante - Paula Murrihy (Mezzo-soprano)

Ginevra - Chen Reiss (Soprano)

R耀 di Scozia - Gerald Finley (Bass)

Sophie Bevan (Soprano)

Iestyn Davies (Countertenor)

Ed Lyon (Tenor)

Royal Opera House Orchestra

Royal Opera House Chorus

Christian Curnyn (Conductor)

SYNOPSIS

Prince Ariodante and Princess Ginevra, the daughter of the King of Scotland, are in love. When Polinesso, who wants the throne for himself, deceives Ariodante into thinking that Ginevra has betrayed him, everyone thinks Ariodante has thrown himself into the sea and Ginevra, distraught, is imprisoned for her infidelity.

Polinesso offers to champion Ginevra but is defeated in public combat by Ariodante's brother Lurcanio who, intent on avenging his brother's apparent death, challenges any other champions to come forward. A knight with his face hidden defends Ginevra's honour before revealing himself as Ariodante.

A courtier brings news that the dying Polinesso confessed to his treachery. The King hurries to free his daughter and she is reunited with Ariodante to much celebration.

Handel's Ariodante recorded at the Royal Opera House.

Handel's Jephtha20121013Presented by Louise Fryer.

Katie Mitchell's electrifying production of Jephtha is headed by the tenor Robert Murray in the role of Jephtha, with Fflur Wyn as Iphis, Alan Ewing as Zebul and Diana Montague as Storge, with the chorus and orchestra of Welsh National Opera. The performance is conducted by Paul Goodwin.

Jephtha ............. Robert Murray (tenor)

Zebul ................. Alan Ewing (bass)

Storge................ Diana Montague (mezzo soprano)

Iphis .................. Fflur Wyn (soprano)

Hamor ............... Robin Blaze (counter-tenor)

Angel .................Claire Ormshaw (soprano)

Conductor, Paul Goodwin

Handel's final oratorio, written as his health and eyesight were failing, takes as its theme the necessity of man's submission to destiny. Jephtha has led his people through war to a great victory, but there is a terrible catch. Before battle commenced, Jephtha rashly made a vow that, if he were to win, he would sacrifice the first person he encountered on his return. To his horror, his beloved daughter Iphis is the first to greet him on his homecoming...

WNO's production of Handel's Jephtha from Wales Millennium Centre. Paul Goodwin conducts.

Handel's Jephtha20231216From the Royal Opera House in London: Handel's late masterpiece, starring Allan Clayton in the title role, with Alice Coote and Jennifer France and conducted by Laurence Cummings.

Jephtha is called back from exile to lead the Israelites in battle against the Ammonites. His unshakeable faith in God carries him to victory - but at the cost of a terrible vow with tragic consequences for his family and the community.

Presented by Martin Handley, in conversation with Lucy Winkett.

Jephtha - Allan Clayton (tenor)

Iphis, his daughter - Jennifer France (soprano)

Storgè, his wife - Alice Coote (mezzo-soprano)

Hamor, Iphis's lover - Cameron Shahbazi (countertenor)

Zebul, Jephtha's brother - Brindley Sherratt (bass)

Angel - Kaelan O'Sullivan (treble)

Royal Opera Chorus

Orchestra of the Royal Opera House

Conductor Laurence Cummings

Read the full synopsis on the Royal Opera House website: https://bit.ly/3RNHQTk

From the Royal Opera House in London: Handel's late masterpiece, starring Allan Clayton.

From the Royal Opera House: Handel's late masterpiece Jephtha, starring Allan Clayton in the title role, with Alice Coote and Jennifer France and conducted by Laurence Cummings.

Opera relays from around the UK.

Handel's Julius Caesar20121103Andrew McGregor presents English National Opera's brand new production of one of Handel's greatest operas. The action centres around Cleopatra's quest to overthrow her brother Ptolemy in order to gain control of Egypt, and the burgeoning love affair between her and the emperor Julius Caesar.

Written for some of the finest singers of Handel's day, Julius Caesar features some of Handel's most popular arias.

The Romans

Julius Caesar..... Lawrence Zazzo (counter-tenor)

Curio..... George Humphreys (bass)

Cornelia Pompey's widow.....Patricia Bardon (mezzo-soprano)

Sesto - Daniela Mack (mezzo-soprano)

The Egyptians

Cleopatra..... Anna Christy (soprano)

Ptolemy, Cleopatra's brother...... Tim Mead (counter-tenor)

Achillas, his general...... Andrew Craig Brown (bass-baritone)

Nirenus, Cleopatra's servant...... James Laing (counter-tenor)

English National Opera Orchestra

English National Opera Chorus

Conductor.....Christian Curnyn.

Christian Curnyn conducts a performance of Handel's Julius Caesar with Lawrence Zazzo.

Handel's Orlando20151107Orlando is a soldier of some importance and reputation, but is upset and refusing to fight. He has been rejected in love by Angelica, who yearns for Medoro, and Orlando as a consequence descends into madness and violence. Dorinda also longs for Medoro, but her love interests are in vain. Harmony is eventually restored as Zoroastro intervenes, and Dorinda learns to move on from her affections for Medoro. As Orlando's peace of mind is restored, Angelica is saved from his jealous and ferocious rage.

Handel's Orlando, in the recent Welsh National Opera production with Lawrence Zazzo, Rebecca Evans, Robin Blaze, Fflur Wyn and Daniel Grice, is conducted by Rinaldo Alessandrini. It is presented by Christopher Cook, including interviews with the conductor, director, and principal singers.

Orlando... Lawrence Zazzo (countertenor)

Angelica... Rebecca Evans (soprano)

Medoro... Robin Blaze (countertenor)

Dorinda... Fflur Wyn (soprano)

Zoroastro... Daniel Grice (bass-baritone)

Orchestra and Chorus of Welsh National Opera

Rinaldo Alessandrini (conductor).

A performance of Handel's opera Orlando in a Welsh National Opera production.

Handel's Radamisto20101120Presented by Donald Macleod

Handel took the theatre-going public of London by storm with this intensely dramatic opera, Radamisto. Set in the ancient kingdom of Thrace, this is a story of nobility in the face of aggression. Radamisto and his wife Zenobia are under siege in the city from the Armenian tyrant Tiridate. Tiridate has his eye on Zenobia as his prize, despite already being married to Polissena, who also happens to be Radamisto's sister. Radamisto's father, Farasmane, has already been captured, and Tiridate's henchman, Tigrane, is under instruction to bring Zenobia to him at all costs. Radamisto himself tries to follow a noble path despite the tumult surrounding him.

Handel brought some of Italy's greatest singers to London for this opera, giving some wonderful arias to his star performers. In this new production from English National Opera, the acclaimed countertenor Lawrence Zazzo takes the title role, and the director David Alden teams up with the experienced Handelian, Laurence Cummings.

Cast:

Radamisto..... Lawrence Zazzo (counter-tenor)

Zenobia - Christine Rice (mezzo soprano)

Tiridate - Ryan McKinny (baritone)

Polissena - Sophie Bevan (soprano)

Farasmane - Henry Waddington (bass)

Tigrane - Ailish Tynan (soprano)

Conductor - Laurence Cummings

English National Opera Orchestra.

Donald Macleod presents an ENO production of Handel's intensely dramatic opera Radamisto.

Handel's Rodelinda20140308One of Handel's most popular operas, Rodelinda is an epic story of love, power and mistaken identity, with music of exceptional power and emotion. Bertarido has been driven from his kingdom by Grimoaldo and is presumed dead, leaving behind his grieving wife, Rodelinda. Grimoaldo will imprison Rodelinda unless she agrees to marry him, thereby allowing him to seize Bertarido's throne for himself. But then the exiled king returns in disguise.

The baroque specialist Christian Curnyn conducts this new production for English National Opera by Richard Jones, with an expert Handelian cast.

Presented by Martin Handley, with guest Berta Joncus and interviews from the cast.

6.00pm: Handel: Rodelinda (Act 1)

6.55pm: Interval

7.15 pm: Handel: Rodelinda (Act 2)

8.10pm: Interval

8.30pm: Handel: Rodelinda (Act 3)

Rodelinda - Rebecca Evans (Soprano)

Bertarido - Iestyn Davies (Countertenor)

Grimoaldo - John Mark Ainsley (Tenor)

Edulge - Susan Bickley (Mezzo-soprano)

Unulfo - Christopher Ainslie (Countertenor)

Garibaldo - Richard Burkhard (Baritone)

English National Opera Orchestra

Christian Curnyn (Conductor).

Live from the Coliseum in London, an ENO performance of Handel's opera Rodelinda.

Handel's Rodelinda20220319One of Handel's most successful operas when first performed in 1725, and one of his most highly regarded in recent times, Rodelinda is an involving, taut, and remarkably modern drama. Much of its power lies in the appeal of its protagonist, a realistic portrait of a woman rather than an allegorical type, and every character is driven by dramatically credible motivations and the human emotions that accompany them, all masterfully captured in Handel's music, by turns subtle and bold.

Bertarido has been driven from his kingdom by Grimoaldo and is presumed dead, leaving behind his grieving wife, Rodelinda. Grimoaldo will imprison Rodelinda unless she agrees to marry him, thereby allowing him to seize Bertarido's throne for himself. But then the exiled king returns in disguise.

Soprano Elza van den Heever takes the title role, with countertenor Iestyn Davies as her husband Bertarido whose throne has been seized by Grimoaldo (tenor Paul Appleby), now betrothed to Bertarido's sister Eduige (mezzo-soprano Sasha Cooke). HARRY BICKET, a champion of the composer's operas, takes the podium to conduct the Met's moving production.

Presented by Debra Lew Harder with commentator Ira Siff.

Handel: Rodelinda

Rodelinda - Elza van den Heever (soprano)

Bertarido - Iestyn Davies (countertenor)

Grimoaldo - Paul Appleby (tenor)

Eduige - Sasha Cooke (mezzo-soprano)

Unulfo - Anthony Roth Costanzo (contertenor)

Garibaldo - Adam Plachetka (bass-baritone)

Orchestra of the Metropolitan Opera House,

HARRY BICKET, conductor

Read the full synopsis at the Met Opera website:: https://bit.ly/3J4GX1T

From the Metropolitan Opera in New York: Handel's Rodelinda, conducted by HARRY BICKET.

Image: © Ken Howard / Met Opera

Handel's Saul20151010Handel's Saul, recorded at this year's Glyndebourne Festival, conducted by Ivor Bolton.

Presented by Andrew McGregor.

Cast:

Saul - Christopher Purves (baritone)

David - Iestyn Davies (countertenor)

Merab - Lucy Crowe (soprano)

Michal - Sophie Bevan (soprano)

Jonathan - Paul Appleby (tenor)

Abner/High Priest/Amalekite/Doeg - Benjamin Hulett (tenor)

The Witch of Endor - John Graham-Hall (tenor)

Orchestra of the Age of Enlightenment

Ivor Bolton (conductor)

When young David is hailed as a hero after defeating the Philistine champion Goliath, he arouses the envy of King Saul. Finding himself at the heart of the Royal Family as it's torn apart by Saul's increasingly obsessive jealousy, David is drawn into a complicated love story of his own with members of the royal family. In Georgian London in 1738, Handel and his librettist Charles Jennens used the story as the subject of one of the first English oratorios; now Australian director Barrie Kosky, making his Glyndebourne debut, has turned Handel's Saul into an opera as a series of vivid tableaux, a combination of dreamscape and Baroque nightmare in which a Lear-like King loses his grip on his sanity, and his family and nation crumbles around him.

Ivor Bolton conducts Handel's Saul at the 2015 Glyndebourne Festival.

Handel's Semele20170701Handel's Semele, from Garsington Opera, with Heidi Stober in the title role, conducted by Jonathan Cohen.

Presented by Sara Mohr Pietsch.

Semele - Heidi Stober (soprano)

Jupiter - Robert Murray (tenor)

Juno - Christine Rice (mezzo-soprano)

Cadmus/Somnus - David Soar (bass)

Athamas - Christopher Ainslie (countertenor)

Iris - Llio Evans (soprano)

Ino - Jurgita Adamonyt? (mezzo)

Apollo - Mikael Onelius (tenor)

High Priest - Christian Valle (bass-baritone)

Garsington Opera Orchestra

Garsington Opera Chorus

Jonathan Cohen (conductor)

Semele is whisked away from an unhappy marriage to be Jupiter's lover in a heavenly realm. Juno, his wife, is not pleased and conspires with Somnus, the god of sleep, to make sure that Semele comes to a bad end. From her ashes, though, arises Bacchus - the god of wine and ecstasy.

From Garsington Opera, Sara Mohr-Pietsch presents a performance of Handel's Semele.

Handel's Semele From Munich Opera20240406Semele is supposed to be marrying Athamas, but is infatuated by her lover, King of the Gods Jupiter. To halt the plans, Jupiter turns himself into a giant eagle to carry Semele off to a mountaintop palace, guarded by dragons who never sleep. But Jupiter's wife Juno is furious and begins plotting her revenge. Handel's opera, based on Ovid's Metamorphoses, didn't go down well at its premiere, but its fabulous characters and varied music have made it a staple of the repertory. Georgia Mann presents, and is joined by Suzanne Aspden from Oxford University to discuss Handel's score.

Presented by Georgia Mann.

Handel: Semele, opera in 3 acts, HWV.58

Semele - Brenda Rae (soprano)

Jupiter - Michael Spyres (tenor)

Apollo - Jonas Hacker (tenor)

Athamas - Jakub Józef Orliński (countertenor)

Juno - Emily D'Angelo (mezzo-soprano)

Cadmus/Somnus - Philippe Sly (bass)

Ino - Nadezhda Karyazina (mezzo-soprano)

Iris - Jessica Niles (soprano)

High Priest - Milan Siljanov (bass)

LauschWerk Vocal Ensemble

Bavarian State Orchestra

Gianluca Capuano (conductor)

Georgia Mann presents a performance of Handel's Semele from Munich Opera.

Programme presenting rare and fascinating operatic performances

Georgia Mann presents a performance of Handel's Semele from Munich Opera, staring Brenda Rae as the doomed Semele and Michael Spyres as Jupiter, conducted by Gianluca Capuano.

Handel's Tamerlano20100703Recorded at the Royal Opera House, one of Handel's most touching dramas, Tamerlano, a tale of tyranny and power, betrayal and love, in a production new to Covent Garden, directed by Graham Vick.

Tamerlano, the legendary Tartar warlord, boasts of having conquered the proud Turkish Sultan Bajazet, now in prison. When the conqueror spurns Irene, his betrothed princess, for Asteria, the Sultan's daughter, he seals Bajazet's fate as he commits suicide, in one of Handel's most famous scenes. In the end, enlightenment prevails and Tamerlano, in typical opera seria fashion, repents from his bad deeds and takes Irene back, setting in motion a happy ending of sorts.

This cast is lead by the Dutch mezzo-soprano Christianne Stotijn making her debut as the ruthless conqueror, Emperor of the Tartars; the American tenor Kurt Streit as the defeated Turkish Sultan Bajazet; the German soprano Christine Schaefer as his daughter Asteria, and the Italian contralto Sara Mingardo as her lover Andronico. Princess Irene is the Croatian soprano Renata Pokupic. Ivor Bolton conducts a period ensemble, the Orchestra of the Age of Enlightenment.

Presented by Louise Fryer with guest Sarah Lenton.

Tamerlano - Christianne Stotijn (mezzo-soprano)

Bajazet - Kurt Streit (tenor)

Andronico - Sara Mingardo (contralto)

Asteria - Christine Schaefer (soprano)

Irene - Renata Pokupic (soprano)

Leone - Vito Priante (bass)

Ivor Bolton - Conductor

Ivor Bolton conducts Handel's Tamerlano - a tale of tyranny and power, betrayal and love.

Handel's Theodora20220305In the 4th century AD, when Valens, the Roman governor of Antioch, issues a decree that all citizens will offer sacrifice to Venus, Theodora, as a Christian, refuses. Expecting to be put to death, she is informed instead that she has been sentenced to serve as a prostitute in the temple of Venus. Her beloved Didymus persuades her to change places with him, concealing her identity by putting on his uniform and escaping, leaving him to face the wrath of the Roman officers. She does so, but is fraught with guilt at having endangered Didymus's life in order to save her own.

At the Royal Opera House, Julia Bullock, Joyce DiDonato and Jakub J zef Orli?ski star in Katie Mitchell's new interpretation of this story. In an alternative modern-day reality, Theodora, a religious fundamentalist, plots for the resistance against the Roman occupation. But when her secret plan to destroy the Roman embassy is discovered, she learns the true brutality of her oppressors.

Not heard in Covent Garden since its 1750 premiere, and sung in the original English libretto by Thomas Morell, Theodora is a tour de force for soloists and chorus alike, with ensembles, duets and arias of profound depth and beauty. This new interpretation, conducted by Baroque specialist HARRY BICKET, shines a new, feminist light on the story.

Presented by Andrew McGregor, in conversation with Suzanne Aspden.

Theodora: Julia Bullock, soprano

Irene: Joyce DiDonato, mezzo-soprano

Didymus: Jakub J zef Orlinski, counter-tenor

Septimus: Ed Lyon, tenor

Valens: Gyula Orendt, baritone

Marcus: Thando Mjandana, tenor

Chorus: Royal Opera Chorus

Orchestra: Orchestra of the Royal Opera House

Conducted by HARRY BICKET

Read the full synopsis at the Royal Opera House website: https://bit.ly/3sEIwOm

Image: © Camilla Greenwell, 2022

A Royal Opera House production of Handel's Theodora, conducted by HARRY BICKET.

Handel's Xerxes20141004Tonight's Opera on 3 is Handel's comic opera Xerxes in Nicholas Hytner's award-winning production for English National Opera. Xerxes, the King of Persia, falls in love with Romilda, and tells his brother Arsamenes to woo her for him. Unfortuately Arsamenes and Romilda are already in love with each other, and to confuse matters further, Romilda's sister, Atalanta, is secretly in love with Arsamenes and decides to encourage the King. Humour and social satire are combined with Handel's glorious music. A stellar cast includes Alice Coote as Xerxes, Sarah Tynan as Romilda and Andrew Watts as Arsamenes, with Michael Hofstetter conducting.

Presented by Mary King

Xerxes.....Alice Coote (Mezzo)

Arsamenes.....Andrew Watts (Countertenor)

Romilda.....Sarah Tynan (Soprano)

Atalanta.....Rhian Lois (Soprano)

Amastris.....Catherine Young (Mezzo)

Elviro.....Adrian Powter (Baritone)

Ariodates.....Neal Davies (Bass Baritone)

English National Opera Chorus

English National Opera Orchestra

Michael Hofstetter (Conductor).

Handel's Xerxes from English National Opera, with Alice Coote in the title role.

Hansel And Gretel, By Humperdinck: Glyndebourne Greats20200523Glyndebourne Greats: Hansel and Gretel by Humperdinck

The first in a short season of great performances recorded at the Glyndebourne Opera Festival in the last couple of decades. Starting with the greatest children's opera of them all, and one that can bring a tear to the eyes of the most hardened adult. Based on the Grimm's fairy tale about two children sent into the dark forest by their scolding mother for knocking over a jar of milk. And there they are seduced by the delicious candies and treats stuck to the gingerbread cottage of an old Witch called Rosina Tastymuzzle. When she finds them nibbling at the sweets on her house she entraps them to fatten them up until they are just juicy and plump enough to eat. Of course, as in all the best fairy tales good triumphs over evil in the end - but not before we've shivered and shuddered at the great Jungian archetype of the devouring mother.

Robin Ticciati leads a cast that includes the mezzo Alice Coote as Hansel and the tenor Wolfgang Ablinger-Sperrhacke as a terrifying, gender-bending Witch.

Presented by Martin Handley

Hansel - ..Alice Coote (Mezzo-soprano)

Gretel - ..Lydia Teuscher (Soprano)

Mother - ..Irmgard Vilsmaier (Mezzo-soprano)

Father - ..William Dazeley (Bass)

Witch - ..Wolfgang Ablinger-Sperrhacke (Tenor)

Sandman - ..Tara Erraught (Mezzo- soprano)

Dew Fairy - Ida Falk Winland (Soprano)

Glyndebourne Festival Chorus

London Philharmonic Orchestra

Robin Ticciati (conductor)

*1830 Acts 1 and 2

*1930 Act 3

SYNOPSIS

Act I

THE BROOM-MAKER'S HOUSE

H䀀nsel and Gretel are doing chores. Both are bored and hungry, and to cheer themselves up they start to dance. Their games are interrupted by their Mother, who is angry to find them playing instead of working. In her anger she knocks over the milk jug, losing what was to have been supper. She sends them into the forest to gather strawberries instead. Wearied by their precarious existence, she sinks into a chair, only to be woken by the return of her husband. She is irritated to find him tipsy, but calms down when he produces a sack full of food. When he enquires after H䀀nsel and Gretel, he is alarmed to hear they are in the forest: he warns of the Witch who lives there, and both parents set out to look for the children.

Act II

THE WOOD

Hansel and Gretel happily gather and eat strawberries. When night falls they realize they are lost, and are frightened by the mysterious shapes in the mist. But a Sandman appears and settles them. They say their evening prayers, and go to sleep. The mist around them turns to clouds from which angels appear, who guard the children from harm.

Act III

THE WITCH'S HOUSE

At dawn the Dew Fairy comes to wake H䀀nsel and Gretel. They are excited to see a house not far away, but when they begin to nibble at it, the Witch emerges and captures them, casting a spell. She puts H䀀nsel in a cage, telling Gretel that her brother needs fattening. She releases Gretel with a spell, in order that the girl may help her with the oven. But Gretel uses the spell to free H䀀nsel, and as the Witch demonstrates to Gretel how to check the oven, the children push her into it. As the Witch dies, the fence of people is transformed back into motionless children. H䀀nsel invokes the formula for breaking the spell, and the children jump up and thank H䀀nsel and Gretel for saving them. The Mother and Father appear, and the family is reunited.

Robin Ticciati and a cast that includes Alice Coote and Wolfgang Ablinger-Sperrhacke.

Harrison Birtwistle, Gawain20220528Gawain, the epic opera by Sir Harrison Birtwistle, who died last month. Sir John Tomlinson is the Green Knight and Leigh Melrose, Gawain. The BBC Symphony Orchestra and BBC Singers are conducted by Martyn Brabbins. Presented by Tom Service.

Gawain - Leigh Melrose (baritone)

The Green Knight - John Tomlinson (bass)

Morgan Le Fay - Laura Aikin (soprano)

Lady de Hautdesert - Jennifer Johnston (mezzo)

King Arthur - Jeffrey Lloyd-Roberts (tenor)

A Fool - John Graham-Hall (tenor)

Guinevere - Rachel Nicholls (soprano)

Bishop Baldwin - William Towers (countertenor)

Agravain - Ivan Ludlow (baritone)

Ywain - Robert Anthony Gardiner (tenor)

Martyn Brabbins conductor

Andrew Griffiths conductor

Birtwistle's iconic opera of the 1990s dramatizes the mysterious Arthurian legend of Sir Gawain and the Green Knight with sombre, often shattering, power. He and librettist David Harsent cast the story in two cyclical acts, emphasising the ritual aspects of the epic saga, and lending it hieratic force. The part of the Green Knight was modelled on the range of Wotan, and is pitted against the baritone Gawain. But is it Morgan Le Fay who is really controlling events? A rare opportunity to hear this striking modern classic, from an orchestra, chorus and conductor steeped in Birtwistle's music. And Sir John Tomlinson reprises the role he created, and he alone has sung.

The BBC SO and Singers, John Tomlinson and Leigh Melrose perform Birtwistle's Gawain.

Henze's Boulevard Solitude20140621A rare opportunity to hear one of the masterpieces of the post-war operatic canon, Composed shortly after the Second World War, Boulevard Solitude is Henze's take on the story of Manon Lescaut, which had already attracted many composers before him. No genteel romance for Henze, though: his telling of the story takes us into a seedy world of desperate lowlife characters - rootless, loveless, egocentric, and desperate for drugs, money, and sex.

The story unfolds without a break in a series of seven scenes, the first of which takes place in a railway station bar, where Armand sees Manon and is instantly lovestruck. In the scenes that follow we witness the futility of his good intentions in the face of greed and desperation, and chart the course of their affair as it descends into a catastrophe largely brought about by Manon's bullying brother Lescaut.

This production was part of Welsh National Opera's Fallen Women season, and in his introduction Christopher Cook speaks to WNO's Artistic Director David Pountney, and the principal protagonists, about the opera and their roles within it.

Armand des Grieux - Jason Bridges (tenor)

Manon Lescaut - Sarah Tynan (soprano)

Lescaut - Benjamin Bevan (baritone)

Monsieur Lilaque - Adrian Thompson (tenor)

Francis - Alastair Moore (bass)

Young Lilaque - Laurence Cole (bass)

Mr Man - Tomasz Wygoda

Chorus of Welsh National Opera

Orchestra of Welsh National Opera

Lothar Koenigs (conductor).

From Wales Millennium Centre, Henze's opera Boulevard Solitude, based on Manon Lescaut.

Humperdinck: Hansel Und Gretel20081216In a performance from the Royal Opera House, Colin Davis conducts Humperdinck's fairytale opera with a cast that includes mezzo-soprano Angelika Kirschlager as Hansel and soprano Diana Damrau as Gretel.

In this classic story from the Brothers Grimm, two children get lost in a forest after dark and are charmed by the witch to enter her magical gingerbread house. The children are ensnared but manage to defeat the witch, and in a rousing happy ending they are returned home and reunited with their parents.

Suzy Klein is joined by German music specialist John Deathridge before the start and during the interval to give a guide to the music. With additional insights from members of the cast.

Hansel - Angelika Kirchschlager (mezzo-soprano)

Gretel - Diana Damrau (soprano)

Gertrud - Elizabeth Connell (soprano)

Peter - Thomas Allen (baritone)

Witch - Anja Silja (soprano)

Sandman and - Pumeza Matshikiza (soprano)

Dew Fairy and Echo - Anita Watson (soprano)

Echo - Eri Nakamura, Simona Mihai (sopranos)

Tiffin Boys' Choir

Tiffin Children's Chorus

Orchestra of the Royal Opera House

Colin Davis (conductor).

Colin Davis conducts Humperdinck's opera based on the tale from the Brothers Grimm.

Humperdinck's Fairy-tale Opera Hansel And Gretel20210529Conductor David Parry leads Scottish Opera's latest production of Humperdinck's magical fairy-tale opera Hansel and Gretel. Starring Kathleen Ferrier Award winner Kitty Whately as Hansel and Welsh soprano Rhian Lois as Gretel, with soprano Nadine Benjamin making her Scottish Opera debut in the dual roles of Mother and the Witch. New Zealand born Baritone Phillip Rhodes sings the role of Father and the enchanted Sandman and Dew Fairy are both portrayed by former Scottish Opera Emerging Artist Charlie Drummond. This production was recorded in December 2020 at Glasgow's Theatre Royal and is sung in English, using a translation from the German by David Pountney. The specially reduced orchestration is by Scottish Opera's Head of Music Derek Clark.

The story tells of Hansel and Gretel's journey through the woods, where they?ve been sent to gather strawberries after making a nuisance of themselves at home. There they encounter a magical house made of gingerbread and covered in sweet treats. Their hungry stomachs can?t resist and they start to nibble on the house. However the Witch is at home and she has other, darker plans for the children.

Presented by Kate Molleson

Hansel - Kitty Whately (mezzo soprano)

Gretel - Rhian Lois (soprano)

Mother & the Witch - Nadine Benjamin (soprano)

Father - Phillip Rhodes (baritone)

Sandman & the Dew Fairy - Charlie Drummond (soprano)

Chorus - Barbara Cole Walton & Cl?ona Cassidy (sopranos), Jane Monari & Sarah Shorter (mezzo sopranos)

Orchestra of Scottish Opera

Conductor - David Parry

Photo credit: James Glossop

Scottish Opera's latest production of Humperdinck's magical fairy-tale opera.

The story tells of Hansel and Gretel's journey through the woods, where they've been sent to gather strawberries after making a nuisance of themselves at home. There they encounter a magical house made of gingerbread and covered in sweet treats. Their hungry stomachs can't resist and they start to nibble on the house. However the Witch is at home and she has other, darker plans for the children.

Chorus - Barbara Cole Walton & Cl퀀ona Cassidy (sopranos), Jane Monari & Sarah Shorter (mezzo sopranos)

Humperdinck's Hansel And Gretel20071229A new production in English of Engelbert Humperdinck's version of the Brothers Grimm fairy tale Hansel and Gretel, live from the New York Metropolitan Opera.

As with many fairy tales, the story is light on the surface, but with some dark undertones, and Humperdinck illustrates the story with some of his most sumptuous music. The roles of the siblings, lost in the menacing world of the forest, are sung by Christine Schafer and Alice Coote, with Philip Langridge as the witch who tries to destroy them.

Presented from New York by Margaret Juntwait.

Gretel - Christine Sch䀀fer (soprano)

Hansel - Alice Coote (mezzo-soprano)

Gertrude - Rosalind Plowright (mezzo-soprano)

The Witch - Philip Langridge (tenor)

Peter - Alan Held (bass-baritone)

Dew Fairy - Lisette Oropesa (soprano)

Sandman - Sasha Cooke (mezzo-soprano)

Chorus and Orchestra of New York Metropolitan Opera

Vladimir Jurowski (conductor).

Soprano Christine Schafer and mezzo Alice Coote play the siblings in this Met production.

Humperdinck's Hansel And Gretel2008121620211225 (R3)When Engelbert Humperdinck's sister asked him to write music based on Hansel and Gretel for her children to sing at Christmas, she started her brother on the path to one of the most enduring and best-loved operatic classics. After its 1893 premiere, Humperdinck's fairy-tale opera immediately became a holiday season perennial. In a seamless thread of memorable tunes, the perfectly crafted, lush post-Wagnerian score (which never takes itself too seriously) effortlessly evokes the careless joys and dreams of childhood, as well its darkest fears. And, of course, in the end the none-too-frightening forces of evil are triumphantly overcome. In this archive recording of the acclaimed 2008 Royal Opera House production, a starry cast is headed by Angelika Kirchschlager and Diana Damrau as the siblings at the heart of the Grimm tale, Thomas Allen is their hapless father and, in one of her signature roles, Anja Silja plays the Witch. Strauss and Mahler were among the first conductors to champion Hansel and Gretel and it was a great favourite, too, of Sir Colin Davis who was in the pit for this performance. Presented by Suzy Klein in conversation with John Deathridge. Engelbert Humperdinck: Hansel and Gretel Acts 1 and 2 7.35 pm

Interval

Including novelist and cultural historian Marina Warner who explores the background, evolution and continuing resonances of the Grimm fairy tale. 7.55 pm

Act 3 Hansel......Angelika Kirchschlager (mezzo-soprano)

Gretel......Diana Damrau (soprano)

Gertrud......Elizabeth Connell (soprano)

Peter......Thomas Allen (baritone)

Witch ......Anja Silja (soprano)

Sandman/Echo......Pumeza Matshikiza (soprano)

Dew Fairy/Echo......Anita Watson (soprano)

Tiffin Boys' Choir

Tiffin Children's Chorus

Orchestra of the Royal Opera House

Colin Davis (conductor) Image: © Bill Cooper / ROH 2008

Angelika Kirchschlager and Diana Damrau are the Grimm siblings in this seasonal favourite.

Acts 1 & 2

Humperdinck's K\u00f6nigskinder20221231Marc Albrecht conducts the Dutch National Opera's production of K怀nigskinder by Engelbert Humperdinck, with Daniel Behle as the King's son, and Olga Kulchynska as the Goose-Girl.

When a young man comes upon a Goose-Girl staring at her reflection in a stream, he has no reason to imagine that she has been trapped there by the machinations of a witch. And little does she know that this young man, the King's Son, has left his father's castle in search of adventure, and is travelling incognito, disguised as a simple huntsman. They kiss, but their love - though real - is ultimately doomed.

Humperdinck's follow-up to his perennially popular fairytale opera Hansel and Gretel was a huge hit on both sides of the Atlantic when it was new. It's rarely heard these days - perhaps owing to the tragic ending - but Humperdinck's amazing gift for melody makes K怀nigskinder a don't-miss experience.

Engelbert Humperdinck: K怀nigskinder

King's son: Daniel Behle, tenor

Goose-Girl: Olga Kulchynska, soprano

Fiddler: Josef Wagner, baritone

Witch: Doris Soffel, contralto

Woodcutter: Sam Carl, bass

Broom-maker: Michael Pflumm, tenor

Senior councillor: Henk Poort, baritone

Innkeeper: Roger Smeets, bass

Innkeeper's daughter: Kai Rüütel, mezzo-soprano

Tailor: Lucas van Lierop, tenor

Stable girl: Eva Kroon, contralto

Broom-maker's daughter: Anna Kemper, soprano

First Gatekeeper: Hans Pieter Herman, baritone

Second Gatekeeper: Christiaan Peters, contralto

A Lady: Yvonne Kok, mezzo-soprano

Love: Camille Joubert, violin

Nieuw Amsterdam Children's Choir

Anas de la Morandais, children's chorus master

Dutch National Opera Chorus

Edward Ananian-Cooper, chorus master

Netherlands Philharmonic Orchestra

Marc Albrecht, conductor

Humperdinck's fairy-tale opera, which isn't Hansel and Gretel, from Amsterdam.

Presented by Martin Handley in conversation with Gavin Plumley.

Hvorostovsky's Eugene Onegin2016021320190621 (R3)Ahead of tomorrow evening's Final of BBC Cardiff Singer of the World 2019, tonight we focus on previous winner of that feted title - the Russian baritone Dmitri Hvorostovsky. This evening we'll hear his final UK stage performance in the title role of Eugene Onegin, a performance recorded in 2015 from the Royal Opera House, Covent Garden.

The Guardian described his performance as ‘exceptional even by his own high standards'.

Described by tonight's conductor, Semyon Bychkov, as an opera about young people, for young people, Eugene Onegin is based on Alexander Pushkin's verse novel of the same name. The emotions of youth, love and loss are at the core of the story and at the heart of the music in this, one of Tchaikovsky's best-loved operas.

Eugene Onegin - Dmitri Hvorostovsky (baritone)

Tatyana - Nicole Car (soprano)

Olga - Oksana Volkova (mezzo-soprano)

Lensky - Michael Fabiano (tenor)

Madame Larina - Diana Montague (mezzo-soprano)

Filipyevna - Catherine Wyn-Rogers (mezzo-soprano)

Monsieur Triquet - Jean-Paul Fouch退court (tenor)

Prince Gremin - Ferruccio Furlanetto (bass)

Zaretsky - James Platt (bass)

A Captain - David Shipley (bass)

Royal Opera Chorus

Orchestra of the Royal Opera House

Semyon Bychkov (conductor)

Dmitri Hvorostovsky's 2015 final performance as Eugene Onegin from the Royal Opera House.

Iain Bell's In Parenthesis20160702Iain Bell: 'In Parenthesis

The young British composer Iain Bell's new commission, recorded last month at Wales Millennium Centre, Cardiff, adapts a critically acclaimed WW1 text by the Welsh poet, David Jones. Carlo Rizzi conducts the Chorus and Orchestra of Welsh National Opera.

First published in 1937, 'In Parenthesis' is based on Jones' experiences as an infantryman with the Royal Welch Fusiliers in the Battle of the Somme. The opera follows Private John Ball and his comrades from an army Parade Ground in England in December 1915 to the Front line in France. Only visible to Ball, two bards, Britannia and Germania, and a Chorus of Remembrance, act as narrators. Ball is a visionary who straddles real and mythical worlds, forseeing a dark underworld ahead. The advance into Mametz Wood leaves Ball as the sole survivor of his troop. Wounded, he sees the surrounding carnage transform into a place of beauty, offering regeneration and hope. Artistic Director of WNO David Pountney directs this production on the centenary of the Battle of the Somme.

Christopher Cook introduces the opera with contributions from the poet Michael Symmons Roberts, composer Iain Bell, and librettists David Antrobus and Emma Jenkins.

Bard of Britannia / HQ Officer....Peter Coleman-Wright (baritone)

Bard of Germania/Alice the Barmaid/The Queen of the Woods....Alexandra Deshorties (soprano)

Sergeant Snell.....Mark Le Brocq (tenor)

Private John Ball....Andrew Bidlack (tenor)

Lieutenant Jenkins....George Humphreys (baritone)

Lance Corporal Lewis.....Marcus Farnsworth (baritone)

Dai Greatcoat.....Donald Maxwell (baritone)

Private Watcyn....Joe Roche (tenor)

Private Wastebottom....Martin Lloyd (bass)

The Marne Sergeant....Graham Clark (tenor)

German soldier/Runner....Simon Crosby Buttle (tenor)

Orchestra and Chorus of Welsh National Opera

Carlo Rizzi (conductor).

Iain Bell's new opera In Parenthesis from Welsh National Opera.

Jack The Ripper: The Women Of Whitechapel20190518Iain Bell's Jack the Ripper: The Women of Whitechapel, from English National Opera.

In Iain Bell's world premiere for English National Opera, the focus shifts from the famous Victorian serial killer to his victims - the story follows the five women whose identities have always been defined by their gruesome and mysterious deaths. The libretto by Emma Jenkins explores the struggles of these women - portrayed respectively by Natalya Romaniw, Janis Kelly, Marie McLaughlin, Susan Bullock and Lesley Garrett - within a poverty-ridden community in which it is thought that one in four women was engaged in some form of sex work simply to get by.

Martyn Brabbins conducts the English National Opera Chorus and Orchestra in Bell's darkly atmospheric score.

Tom Service presents from the London Coliseum, and is joined in the box by cultural historian Dr Fern Riddell.

Also featuring interviews with the composer, and author Hallie Rubenhold.

Mary Kelly.....Natalya Romaniw (soprano)

Maud.....Josephine Barstow (soprano)

Polly Nichols.....Janis Kelly (soprano)

Annie Chapman.....Marie Mclaughlin (mezzo-soprano)

Liz Stride.....Susan Bullock (soprano)

Catherine Eddowes.....Lesley Garrett (soprano)

Writer.....William Morgan (tenor)

Squibby.....Alex Otterburn (baritone)

The Pathologist.....Alan Opie (baritone)

Police Commissioner.....Robert Hayward (bass-baritone)

Sergeant Johnny Strong.....Nicky Spence (tenor)

The Photographer.....James Cleverton (baritone)

The coroner.....Paul Sheehan (baritone)

Man in Crowd.....Michael Burke (baritone)

Magpie.....Ashirah Foster Notice (mute role)

English National Opera Orchestra

Martyn Brabbins (conductor)

For full synopsis visit the programme page.

Jake Heggie, Dead Man Walking20180526Jake Heggie's Dead Man Walking. Joyce DiDonato (Sister Helen) & Michael Mayes as the condemned prisoner (Joseph), the BBC Symphony Orchestra & Singers. Mark Wigglesworth conducts.

Recorded at the Barbican Hall, London, on 20th February 2018.

Presented by Andrew McGregor.

1830: Act 1

1950: Interval. Andrew McGregor talks with Jake Heggie and members of the cast.

2010: Act 2

Sister Helen Prejean - Joyce DiDonato (Mezzo-soprano)

Joseph De Rocher - Michael Mayes (Baritone)

Ms Patrick De Rocher..... Maria Zifchak, (Mezzo-soprano)

Sister Rose - Measha Brueggergosman (Soprano)

Owen Hart .....Toni Marsol (Baritone)

Kitty Hart - Susan Bullock (Soprano)

Howard Boucher..... Mark le Brocq (Tenor)

Jade Boucher - Susan Bickley (Mezzo-soprano)

Warden George Benton - James Cresswell (Baritone)

Father Grenville - Michael Bracegirdle (Tenor)

Singers from Guildhall School of Music and Drama

BBC Singers

Finchley Children's Music Group

Mark Wigglesworth (Conductor)

Jake Heggie's opera, written in 2000 to a libretto by Terence McNally, is based on Sister Helen Prejean's best-selling memoir about her work with condemned prisoners on Death Row, and was made into an Oscar-nominated film starring Susan Sarandon. The opera centres on the relationship that developed between a convicted murderer awaiting execution, Joseph De Rocher, and the nun who fights for clemency. It's a powerful operatic exploration of the US justice system and capital punishment.

Joyce DiDonato heads a magnificent ensemble of soloists in this emotional and dramatic work, which put Heggie on the map as a major force in modern opera.

Presenter ANDREW MCGREGOR.

Jake Heggie's Dead Man Walking, set on Death Row, with Joyce DiDonato as Sister Helen.

Jake Heggie's Dead Man Walking20240120Winning universal critical acclaim at its premiere in 2000, Dead Man Walking by the American composer Jake Heggie is the most widely performed opera of the last two decades. With a libretto by Terence McNally, it's an adaptation of the powerful memoir by Sister Helen Prejean, a Catholic nun and anti-death-penalty activist from New Orleans. The tale of rage and redemption which questions the morality of the death penalty is set to a score that has been compared to West Side Story for its immediacy and impact.

Joseph De Rocher is a convicted murderer on death row at the Louisiana State Penitentiary and Sister Helen reluctantly becomes his spiritual adviser. As their relationship develops, Sister Helen is able to bring a kind of peace to De Rocher and his family, and persuades him to acknowledge his guilt. Finally, when the time comes, she is there to support him at the hour of his death.

Yannick Nézet-Séguin, the Met's dynamic music director, conducts a starry cast and continues to make good his pledge to refresh the repertoire and bring new audiences to the august institution.

Recorded in New York in October and presented by Debra Lew Harder with commentator Ira Siff.

Jake Heggie: Dead Man Walking

Sister Rose - Latonia Moore (soprano)

Sister Helen Prejean - Joyce DiDonato (mezzo-soprano)

Joseph De Rocher - Ryan McKinny (bass-baritone)

Mrs Patrick De Rocher - Susan Graham (mezzo-soprano)

Warden Benton - Raymond Aceto (baritone)

Father Grenville - Chad Shelton (tenor)

Kitty Hart - Wendy Bryn Harmer (soprano)

Owen Hart - Rod Gilfry (baritone)

Howard Boucher - Chauncey Packer (tenor)

A Motor Cop - Justin Austin (baritone)

Older brother - Mark Joseph Mitrano (tenor)

Younger brother - Jonah Mussolino (treble)

Sister Catherine - Magdalena Kuźma (soprano)

Sister Lillianne - Briana Hunter (mezzo-soprano)

First prison guard - Christopher Job (baritone)

Second prison guard - John Hancock (baritone)

First mother - Helena Brown (soprano)

Mrs. Charlton - Alexa Jarvis (soprano)

Metropolitan Opera Chorus and Orchestra

Yannick Nézet-Séguin (conductor)

At the Metropolitan Opera, New York, a nun and a murderer meet on death row.

At the Metropolitan opera, New York, redemption overcomes rage when a nun and a murderer meet on death row. Starring Latonia Moore, Joyce DiDonato and Ryan McKinny.

Jan\u00e1cek's K\u00e1t'a Kabanov\u00e1, Recorded At The New York's Met20200509An archive recording of Leoš Janက?ek's Kကt'a Kabanovက from the New York's Met, in a performance first heard in 2004. The soprano Karita Mattila takes the title role as the wife longing for love, trapped in an unhappy marriage, victim of a domineering mother-in-law and a repressive society, in this tragic story full of psychological insight, based on 'The Storm', a play by Alexander Ostrovsky. The Czech maestro Jir퀀 Belohlကvek conducts the Metropolitan Opera House Orchestra and Chorus.

Presented by Mary Jo Heath, with commentator Ira Siff.

Kက?a (Katerina), Tichon's wife - Karita Mattila: soprano,

Marfa Ignat?vna Kabanovက (Kabanicha), a widow - Judith Forst: contralto

Varvara, a foundling - Magdalena Koženက: mezzo-soprano

Boris Grigorjevi?, Dik j's nephew - Jorma Silvasti: tenor

Tichon Ivany? Kabanov, Marfa's son - Chris Merritt: tenor

Vက?a Kudrjaš, a schoolteacher - Raymond Very: tenor

Kuligin, friend of Vကna Kudrjaš - Sebastian Catana: baritone

Sav뀀l Prokofjevic Dik j, a merchant - Vladimir Ognovenko: bass-baritone

Glaša, a servant - Janet Hopkins: mezzo-soprano

Fekluša, a servant - Diane Elias: mezzo-soprano

Townswoman - Charlotte Philley: contralto

Passer - Dennis Williams: tenor

Metropolitan Opera Chorus

Metropolitan Opera Orchestra

Jir퀀 Belohlကvek, conductor

With soprano Karita Mattila, in the title role. Czech maestro Ji\u0159\u00ed B\u011blohl\u00e1vek conducts.

Janacek's From The House Of The Dead20100320This week's opera from the Met is Janacek's final opera, From the House of the Dead, based on Dostoyevsky's novel. The opera is set in a prison and focuses on the daily lives and pasts of its various inmates such as Shishkov, imprisoned for murdering his wife, and the wrongly imprisoned young Tatar Alyeya. Through their bleak existence, hope is given to the inmates by the defiance of an injured eagle, captive with them.

The cast includes Willard White, Kurt Streit and Peter Mattei and is conducted by Esa-Pekka Salonen.

Presented by Margaret Juntwait with guest commentator Ira Siff.

Gorianchikov: Willard White (bass-baritone)

Skuratov: Kurt Streit (tenor)

Shishkov: Peter Mattei (tenor)

Filka Morozov: Stefan Margita (tenor)

Shapkin: Peter Hoare (tenor)

Alyeya: Eric Stoklossa (tenor)

Nikita: Peter Straka (tenor)

Short Prisoner: Vladimir Chmelo (baritone)

Prison Commandant: Vladimir Ognovenko (bass)

Chekunov: Jeffrey Wells (bass)

The Cook: Richard Bernstein (bass)

Drunk Prisoner: Adam Klein (tenor)

Priest: John Cheek (bass)

Esa-Pekka Salonen (conductor)

Chorus and Orchestra of Metropolitan Opera.

Esa-Pekka Salonen conducts Janacek's final opera, based on Dostoyevsky's novel.

Janacek's From The House Of The Dead20180630The first staging from the Royal Opera House of Janacek's final and most powerful work, the opera From the House of the Dead. Based on Dostoyevsky's semi-autobiographical novel describing life in a Siberian gulag, it is a very dark and bleak work, dealing with brutal subject matter - men prisoners with very violent pasts - and yet it is a compassionate work, Janacek's score is full of beauty and tenderness, and astonishing colours. The large cast includes Sir Willard White and the baritone Johan Reuter, and is conducted by Mark Wigglesworth.

Donald Macleod presents and is joined by Nigel Simeone.

Luka KuzmiĀ? - Štefan Margita (tenor)

Nikita (and big prisoner) - Nicky Spence (tenor)

Čekunov (and small prisoner and cook) - Grant Doyle (bass)

Prison governor - Alexander Vassiliev (baritone)

Alexandr PetroviĀ? GorjanĀ?ikov - Willard W. White (baritone)

Guard - Andrew O'Connor (tenor)

AntoniĀ? (elderly prisoner) - Graham Clark (tenor)

Skuratov - Ladislav Elgr (tenor)

Aljeja - Pascal Charbonneau (mezzo-soprano)

Šiškov (and Pope) - Johan Reuter (baritone)

Drunk prisoner - Jeffrey Lloyd-Roberts (tenor)

Šapkin - Peter Hoare (tenor)

Prisoner (Don Juan and Brahmin) - Aleš Jenis (bass)

Prisoner (Kedril) - John Graham-Hall (tenor)

Young prisoner - Florian Hoffmann (tenor)

Prostitute - Allison Cook (mezzo-soprano)

Voice - Konu Kim (tenor)

Čerevin - Alexander Kravets (tenor)

Chorus & Orchestra of the Royal Opera House

Mark Wigglesworth (conductor).

Janacek's From the House of the Dead, from the Royal Opera House, Covent Garden.

Janacek's Jenufa20211023Janacek's Jenufa from the Royal Opera House, Covent Garden, starring Asmik Grigorian, Karita Mattila, Nicky Spence and Saimir Pirgu, and conducted by Henrik N?n?si, in a new production by Claus Guth.

Set in a small-minded, claustrophobic rural community, Jenufa is a drama of love and sacrifice in which the mother-daughter relationship of Jenufa and the Kostelnicka takes centre stage. In a morally complex plot we come to realise that the unbending, dogmatic Kostelnicka is in fact the one character ready to step outside the harsh rules of her society, committing one of the most horrific crimes in order to give her daughter a chance in life.

Asmik Grigorian is Jen?fa in her Royal Opera House debut and Karita Mattila is the Kostelni?ka; with Hungarian conductor Henrik N?n?si conducting.

Recorded live at the Royal Opera House Covent Garden.

Presented by Kate Molleson in conversation with Czech opera expert Nigel Simeone; including interviews with Asmik Grigorian, Karita Mattila and Henrik N?n?si

Jenufa.......Asmik Grigorian (soprano)

Kostelnicka Buryjovka.......Karita Mattila (soprano)

Laca Klemen.......Nicky Spence (tenor)

?teva Buryja.......Saimir Pirgu (tenor)

Grandmother Buryjovka.......Elena Zilio (mezzo-soprano)

Foreman.......David Stout (baritone)

Mayor.......Jeremy White (bass)

Mayor's Wife.......Helene Schneiderman (mezzo-soprano)

Karolka.......Jacquelyn Stucker (soprano)

Herdswoman.......Angela Simkin (mezzo-soprano)

Chorus and Orchestra of the Royal Opera House

Conductor.......Henrik N?n?si

* 1830 Act 1

* 1920 Interval (including artist interviews)

* 1935 Act 2

* 2025 Interval (including artist interviews)

* 2040 Act 3

* 2120 Ends

PICTURED: Asmik, Grigorian (Jenufa) (c) ROH 2021, Photo: Tristram Kenton.

Janacek's Jenufa from the Royal Opera House starring Asmik Grigorian and Karita Mattila.

Janacek's Jenufa from the Royal Opera House, Covent Garden, starring Asmik Grigorian, Karita Mattila, Nicky Spence and Saimir Pirgu, and conducted by Henrik Nကnကsi, in a new production by Claus Guth.

Asmik Grigorian is Jen?fa in her Royal Opera House debut and Karita Mattila is the Kostelni?ka; with Hungarian conductor Henrik Nကnကsi conducting.

Presented by Kate Molleson in conversation with Czech opera expert Nigel Simeone; including interviews with Asmik Grigorian, Karita Mattila and Henrik Nကnကsi

Števa Buryja.......Saimir Pirgu (tenor)

Conductor.......Henrik Nကnကsi

Janacek's Jenufa20230211Janacek's Jenufa from the Theater an der Wien, Vienna starring Svetlana Aksenova and Nina Stemme, conducted by Marc Albrecht.

Set in a small-minded, claustrophobic rural community, Jenufa is a drama of love and sacrifice in which the mother-daughter relationship of Jenufa and the Kostelnicka takes centre stage. In a morally complex plot we come to realise that the unbending, dogmatic Kostelnicka is in fact the one character ready to step outside the harsh rules of her society, committing one of the most horrific crimes in order to give her daughter a chance in life.

Svetlana Aksenova is Jen?fa and Nina Stemme is the Kostelni??ka; with Marc Albrecht conducting.

Recorded live at the Theater an der Wien in February 2022.

Jenufa: Svetlana Aksenova, soprano

Kostelni??ka Buryjovka: Nina Stemme, soprano,

Steva Buryja: Pavol Breslik, tenor

Laca Klemen: Pavel ?ernoch, tenor

Grandmother Buryjovka: Hanna Schwarz, contralto

Stကrek, Mill foreman: Zoltကn Nagy, baritone,

Mayor: Alexander Teliga, bass

Mayor's wife: Vကclava Krej??퀀 Houskovက, mezzo-soprano

Karolka: Valentina Petraeva, mezzo-soprano

Herdswoman: Natalia Kawalek, mezzo-soprano

Barena, maidservant at the mill: Juliette Mars, mezzo-soprano

Jano, Young shepherd: Anita Rosati, soprano

ARNOLD SCHOENBERG Chorus

ORF Radio Symphony Orchestra, Vienna

Marc Albrecht, conductor

Janacek's Jenufa from the Theater an der Wien, Vienna.

Janacek's Jenufa from the Theater an der Wien, Vienna, starring Svetlana Aksenova and Nina Stemme, conducted by Marc Albrecht.

Presented by Kate Molleson in conversation with Sophie Redfern.

Svetlana Aksenova is Jen?fa and Nina Stemme is the Kostelni?ka; with Marc Albrecht conducting.

Kostelni?ka Buryjovka: Nina Stemme, soprano,

Mayor's wife: Vကclava Krej?퀀 Houskovက, mezzo-soprano

For further details about the production, including synopsis, visit the Theater an der Wien website: https://bit.ly/3HX9HKO

Janacek's Katya Kabanova20071020La Boheme

Recorded at the New York Metropolitan Opera, Margaret Juntwait presents Franco Zeffirelli's production of Puccini's masterpiece.

Mimi - Cristina Gallardo-Domas (soprano)

Musetta - Ainhoa Arteta (soprano)

Rodolfo - Marcello Giordani (tenor)

Marcello - Dwayne Croft (baritone)

Schaunard - Aaron St Clair Nicholson (baritone)

Colline - John Relyea (bass)

Benoit/Alcindoro - Paul Plishka (bass)

Metropolitan Opera Chorus and Orchestra

Carlo Rizzi (conductor)

(Acts 1 and 2).

A free-spirited woman is trapped in a loveless marriage. Janice Watson sings the lead role

Janacek's Katya Kabanova20100612Among the more remarkable stories of reinvigorated old age is the miracle of Leos Janacek's creative Indian summer. Its cause was the Czech composer's passion for the already married Kamila St怀sslovက: they met when he was in his mid-sixties and she was nearly forty years his junior. But despite - or perhaps because of - the fact that it was a largely one-sided affair on his part, he poured his passion into the music he wrote in the last decade of his life and created a series of undoubted masterpieces, including the first of his four late operas, Katya Kabanova. It tells the tragic story of a woman trapped in a loveless marriage, stifled by provincial society -and the mother-in-law from hell. Katya has her brief moment of extra-marital passion which inexorably leads to her suicide.

The pared-down intensity of Janacek's opera with its short, terse, scenes was echoed in director David Alden's acclaimed production, with American soprano Patricia Racette, making her English National Opera debut in the title role. Tenor Stuart Skelton (who made such an impression as Peter Grimes last season at ENO) plays Katya's lover - the man who seems to be in the right place at the right time, and who disappears rather too quickly and easily - and Susan Bickley is the mother in law you're glad you don't have.

Before the opera begins, Martin Handley discusses its themes and origins with Mike Ashman.

Recorded in March at the London Coliseum

6.20pm

Katya Kabanova - Patricia Racette (soprano)

Boris - Stuart Skelton (tenor)

Kabanicha - Susan Bickley (mezzo-soprano)

Tikhon - John Graham-Hall (tenor)

Varvara - Anna Grevelius (mezzo-soprano)

Vanya - Alfie Boe (tenor)

Dikoy - Clive Bayley (bass)

Glasha - Valerie Reid (mezzo-soprano)

Kuligin - Nicholas Folwell (baritone)

Feklusha - Michelle Daly (mezzo-soprano)

Mark Wigglesworth - Conductor

Orchestra of English National Opera.

Martin Handley presents ENO's version of Janacek's tragic opera Katya Kabanova.

Janacek's Katya Kabanova20190427Janacek's tragic opera Katya Kabanova about a lonely wife who longs for love is a devastating portrayal of isolation and guilt, portrayed through some of Janacek's most glorious music. American soprano Amanda Majeski sings the role of Katya who is unhappily married to Tichon Kabanov, and is constantly tormented by his bullying mother, Kabanicha, sung by Susan Bickley. Katya's neighbour Boris, the Czech tenor Pavel Cernoch, also is victimised by his uncle, so when Katya's husband is away on business, Katya and Boris meet and inevitably fall in love. Katya risks everything by their encounter and her insurmountable guilt leads to the opera's devastating end.

Both Amanda Majeski and Pavel Cernoch make their ROH debut in these roles. Edward Gardner conducts the Chorus and Orchestra of the Royal Opera House in this highly acclaimed production and performance.

Flora Willson presents and chats to Janacek expert Nigel Simeone.

Katya.....Amanda Majeski (Soprano)

Vana.....Andrew Tortise (Tenor)

Boris.....Pavel Cernoch (Tenor)

Savel.....Clive Bayley (Bass)

Glasa.....Sarah Pring (Mezzo-soprano)

Feklusa.....Dervla Ramsay (Mezzo-soprano)

Marfa.....Susan Bickley (Mezzo-soprano)

Tichon.....Andrew Staples (Tenor)

Varvara.....Emily Edmonds (Mezzo-soprano)

Kuligin.....Dominic Sedgwick (Baritone)

Royal Opera House Chorus

Royal Opera House Orchestra

Edward Gardner (Conductor)

For full synopsis visit the programme page

Photograph 2019 Clive Barda ROH

Janacek's Katya Kabanova from the Royal Opera House, Covent Garden

Janacek's The Cunning Little Vixen20100529Janacek's The Cunning Little Vixen holds a very special place in the repertoire - an opera whose characters are a mixture of human beings and animals and that started life as a cartoon-strip in a newspaper. It tells the story of the life of a Vixen from the moment she is adopted as a pet by the Forester to the moment she is shot by the Poacher. Inbetween times she's briefly a suffragette, marries and produces countless children. We meet her woodland friends and enemies - and their lives are contrasted with the human characters who live nearby, among them a lonely priest, an elderly schoolmaster and an overworked innkeeper. But the magic of Janacek's score is in the way he portrays all of these lives with his most colourful and deftly woven music, sometimes spiky, sometimes intensely lyrical. Amazingly, the recent performances at the Royal Opera House were the first time the great Janacek interpreter Sir Charles Mackerras had conducted the opera there. He was joined by the Australian soprano Emma Matthews making her house debut in the title role and Christopher Maltman singing the part of the Forester for the first time.

Presented by Martin Handley.

Vixen Sharp-Ears - Emma Matthews (soprano)

Forester - Christopher Maltman (baritone)

Fox - Elizabeth Meister (soprano)

Schoolmaster/Mosquito - Robin Leggate (tenor)

Gamekeeper's Wife/Owl - Madeleine Shaw (mezzo-soprano)

Priest/Badger - Jeremy White (bass)

Harasta - Matthew Rose (bass)

Pasek - Alasdair Elliott (tenor)

Inkeeper's Wife - Elizabeth Sikora (mezzo-soprano)

Pepik - Simona Mihai (soprano)

Frantik - Elizabeth Cragg (soprano)

Rooster/Jay - Deborah Peake-Jones (soprano)

Chief Hen - Glenys Groves (soprano)

Cricket - Peter Shafran (treble)

Caterpillar .....Talor Hanson (child soprano)

Frog - Harry Bradford (treble)

Young Vixen - Eleanor Burke (child soprano)

Woodpecker - Amanda Floyd (mezzo-soprano)

Sir Charles Mackerras, Conductor

Royal Opera Chorus

Children's Chorus

Orchestra of the Royal Opera House.

Charles Mackerras conducts Janacek's magical opera about the life of a vixen.

John Adams's Doctor Atomic20170603John Adams conducts his opera Doctor Atomic at the Barbican with the BBC Symphony Orchestra, BBC Singers and star cast including baritone Gerald Finley as Dr J. Robert Oppenheimer.

Presented by Andrew McGregor

John Adams:

Doctor Atomic Act 1

7.30pm Interval: Andrew McGregor talks to John Adams about the creation of the opera, and discusses John Adams at 70 with Alex Ross, the music critic of the New Yorker and author of 'The Rest Is Noise.

Doctor Atomic Act 2

Dr. J. Robert Oppenheimer - Gerald Finley (baritone)

Kitty - Julia Bullock (soprano)

Edward Teller - Brindley Sherratt (bass)

Robert Wilson, physicist - Andrew Staples (tenor)

Pasqualita - Jennifer Johnston (mezzo-soprano)

General Leslie Groves - Aubrey Allicock (bass-baritone)

Jack Hubbard - Marcus Farnsworth (baritone)

Captain James Nolan - Samuel Sakker (tenor)

Chorus Master: Matthew Morley

Director: Kenneth Richardson

John Adams (conductor)

John Adams conducts his 2005 operatic docudrama about Dr J Robert Oppenheimer and the first detonation of an atomic bomb in the desert near Los Alamos, New Mexico, on 16 July 1945. A troubling and ever-contemporary story, Adams follows the characters involved in the Manhattan Project over two days: an evening in June 1945 and night of the test itself. The libretto, created by Peter Sellars, draws on original source material, including personal memoirs, recorded interviews, technical manuals of nuclear physics, declassified government documents and poetry.

This performance was recorded at the Barbican on 25 April, to great acclaim. In the words of The Guardian: 'You couldn't fault the performance. Adams's conducting, second to none in his own music, had tremendous conviction and unique authority, with every facet of the score's terrible beauty laid bare. There was thrilling playing and choral singing from the BBC Symphony Orchestra and Singers. Returning to the role he created in 2005, Gerald Finley conveyed Oppenheimer's moral agony with singing of great refinement and subtlety: Batter My Heart, in which scientific wonder gives way to the awareness of the enormity of what he is about to unleash, was overwhelming.'.

John Adams conducts Doctor Atomic with the BBC Symphony Orchestra and BBC Singers.

John Adams's Nixon In China20230923John Adams's Nixon in China from the Op退ra Bastille in Paris, starring Thomas Hampson and Ren退e Fleming as Richard and Pat Nixon, conducted by Gustavo Dudamel.

Inspired by US President Richard Nixon's visit to the People's Republic of China in 1972, John Adams's opera with concept by Peter Sellars and libretto by Alice Goodman is less a political drama than an exploration of the different world-views of two peoples, Chinese and American.

This production contains some very strong language that some listeners may find offensive.

Presented by Kate Molleson in conversation with Jonathan Cross.

Richard Nixon, US President - Thomas Hampson (baritone)

Pat Nixon, his wife - Ren退e Fleming (soprano)

Henry Kissinger, US National Security Adviser - Joshua Bloom (bass)

Mao Tse-tung - John Matthew Myers (tenor)

Chiang Ch'ing, Mao's wife - Kathleen Kim (soprano)

Chou En-lai, Chinese Premier - Xiaomeng Zhang (baritone)

Nancy T'ang, First Secretary to Mao - Yajie Zhang (mezzo-soprano)

Second secretary to Mao - Ning Liang (mezzo-soprano)

Third secretary to Mao - Emanuela Pascu (mezzo-soprano)

Paris Opera Chorus and Orchestra

Conductor Gustavo Dudamel

John Adams's Nixon in China from Paris, starring Thomas Hampson and Renee Fleming.

John Adams's The Death Of Klinghoffer20120512Presented by Andrew McGregor

John Adams and his librettist Alice Goodman always knew that using the 1985 hijacking of the cruise ship Achille Lauro as the basis for an opera would be a hot potato. But quite how hot, even he couldn't have predicted. The controversy surrounding 'The Death of Klinghoffer', with its grisly plot including the murder of an elderly, disabled American Jew, has never abated since its 1991 premiere in Brussels. It has taken over twenty years for it to be staged in this country and this production, directed by Tom Morris and recorded at English National Opera, is the first at a British opera house. Andrew McGregor explores the opera's themes and controversy with Penny Woolcock, who herself directed a film of 'Klinghoffer'. And in the interval, former BBC Middle East correspondent Tim Franks throws light on the political background of the region in the mid-80s.

Klinghoffer.....Alan Opie (Baritone)

Captain.....Christopher Magiera (Baritone)

Marilyn Klinghoffer.....Michaela Martens (Mezzo-Soprano)

Molqui.....Edwin Vega (Tenor)

Rambo.....Sidney Outlaw (Baritone)

Mamoud.....Richard Burkhard (Baritone)

Austrian Woman.....Kathryn Harries (Soprano)

First Officer.....James Cleverton (Baritone)

Swiss Grandmother.....Lucy Shaufer (Mezzo-Soprano)

Palestinian Woman.....Clare Presland (Soprano)

British Dancing Girl.....Kate Miller-Heidke (Singer)

Chorus and Orchestra of English National Opera

Conductor.....Baldur Bronnimann.

A performance from the Coliseum in London of John Adams's opera The Death of Klinghoffer.

Jonathan Harvey's Wagner Dream20120505The dying Wagner reflects on his unfinished Buddhist opera, and is reconciled with his wife. Martyn Brabbins conducts a superb British cast, BBC Symphony Orchestra ensemble and IRCAM electronics.

For decades, Wagner pondered an opera on a Buddhist theme. Starting from the sketches he left behind, Harvey has built a rich operatic fantasy. It mingles scenes from Wagner's domestic life with the myth of Prakriti, whose love for the Buddhist monk Ananda is at first thwarted, but finally reaches a chaste fulfilment.

The UK premiere of Jonathan Harvey's opera was recorded during the Total Immersion Weekend at the Barbican in London in January. Presented by Tom Service with Professor Jonathan Cross.

Jonathan Harvey: Wagner Dream (UK premiere).

Simon Bailey (bass) - Vairochana

Claire Booth (soprano) - Prakriti

Richard Angas (bass) - Old Brahmin

Andrew Staples (tenor) - Ananda

Roderick Williams (bass baritone) - Buddha

Hilary Summers (mezzo) - Mother of Prakriti

Gilbert Nouno & Franck Rossi (IRCAM) electronics

Martyn Brabbins (conductor).

Jonathan Harvey's fantasy opera, based on sketches left by Wagner.

Judith Weir's Miss Fortune20120519Tonight's Opera on 3 is a recording of the British premiere of Judith Weir's new opera Miss Fortune, from the Royal Opera House, Covent Garden. Miss Tina Fortune is born into a wealthy family, but loses her luck thanks to the meddling hands of Fate, who is ever-present on stage with her. Her fortune only begins to improve when she confronts Fate, and they come to a truce. Judith Weir's new opera includes break-dancing, lottery wins, exploding kebab vans, and some beautiful music. Sara Mohr-Pietsch presents and talks to Judith Weir and conductor Paul Daniel about the opera.

Presented by Sara Mohr-Pietsch

Tina.....Emma Bell (Soprano)

Simon.....Jacques Imbrailo - Baritone)

Fate.....Andrew Watts (Counter-Tenor)

Donna.....Anne-Marie Owens (Mezzo-Soprano)

Hassan.....Noah Stewart (Tenor)

Lord Fortune.....Alan Ewing (Bass)

Lady Fortune.....Kathryn Harries (Soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

Conductor.....Paul Daniel.

Sara Mohr-Pietsch presents a performance of Judith Weir's opera Miss Fortune.

Julian Anderson's Thebans20140526Presented by Andrew McGregor

Julian Anderson's new opera to a libretto by Frank McGuinness based on Sophocles' Oedipus trilogy from English National Opera. Edward Gardner conducts a cast led by Roland Wood as Oedipus.

Familes are terrifying' says librettist Frank McGuinness about Sophocles' Theban plays, Julian Anderson adds 'It's what happens when you mingle personal and political: they don't mix'. In this version of the Greek dramas, the three individual plays are rendered down to one Act each to create a taught retelling of the story of Oedipus's journey from proud King of Thebes to blind, wandering exile.

In Oedipus the King Thebes is cursed with disease and pestilence and the Delphic Oracle proclaims that to cure itself the city must drive out the man who killed the old king. Roland Wood's Oedipus vows to seek out the killer and in doing so sets a chain of events that leads to the knowledge that he killed his father, married Jocasta - his mother - and fathered three children/siblings. Jocasta kills herself and Oedipus is driven from Thebes.

Anderson and McGuinness reverse the usual order of the second and third plays so that the dark heart of the opera is Antigone - set in a Fascistic state in Pierre Audi's production complete with brutalist decor and a chorus of black-shirts. Oedipus is dead, as are his two sons who have killed each other in a fraternal fight to reclaim the city from their mother's brother Creon who now rules. Only his daughter, Antigone, survives and is engaged to Creon's son but her disobedience in performing funeral rites for one of her dead brothers leads to tragedy and her own death.

The opera spools back time for the final part - Oedipus at Colonus. Set in a post-apocalyptic winter, Oedipus and Antigone stumble to Colonus, a sacred place. He encounters his son Polynices who he curses, Creon arrives with soldiers to carry off Antigone but she is saved by the intervention of Theseus, King of Colonus. Oedipus says goodbye to his daughter and departs the world, while Antigone is left alone to mourn her father.

Act 1 - Oedipus the King

Act 2 - Antigone

Act 3 - Oedipus at Colonus

Oedipus - Roland Wood (Baritone)

Creon - Peter Hoare (Tenor)

Antigone - Julia Sporsen (Soprano)

Tiresias - Matthew Best (Bass)

Jocasta - Susan Bickley (Mezzo-soprano)

Messenger - Christopher Ainslie (Countertenor)

Haemon - Anthony Gregory (Tenor)

Polynices - Jonathan Mcgovern (Baritone)

English National Opera Orchestra

English National Opera Chorus

Edward Gardner (Conductor).

Julian Anderson's opera based on Sophocles's Oedipus trilogy from English National Opera.

Kaija Saariaho's Innocence20230520At a wedding party on a summer's evening in Helsinki the bride and groom seem blissfully happy. But a waitress is shocked to see that the bridegroom is the brother of a boy who, 10 years ago, was responsible for the murder of her daughter, nine other students and a teacher when he went on a shooting spree in the international school her daughter attended.

As Kaija Saariaho's Innocence proceeds, the devastating impact of the horrific act unfurls with a terrible resonance, backwards and forwards in time, pivoting around the wedding party of the present and the victims and witnesses of the past.

Rave reviews from stagings in Aix-en-Provence and Helsinki have preceded the eagerly awaited UK premiere production of Kaija Saariaho's latest opera. Tom Service presents this recording made at the Royal Opera House, Covent Garden.

Kaija Saariaho: Innocence

The Waitress (Tereza) - .. Jenny Carlstedt (mezzo-soprano)

The Mother-in-Law (Patricia) - .. Sandrine Piau (soprano)

The Father-in-Law (Henrik) - Christopher Purves (baritone)

The Bride (Stela) - .. Lilian Farahani (soprano)

The Bridegroom (Tuomas) - .. Markus Nyk䀀nen (tenor)

The Priest - .. Timo Riihonen (bass)

The teacher (Cecilia) - .. Lucy Shelton (soprano)

Student One (Mark退ta) - .. Vilma J䀀䀀 (folk singer)

Student Two (Lilly) - .. Beate Mordal (soprano)

Student Three (Iris) - .. Julie H退ga (actor)

Student Four (Anton) - .. Simon Kluth (actor)

Student Five (Jer nimo) - .. Camilo Delgado D퀀az (tenor)

Student Six (Alexia) - .. Marina Dumont (soprano)

Chorus and Orchestra of the Royal Opera House, Covent Garden

Susanna Malkki (conductor)

Read the full synopsis on the Royal Opera House website: https://bit.ly/3pHY9pf

The UK premiere of Kaija Saariaho's new opera, from the Royal Opera House, Covent Garden.

The UK premiere of Kaija Saariaho's Innocence from the Royal Opera House, Covent Garden.

Keiser's The Fortunes Of King Croesus20071124Christopher Cook introduces a performance from Opera North in Leeds of a rarely heard 18th century German opera by Reinhard Keiser, an early contemporary of Handel.

Croesus tells of a rich and powerful monarch who falls from power and forfeits his fortune. It was a huge success in its day propelled by Keiser's great gift for melody.

In this new production, devised by director Tim Albery with conductor Harry Bicket, it is performed in English and features celebrated American male soprano Michael Maniaci in his UK debut role.

Croesus, King of Lydia - Paul Nilon (tenor)

Atis, Croesus' son - Michael Maniaci (male soprano)

Halimacus, confidant to Atis - Stephen Wallace (countertenor)

Orsanes, in love with Elmira - William Dazeley (baritone)

Clerida, in love with Orsanes - Fflur Wyn (soprano)

Eliates, in love with Clerida - Mark le Brocq (tenor)

Elcius, a bon viveur - John Graham-Hall (tenor)

Queen of Media - Susan Lees (soprano)

Elmira, her daughter - Gillian Keith (soprano)

Trigesta, her lady-in-waiting - Sarah Pring (mezzo-soprano)

Cyrus, King of Persia - Henry Waddington (baritone)

Persian Captain - Paul Gibson (baritone)

Solon, A Greek Philosopher - Eric Roberts (baritone)

Chorus and Orchestra of Opera North

Harry Bicket (conductor).

A performance from Opera North in Leeds of a rarely heard 18th century German opera.

Kevin Puts's The Hours20221210Opening a new season of broadcasts from the New York Met: the stage premiere of The Hours by Kevin Puts, starring Joyce DiDonato, Kelli O'Hara and Ren退e Fleming. Puts's fourth opera, based on the novel by Michael Cunningham which was adapted into the 2002 Oscar-winning film The Hours, was first heard concert in Philadelphia in March this year, conducted by the New York Metropolitan Opera's Music Director Yannick N退zet-S退guin - who now brings it to one of the world's biggest stages.

Presented by Debra Lew Harder with commentator Ira Siff.

Kevin Puts: The Hours

Clarissa Vaughan - Ren退e Fleming (soprano)

Laura Brown - Kelli O'Hara (soprano)

VIRGINIA WOOLF - Joyce DiDonato (mezzo-soprano)

Barbara / Mrs. Latch - Kathleen Kim (soprano)

Kitty / Vanessa - Sylvia D'Eramo (soprano)

Sally - Denyce Graves (mezzo-soprano)

Man Under the Arch / Hotel Clerk - John Holiday (countertenor)

Louis - William Burden (tenor)

LEONARD WOOLF - Sean Panikkar (tenor)

Richard .....Kyle Ketelsen (bass-baritone)

DAN BROWN - Brandon Cedel (bass-baritone)

Walter - Tony Stevenson (tenor)

Nelly - Eve Gigliotti (mezzo-soprano)

Metropolitan Opera Chorus and Orchestra

Conductor Yannick N退zet-S退guin

Details of organisations that can provide help and support on some of the issues raised in this opera are available at bbc.co.uk/actionline.

Opening a new season of broadcasts from the New York Met: the stage premiere of The Hours.

Opening a new season of broadcasts from the New York Met: the stage premiere of The Hours by Kevin Puts, starring Joyce DiDonato, Kelli O'Hara and Ren退e Fleming. Puts's fourth opera, based on the novel by Michael Cunningham which was adapted into the 2002 Oscar-winning film The Hourse, was first heard concert in Philadelphia in March this year, conducted by the New York Metropolitan Opera's Music Director Yannick N退zet-S退guin - who now brings it to one of the world's biggest stages.

Khovanshchina, By Mussorgsky20171104From the Wales Millennium Centre, a work of political machinations and religious upheaval in Welsh National Opera's production of Modest Mussorgsky's Khovanshchina. Premiered in St Petersburg in 1886, Mussorgsky created both the libretto and music for this opera based on true events from 17th century Russia with a country in turmoil. Here, Prince Ivan Khovansky, with his private army of Streltsy soldiers who defend Moscow, joins with the Old Believers, led by Dosifei, to rebel against modernising reforms being enforced by the Tsar. Ivan's son, Prince Andrei, is consumed by passion for Emma, whilst the reformer Prince Golitsyn becomes tainted by intrigue and is forced to flee. It's a story of both personal and political ambitions, as they clash with both religious and institutional forces. This struggle for power results in grave consequences.

Khovanshchina is in five acts, and Mussorgsky adds into this explosive pot the mythical character of Marfa, who is a fortune-teller with a dissolute past. She is linked to all these characters including being once the lover of Prince Andrei, and she also has a vision of Golitsyn's downfall. This paves the way for the reforming reign of Tsar Peter the Great, as do the acts of the aristocrat Shaklovity, who denounces Prince Ivan Khovansky as a rebel and then later assassinates him. In the face of defeat and persecution, Marfa and Prince Andrei join the Old Believers as they prepare the way for their own self-immolation.

This performance, directed by David Pountney, is sung in Russian and includes Igor Stravinsky's ending. Tom  Hanus conducts the Welsh National Opera Chorus and Orchestra, who are joined by the soloists Robert Hayward, Adrian Dwyer, Mark Le Brocq, Simon Bailey, Mikl s Sebesty退n, Sara Fulgoni, Adrian Thompson and Claire Wild. Andrew McGregor presents this opera from the Wales Millennium Centre, and is joined by Anastasia Belina to discuss the social, political and religious overtones present in this unique opera by Mussorgsky.

Prince Ivan Khovansky - Robert Hayward (bass-baritone)

Prince Andrei Khovansky - Adrian Dwyer (tenor)

Prince Vasily Golitsyn - Mark Le Brocq (tenor)

Shaklovity - Simon Bailey (bass-baritone)

Dosifei - Mikl s Sebesty退n (bass-baritone)

Marfa - Sara Fulgoni (mezzo-soprano)

Scribe - Adrian Thompson (tenor)

Emma - Claire Wild (soprano)

Susanna - Monika Sawa (soprano)

Welsh National Opera Orchestra

Tom  Hanus, conductor

Produced by Luke Whitlock.

Andrew McGregor presents Mussorgsky's Khovanshchina, performed by Welsh National Opera.

King Roger20080927Szymanowski's King Roger is one of the great operatic masterpieces of the 20th century, a musical melting pot of exoticism and exquisite orchestral colours. This rare staged performance given by the Mariinsky Opera conducted by Valery Gergiev was recorded at this year's Edinburgh International Festival. A deeply philosophical work, Szymanowski's music has a sweeping romanticism and exotic lyricism which dramatises the tensions in the composer's own life between aesthetic excess and a rigorous work ethic.

Staged performance sung in Polish directed by Mariusz Trelinski

SYNOPSIS

The opera is set in Sicily in the 12th century

ACT I

A mysterious Shepherd, who ‘teaches and sings strange songs worshipping an unknown God', has arrived in King Roger's kingdom. News of this disturbs the peace during a Mass in the cathedral. The King's dignitaries advise him to imprison the Shepherd as a heretic. Roger's wife Roxana, however, has perceived the Shepherd's unique charm and his ‘mysterious smile compared to the ones that the sun sends through the clear waters of the forest lake'. Roger wants to find out more about the Shepherd's new faith, and though the congregation call for him to be punished, Roger gives him the right to speak out. The Shepherd responds by saying ‘My God is as youthful and beautiful as I am': his God is a God of joy, lust and pleasure, a God of mercy, unlike the God being worshipped in the cathedral ritual. Roxana gradually falls under the Shepherd's spell and expresses her ecstatic fascination with him. The Shepherd promises King Roger and his people new freedom; the people continue in their religious observance. Roger calls for silence. He allows the Shepherd to leave but tells him to return that evening for a trial. The congregation is petrified. The Shepherd starts to gain superiority over Roger, and as he leaves he threatens ‘remember that you call for me yourself!'.

ACT II

Roger, accompanied by Edrisi, whom he trusts, is filled with anxiety as he awaits the Shepherd. He is troubled by Roxana's emotional response to the Shepherd and senses his own defeat. Roxana makes a moving plea to Roger to show clemency to the Shepherd. He arrives and greets Roger, saying he is an emissary from God. He describes his faith and his background in the East, explaining to Roger that people love him for ‘his smile and singing that encourage dancing'. Roger says his powers come from hell and accuses him of leading people to perdition. A great mysterious Dionysian dance begins. Roxana ecstatically joins in. Roger has a vision: he can see his body fragmenting. Terrified, he orders that the Shepherd be captured. No-one pays any attention. The Shepherd jeers at Roger and calls him to follow him ‘to his sunny shore'. Roxana and the others do so, everyone but the faithful Edrisi abandoning Roger. Finally, he decides to go too, the Shepherd claiming ‘The King became the pilgrim'.

ACT III

Night falls. Roger and Edrisi stay together. Roger calls himself a vagrant and a beggar; he is completely lost and perceives the world as unreal. He calls for Roxana. The Shepherd appears, and as he speaks there is a sudden burst of moonlight. Roger is astonished. Roxana arrives but Roger doubts the reality of her existence. She wants to take him to the palace and assures him that the Shepherd has gone. Roger does not want to believe her. Roxana tries to convince Roger that he should follow the Shepherd's calling. The Shepherd appears as Dionysus. Roger makes a sacrifice to him. The Shepherd calls for his people and Roxana wants to follow him to ‘the land of rapture'. As day breaks, the dying Rogers gives himself to the sun.

© Piotr Gruszczynski

Valery Gergiev conducts the Mariinsky Opera in Szymanowki's exotic philosophical opera.

La Boh\u00e8me20210605Puccini's La Boh?me from the New York Metropolitan Opera with Angel Blue and Dmytro Popov as the poverty-stricken couple Mim? and Rodolfo in this Parisian garret love story. Struggling poet Rodolfo finds pretty seamstress Mim? is the perfect girl next door, but she has an ominous cough... Meanwhile their friends Marcello and Musetta are falling in and out of love every five minutes.

Presented by Mary Jo Heath with commentator Ira Siff.

Mim? - Angel Blue (soprano)

Rodolfo - Dmytro Popov (tenor)

Marcello, a painter - Lucas Meachem (baritone)

Musetta, a singer - Brigitta Kele (soprano)

Schaunard, a musician - Duncan Rock (baritone)

Colline, a philosopher - David Soar (bass)

Benoit, the landlord / Alcindoro. a state councillor - Paul Plishka (bass)

Parpignol, a toyseller - Daniel Clark Smith (tenor)

Customs officials - Ross Benoliel, Yohan Yi (baritones)

Met Orchestra and Chorus

Conductor Alexander Soddy

Puccini's La Boh\u00e8me from the New York Metropolitan Opera with Angel Blue and Dmytro Popov.

Puccini's La Boh耀me from the New York Metropolitan Opera with Angel Blue and Dmytro Popov as the poverty-stricken couple Mim쀀 and Rodolfo in this Parisian garret love story. Struggling poet Rodolfo finds pretty seamstress Mim쀀 is the perfect girl next door, but she has an ominous cough... Meanwhile their friends Marcello and Musetta are falling in and out of love every five minutes.

Mim쀀 - Angel Blue (soprano)

La Calisto20081025Cavalli's La Calisto

Ivor Bolton conducts young soprano Sally Matthews and countertenor Lawrence Zazzo in David Alden's Royal Opera House production of Cavalli's tale of the shenanigans of the Roman gods and the mortals with whose lives they meddle.

A sex comedy based on an Ovid myth, the plot focuses on the complications and confusion that arises as the chief of the Gods, Giove, lusts for the virginal and naive Calisto.

Presented by Catherine Bott.

Calisto - Sally Matthews (soprano)

Destiny/Diana/First Fury - Monica Bacelli (mezzo-soprano)

Endimione - Lawrence Zazzo (countertenor)

Giove - Joao Fernandes (bass)

Nature/Satirino/Second Fury - Dominique Visse (countertenor)

Eternity/Giunone - Veronique Gens (soprano)

Mercurio - Markus Werba (baritone)

Linfea - Guy de Mey (tenor)

Pane - Ed Lyon (tenor)

Silvano - Clive Bayley (bass)

Monterverdi Continuo Ensemble

Members of the Orchestra of the Age of Enlightenment

Ivor Bolton (conductor).

Ivor Bolton conducts soprano Sally Matthews in Cavalli's tale of the Roman gods' antics.

La Calisto, Chaste, Chased And Changed20190608From a production from the Teatro Real, Madrid, in March. Cavalli's opera of pursuit and transformation of the nymph Calisto.

Chased by Jove, and then pursued by his jealous queen Juno, Calisto can't hide anymore. Added to that, she has broken her vows of chastity to Diana the huntress and is turned into a bear. Add a subplot of a love-struck Endymion (for Diana) and more revenge, this time from Pan (on Diana) and the Classical Gods are certainly not setting humanity a good example. No-one is going to emerge with their dignity intact except maybe Calisto, whose reward is to achieve immortality in the stars as the constellation the 'Great Bear'.

Martin Handley introduces this performance recorded at the Teatro Real in Madrid, and talks to Cavalli expert Jane Glover.

For full synopsis visit the programme page

La Natura / Satirino / Le Furie - Dominique Visse (countertenor)

L'Eternit

La Cenerentola, By Rossini: Glyndebourne Greats20200606Glyndebourne Greats: La Cenerentola by Rossini

The last in a short season of great performances, recorded in the last couple of decades, at the Glyndebourne Opera Festival: the tale of Cinderella or Goodness Triumphant as seen, in this mix of comedy and drama, by Gioachino Rossini, inspired by Perrault's fairy tale Cendrillon. The mezzo-soprano Ruxandra Donose takes on Cinderella, one of the finest roles written by Rossini, as the young girl forced to serve as maid in her own home by her stepfather, the evil Don Magnifico, sung by the baritone Alessandro Corbelli. Not all is lost as redemption comes by way of love, thanks to Don Ramiro, Prince of Salerno, sung by the tenor Maxim Mironov - and the intervention of a fair amount of luck too! Vladimir Jurowski conducts the Orchestra of the Age of Enlightenment.

Presented by Martin Handley.

Cenerentola.....Ruxandra Donose (Mezzo-soprano)

Don Magnifico.....Alessandro Corbelli (Baritone)

Don Ramiro.....Maxim Mironov (Tenor)

Clorinda.....Raquela Sheeran (Soprano)

Tisbe.....Lucia Cirillo (Mezzo-soprano)

Alidoro.....Umberto Chiummo (Bass Baritone)

Dandini.....Pietro Spagnoli (Baritone)

Vladimir Jurowski (Conductor)

With mezzo-soprano Ruxandra Donose in the title role. Vladimir Jurowski conducts the OAE.

La Clemenza Di Tito20190420From the Metropolitan Opera House, New York

Presented by Mary Jo Heath, in conversation with Ira Siff

Composed to celebrate the coronation of Austrian Emperor Leopold II as King of Bohemia, Mozart's opera of vengeance and forgiveness, set during the Roman Empire, stars mezzo-soprano Joyce DiDonato as Sesto, and tenor Matthew Polenzani as Tito. Lothar Koenigs conducts.

Mozart: La clemenza di Tito

Servilla.....Ying Fang (Soprano)

Vitellia.....Elza van den Heever (Soprano)

Sesto.....Joyce DiDonato (Mezzo-soprano)

Annio.....Emily D'Angelo (Soprano)

Tito.....Matthew Polenzani (Tenor)

Publio.....Christian Van Horn (Bass)

New York Metropolitan Opera Chorus

New York Metropolitan Opera Orchestra

Lothar Koenigs (Conductor)

~Opera On 3 from the Metropolitan Opera House, New York - Mozart's La clemenza di Tito.

La Clemenza Di Tito20210612The Royal Opera House, Covent Garden reopens with Mozart's last opera, La clemenza di Tito: Edgaras Montvidas stars as the Roman Emperor Titus, his legendary clemency sorely tested when his best friend Sextus falls for Vitellia - daughter of the deposed Emperor Vitellius - and conspires against Titus.

Tito (Titus) - Edgaras Montvidas (tenor)

Sesto (Sextus) - Emily D'Angelo (mezzo-soprano)

Vitellia - Nicole Chevalier (soprano)

Annio (Annius), Sesto's friend - Angela Brower (mezzo-soprano)

Servilia, Sesto's sister - Christina Gansch (soprano)

Publio (Publius), prefect of the praetorian guard - Joshua Bloom (bass)

Chorus and Orchestra of the Royal Opera House, Covent Garden

Conductor Mark Wigglesworth

The Royal Opera House reopens with Mozart's last opera, La clemenza di Tito.

Synopsis:

Act 1: Enraged that the emperor Titus has not chosen her as his

bride, Roman noblewoman Vitellia persuades Titus's best

friend Sextus (who is in love with her) to assassinate the

Emperor. Sextus engulfs the Capitol of Rome in flames, but in

the confusion attempts to kill the wrong man.

Act 2: Sextus is arrested and refuses to implicate Vitellia. Titus,

however, cannot bring himself to condemn his best friend to

death, and is about to pardon Sextus when Vitellia admits her

guilt and her motive. Titus forgives her as well, and all join to

celebrate the redemptive power of his clemency.

21.20

Julius Aglinskas: Blue Dusk (BBC Commission)

Apartment House

(Gordon MacKay and Mira Benjamin (violins), Bridget Carey (viola), Anton Lukoszevieze (cello), Kerry Yong (piano), Alan Thomas (e-guitar)

Recorded in the BBC Radio Theatre 30th October 2020

La Damnation De Faust20211113Vienna Philharmonic at the 2021 Salzburg Festival: Berlioz' La Damnation de Faust.

Over the next two weeks Opera on 3 presents two French takes on the Faust legend, in which the hero exchanges his soul for unlimited knowledge. Today: a concert presentation of Berlioz's compelling and imaginative version - like the masterpiece it's based on, wild and grandiose but also intimately beautiful.

The cast is an ideal line-up of stars: tenor Charles Castronovo sings the doomed and besotted Faust, with the dazzling mezzo-soprano Elina Garanca as his forsaken lover Marguerite and bass Ildar Abdrazakov as the malevolent M?phistoph?l?s. Alain Altinoglu conducts.

Presented by Tom Service, in conversation with William Mival.

Berlioz: La Damnation de Faust, op. 24, dramatic legend in four parts

Marguerite: Elina Garanca, mezzo-soprano

Faust: Charles Castronovo, tenor

M?phistoph?l?s: Ildar Abdrazakov, bass

Brander: Peter Kellner, bass-baritone

Vienna State Opera Chorus Concert Association

Salzburg Festival and Theatre Children's Choir

Vienna Philharmonic Orchestra

Alain Altinoglu, conductor

In Opera on 3 at the same time next week: Gounod's Faust

Image: © SF / Marco Borrelli

The Vienna Philhamonic perform Berlioz's La Damnation de Faust in Salzburg.

The cast is an ideal line-up of stars: tenor Charles Castronovo sings the doomed and besotted Faust, with the dazzling mezzo-soprano Elina Garanca as his forsaken lover Marguerite and bass Ildar Abdrazakov as the malevolent M退phistoph退l耀s. Alain Altinoglu conducts.

M退phistoph退l耀s: Ildar Abdrazakov, bass

Le Nozze Di Figaro20080705From the Royal Opera House, Covent Garden, Charles Mackerras conducts bass-baritone Ildebrando D'Arcangelo and soprano Aleksandra Kurzak in a revival of David McVicar's critically praised production of Mozart's comic opera.

The scene is Figaro's wedding day, and his master Count Almaviva is determined to reinstate his feudal right to the favours of Figaro's fiancee Susanna. Amid various mistaken identities and then reconciliations, Susanna and her mistress, the long-suffering Countess, plot to ensure that this cannot happen.

Presented by Suzy Klein.

With Ildebrando D'Arcangelo (bass-baritone), Aleksandra Kurzak (soprano), Peter Mattei (baritone), Barbara Frittoli (soprano), Anna Bonitatibus, Ann Murray (mezzo-soprano), Robert Lloyd (bass), Robin Leggate (tenor), Harry Nicoll (tenor), Kishani Jayasinghe (soprano), Donald Maxwell (baritone).

Orchestra of the Royal Opera House

Royal Opera Chorus

Charles Mackerras (conductor).

Charles Mackerras conducts Ildebrando D'Arcangelo in Mozart's comic opera.

Leoncavallo's Zaz\u00e020201121Leoncavallo's Zaz
Leos Jan\u00e1cek: The Cunning Little Vixen20220618One of the few operas inspired by a cartoon strip, The Cunning Little Vixen is one of Janက??ek's late, great works. Despite its simple story (a forester captures a vixen who then escapes, breeds and is eventually shot by a poacher) the opera nevertheless explores the big themes as the human condition - ageing, life lived in misery and regret - is contrasted with the freedom, joy and vigour of animal life and the ineluctable force of nature and its constant renewal.

Soprano Sally Matthews took the title role in English National Opera's new production, including a cast of fauna drawn from local schools, and in the pit, MARTYN BRABBINS conducted Janက??ek's luminous score.

Recorded in February at the Coliseum in London and introduced by Flora Willson in conversation with Nigel Simeone.

Acts 1 & 2

7.40 pm

Interval

7.55 pm

Act 3

Vixen Sharp Ears - Sally Matthews (soprano)

Forester - Lester Lynch (baritone)

Fox - Pumeza Matshikiza (soprano)

Schoolmaster/Mosquito - Alan Oke (tenor)

Priest/Badger - Clive Bayley (bass)

Forester's Wife/Owl - MADELEINE SHAW (mezzo-soprano)

Dog - Claire Barnett-Jones (mezzo-soprano)

Harašta a poacher - Ossian Huskinson (bass-baritone)

Innkeeper/Cock - John Findon (tenor)

Inkeeper's Wife/Hen - Gweneth Ann Rand (mezzo-soprano)

Pepik/Woodpecker - Alexandra Oomens (soprano)

Frantik/Jay - Ffion Edwards (soprano)

Frog - Robert Berry-Roe (treble)

Cricket - Ethan James (treble)

Grasshopper - Kavya Kutsa (child soprano)

Young Vixen - Esme Gupta-Wright (child soprano)

Chorus and Orchestra of English National Opera

MARTYN BRABBINS (conductor)

Read the full synopsis on the English National Opera website: httpshttps://bit.ly/3w6QOPr

Jan\u00e1\u010dek's pantheist hymn to nature, The Cunning Little Vixen, from English National Opera.

One of the few operas inspired by a cartoon strip, The Cunning Little Vixen is one of Janက?ek's late, great works. Despite its simple story (a forester captures a vixen who then escapes, breeds and is eventually shot by a poacher) the opera nevertheless explores the big themes as the human condition - ageing, life lived in misery and regret - is contrasted with the freedom, joy and vigour of animal life and the ineluctable force of nature and its constant renewal.

Soprano Sally Matthews took the title role in English National Opera's new production, including a cast of fauna drawn from local schools, and in the pit, Martyn Brabbins conducted Janက?ek's luminous score.

Read the full synopsis on the English National Opera website https://bit.ly/3w6QOPr

Les V\u00eapres Siciliennes2013111820201017 (R3)Another chance to hear Verdi's Les Vꀀpres Siciliennes, recorded in 2013 as part of BBC Radio 3's Verdi 200 celebrations, Donald Macleod presents the opera and is joined by Verdi expert Flora Willson as Antonio Pappano conducts the Royal Opera's first-ever staging of Verdi's five-act grand opera, directed by Stefan Herheim in his UK debut.

H退l耀ne ... Lianna Haroutounian (soprano)

Henri ... Bryan Hymel (tenor)

Procida ... Erwin Schrott (bass)

Guy de Montfort ... Michael Volle (baritone)

Ninetta ... Michelle Daly (contralto)

Thibault ... Neal Cooper (tenor)

Dani退li ... Nicolas Darmanin (tenor)

Mainfroid ... Jung Soo Yun (tenor)

Robert ... Jihoon Kim (baritone)

Le Sire de B退thune ... Jean Teitgen (bass)

Le Comte de Vaudemont ... Jeremy White (bass)

Royal Opera Chorus

Orchestra of the Royal Opera House

Conducted by Antonio Pappano

Written for the Paris Opera in 1855, Verdi adopted the elaborate styles and traditions of French Grand opera in Les Vꀀpres Siciliennes. It is a tale of family relationships, loyalty, patriotism and revenge.

Based on a story set in 1282, Sicily has been invaded by the French, and the Duchess H退l耀ne (sung by soprano Lianna Haroutounian) is being held hostage by Montfort (baritone Michael Volle), the French governor. H退l耀ne reveals that her brother was executed by Montfort and she is seeking revenge, and is assured by Henri (tenor Bryan Hymel) how deeply he despises Montfort, although he does not realise that he is Montfort's son. Procida (bass Erwin Schrott) is a Sicilian, also seeking revenge after the French attack, and he involves Henri and H退l耀ne in a plot to assassinate Montfort. However, once he knows he is Montfort's son, Henri is torn between his love for H退l耀ne and his loyalty to his father and country, and ultimately this predicament leads to everybody losing everything.

Verdi's Les Vepres Siciliennes from the Royal Opera House.

Lessons In Love And Violence20180602George Benjamin's 2012 Written on Skin was a phenomenal worldwide success, so his latest opera, which once more reunites Benjamin with playwright Martin Crimp and director Katie Mitchell, has been hotly anticipated.

Lessons in Love and Violence explores the corrupting influence of duty, power and realpolitik on love, loyalty and affection as Edward II is forced to choose between the conflicting demands of statesmanship and his lover, Piers Gaveston. As the court looks on appalled by Gaveston's excesses and his hold over Edward, the famine-ridden country descends into civil war. Violence begets yet more violence as the ensuing power struggle intensifies between the king and his disaffected courtier Mortimer, his queen Isabel and his brutalised young son. George Benjamin himself conducts an international cast.

Recorded last month at the Royal Opera House, Covent Garden and presented by Tom Service in conversation with Fiona Maddocks.

King - St退phane Degout (bartione)

Isabel - Barbara Hannigan (soprano)

Gaveston / Stranger - Gyula Orendt (baritone)

Mortimer - Peter Hoare (tenor)

Boy / Young King - Samuel Boden (tenor)

Witness 1 / Singer 1 / Woman 1 - Jennifer France (soprano)

Witness 2 / Singer 2 / Woman 2 - Krisztina Szab  (mezzo-soprano))

Witness 3 / Madman - Andri Bj怀rn R bertsson (bass-baritone)

Orchestra of the Royal Opera House

George Benjamin (conductor).

The premiere of George Benjamin's hotly anticipated new opera Lessons in Love and Violence

Ligeti's Le Grand Macabre20091114Presented by Ivan Hewett.

In a performance given at Le Theatre de la Monnaie in Brussels, Leo Hussain conducts Ligeti's Le Grand Macabre with an international cast in a production by innovative Catalan theatre company La Fura dels Baus.

Ligeti's anarchic opera centres on a set of 'stock' characters, including a pair of young lovers, a cuckolded husband and domineering wife, a drunk, a pair of corrupt politicians and a corpulent prince. They live in a timeless dystopian 'Breughelland', visited by Death who promises the end of world but, though drink and incompetence, fails to deliver.

6.00pm

Ivan Hewett introduces Ligeti's 'anti-anti-opera' - as the composer himself called it - with the help of Ligeti's biographer Richard Steinitz.

6.10pm

Le Grand Macabre: Scenes 1 and 2

6.55pm

Richard Steinitz reveals more about the hidden depths and difficult gestation of this remarkable piece of theatre.

7.10pm

Le Grand Macabre: Scenes 3 and 4

Piet the Pot - Chris Merritt (tenor)

Amando - Frances Bourne (mezzo-soprano)

Amanda - Ilse Eerens (soprano)

Nekrotzar - Werner Van Mechelen (baritone)

Astradamors - Frode Olsen (bass)

Mescalina - Ning Liang (mezzo-soprano)

Venus - Barbara Hannigan (soprano)

Prince Go-Go - Brian Asawa (countertenor)

Ruffiak - Bernard Villiers (baritone)

Schobiack - Gerard Lavalle (baritone)

Schabernack - Jacques Does (baritone)

White Minister - Eberhard Lorenz (actor)

Black Minister - Martin Winkler (actor)

Gepopo/Chief of Secret Police - Barbara Hannigan (soprano)

La Monnaie Symphony Orchestra and Chorus

Leo Hussain (conductor)

Contains strong language.

Ligeti's 'nearly apocalyptic' blackly comic opera. Contains strong language.

Live From The Met In New York: Wagner's Parsifal20180217Live from the Met in New York, Wagner's Parsifal, telling the story of this hero's quest for the Holy Grail, is a mystical tale of pardon and redemption, full of symbolism and based on a medieval epic legend. The tenor Klaus Florian Vogt takes the title role, with the soprano Evelyn Herlitzius as Kundry and the bass Ren退 Pape as Gurnemanz. The Met's Music Director Designate Yannick N退zet-S退guin conducts the Metropolitan Opera Orchestra and Chorus.

Presented by Mary Jo Heath and Ira Siff.

Parsifal - Klaus Florian Vogt (tenor)

Kundry - Evelyn Herlitzius (soprano)

Gurnemanz - Ren退 Pape (bass)

Amfortas - Peter Mattei (baritone)

Klingsor - Evgeny Nikitin (bass-baritone)

Metropolitan Opera Chorus

Yannick N退zet-S退guin (Conductor).

Live from the Met in New York: Wagner's Parsifal. Yannick Nezet-Seguin conducts.

Live From The Met: Elektra, Prom 75: Silk Road Ensemble With Yo-yo Ma, Bbc Proms20091226Richard Strauss's Elektra, live from the Metropolitan Opera, New York, conducted by Fabio Luisi, with soprano Susan Bullock in the title role.

Strauss's one-act opera tells the bloody story of Elektra and her dysfunctional family. She has sworn vengeance for the murder of her father King Agamemnon by her mother Klytaemnestra. The opera tells the story of how she eventually achieves this, at the cost of several lives including, finally, her own.

Susan Bullock won an Royal Philharmonic Society award for her portrayal of the obsessed princess when she performed the role at Covent Garden earlier in 2009. A first-rate cast also includes Felicity Palmer as Klytaemnestra and Deborah Voigt as Chrysothemis.

Presented by Margaret Juntwait with guest commentator Ira Siff.

Elektra - Susan Bullock (soprano)

Chrysothemis - Deborah Voigt (soprano)

Klytaemnestra - Felicity Palmer (mezzo-soprano)

Aegisth - Wolfgang Schmidt (tenor)

Orestes - Evgeny Nikitin (bass-baritone)

Metropolitan Opera Orchestra

Fabio Luisi (conductor).

Fabio Luisi conducts Strauss's Elektra, with soprano Susan Bullock in the title role.

The sounds of East meeting West with cellist Yo-Yo Ma and his Silk Road Ensemble.

The world's greatest classical music festival - stunning performances and collaborations.

Love And Other Demons20081011(see below for summary and cast list)

Synopsis: ACT I

The action takes place in a colonial sea port in Colombia in

the 18th century.

The Bishop stands with his librarian, Cayetano Delaura, overlooking the town that is under his care. A solar eclipse is about to occur and the Bishop advises Delaura against looking directly at the sun. Simultaneously, Sierva Mar퀀a de Todos Los Angeles, the daughter of the Marquis Don Ygnacio, is visiting the market used by the African slaves. As the eclipse takes place, Sierva slips away from the slave who is looking after her and is bitten by a dog.

Back home at the Marquis's villa, the slaves, led by Dominga, who has raised Sierva since she was a baby, celebrate the girl's birthday in African fashion. In the middle of the ceremony, Sierva collapses and Dominga discovers the dog bite. The Marquis Don Ygnacio, Sierva's father, appears and asks what is being celebrated. Dominga reminds him that it is his daughter's birthday. Ygnacio tries to pull off the African necklaces that have been placed on his daughter, but she resists, terrified.

Meanwhile the Bishop has summoned the Abbess Josefa of the Convent of St Clare. He has heard that the dog that bit Sierva was rabid, that she is now infected and behaving as if she were possessed. Reluctantly the Abbess agrees to take Sierva into the care of the Convent until she is better. The Bishop instructs Delaura to take charge of the girl's salvation.

The Marquis Don Ygnacio has summoned the doctor, Abrenuncio, to his house. While Abrenuncio examines Sierva, Ygnacio upbraids Dominga for not telling him about the dog bite sooner. Dominga responds that she thinks that Sierva's distress is not rabies, but stems from the absence of a mother in her life. Alone, Ygnacio remembers his dead wife, Sierva's mother Olalla. Abrenuncio appears. His diagnosis is laconic, Sierva may or may not have rabies, but if she does, there is nothing that can be done, except to wait and do everything possible to make her happy. A letter arrives from Abbess Josefa detailing the Bishop's instructions that Sierva should be cared for in the Convent. Despite Sierva's protests and Dominga and Abrenuncio's foreboding, Ygnacio hopelessly acquiesces to the Bishop's demand.

At the Convent of St Clare, Sierva is left alone to wait for the Abbess. While she waits, she talks with the birds and sings a Yoruba song. Josefa and the nuns appear and begin to strip Sierva of her finery. When they try to remove her necklaces, she resists so violently that Josefa and the nuns become convinced that she is possessed. She is locked in a cell.

In the cell she is cared for by Martina Laborde, a former nun who is

now imprisoned in the convent for her crime. Martina tells Sierva she should ask her demons to fly her out of the convent, because no one else will rescue her. Sierva believes she will be going home soon.

Delaura appears. From the first, Sierva wrong-foots him and he finds himself more and more engaged by her. Rebuffed by Sierva, Delaura discovers that his concern for her has grown into a passionate obsession: he is possessed.

ACT II

The doctor, alone, reflects on the nature of possession. Delaura comes to the Bishop, worried by the feelings that Sierva is arousing in him. He tells of a dream that he has had, imagining Sierva alone in a winter landscape. Delaura doubts that Sierva is possessed, but the Bishop overrules him. Sierva, half-awake, dreams the same dream as Delaura. She is awakened by Martina, who wants to know more about Sierva's demons: she wants their help escaping from the convent. They are disturbed by Delaura, who sends Martina away. Alone together, Delaura declares his love for Sierva. They recite the sonnets by Garcilaso de la Vega that he has been teaching her and grow closer and closer. Abbess Josefa appears and throws Delaura out. Martina begins to cut Sierva's hair in preparation for her exorcism. Delaura reappears, but the nuns surround Sierva and drive him away.

The exorcism begins. Delaura attempts once more to rescue Sierva,

but is driven back again. Josefa comforts Sierva as the Bishop continues the exorcism. Sierva attacks him and is dragged back to her cell. There she hears the cry of a peacock, the sign of Oshun, the Yoruba goddess of love to whom Dominga dedicated her. She begs Oshun to take her soul. The dream she shared with Delaura becomes a reality.

©Edward Kemp

Peter Eotvos's opera in two acts, performed at Glyndebourne. Vladimir Jurowski conducts.

Madama Butterfly20180303The young Japanese geisha girl Cio-Cio-San marries a dashing American Lieutenant, Pinkerton, only for him to desert her soon after the wedding. She's sure he'll come back to her one day, and three years later he does - but with a new wife, and wanting to take his and Cio-Cio-San's child away with them. Ermonela Jaho sings the tragic Butterfly, with Roberto Aronica as the man who breaks her heart.

Presented from the Met by Mary Jo Heath and Ira Siff.

Puccini Madama Butterfly

Cio-Cio-San - Ermonela Jaho (soprano)

Suzuki - Maria Zifchak (mezzo-soprano)

Pinkerton - Roberto Aronica (tenor)

Sharpless - Roberto Frontali (baritone)

Metropolitan Opera Chorus and Orchestra

Marco Armiliato (conductor).

Puccini's Madama Butterfly from the Metropolitan Opera in New York.

Manon20100710Massenet's Manon recorded last week at the Royal Opera House, Covent Garden. Music Director Antonio Pappano conducts a cast headed by soprano Anna Netrebko and tenor Vittorio Grigolo. The performance is presented by Martin Handley who is joined by French music expert Claire Launchbury.

When we first meet the young Manon she is on her way to a convent where she expects to spend the rest of her life. But she encounters a young nobleman, the Chevalier des Grieux, and her life is changed forever. The opera follows her as she tries to come to terms with the conflicts imposed by love, wealth, family and faith - a story that inspires Massenet to compose some of his most memorable and lyrical music.

Manon Lescaut - Anna Netrebko (soprano)

Chevalier des Grieux - Vittorio Grigolo (tenor)

Lescaut - Russell Braun (tenor)

Guillot de Morfontaine - Christophe Mortagne (tenor)

De Bretigny - William Shimell (baritone)

Pousette - Simona Mihai (sorpano)

Javotte - Louise Innes (mezzo-soprano)

Rosette - Kai Ruutel (mezzo-soprano)

Inkeeper - Lynton Black (bass-baritone)

Comte des Grieux - Christof Fischesser (bass)

Sergeant - John Bernays (bass)

Antonio Pappano - Conductor

Royal Opera Chorus

Orchestra of the Royal Opera House.

Martin Handley presents a new production of Massenet's great opera starring Anna Netrebko.

Maria Callas At The Met: Lucia Di Lammermoor20210213This evening's opera from the Metropolitan Opera House in New York is a historic performance of Donizetti's Lucia di Lammermoor from December 8th 1956, with soprano Maria Callas. It was Callas' only Met radio broadcast.

Donizetti's tragic masterpiece tells of the innocent Lucia who is forced into a marriage with Arturo Bucklaw by her brother Enrico to save the family fortunes, although Lucia is desperately in love with Edgardo Ravenswood. Enrico's ruthlessness and deceit devastate his fragile sister Lucia, with tragic consequences.

The Chorus and Orchestra of the Metropolitan Opera House is conducted by Italian-born American operatic conductor, Fausto Cleva.

This remarkable performance from the Met's archives is presented by Mary Jo Heath with commentator Ira Siff and promises to be an unforgettable evening. During the second interval, at 7.55pm, there's a chance to hear rare archive footage from the Met of Maria Callas talking about her relationship with the Met and her preparation for the role of Lucia in tonight;s opera.

Donizetti: Lucia di Lammermoor

Lucia.....Maria Callas (soprano)

Sir Edgardo di Ravenswood.....Giuseppe Campora (tenor)

Lord Enrico Ashton.....Enzo Sordello (baritone)

Raimondo Bidebent.....Nicola Moscona (bass)

Normanno.....James Mccracken (tenor)

Alisa.....Thelma Votipka (mezzo-soprano)

Lord Arturo Bucklaw.....Paul Franke (tenor)

New York Metropolitan Opera Orchestra

New York Metropolitan Opera Chorus

Fausto Cleva (conductor)

Synopsis

ACT I

Scotland, mid-19th century. An intruder has been spotted at night on the grounds of Lammermoor Castle, home of Enrico Ashton. Normanno, the captain of the guard, sends Enrico's men off in search of the stranger. Enrico arrives, troubled. His family's fortunes are in danger, and only the arranged marriage of his sister, Lucia, with Lord Arturo can save them. The chaplain Raimondo, Lucia's tutor, reminds Enrico that the girl is still mourning the death of her mother. But Normanno reveals that Lucia is concealing a great love for Edgardo di Ravenswood, leader of the Ashtons' political enemies. Enrico is furious and swears vengeance.

Just before dawn at a fountain in the woods nearby, Lucia and her companion Alisa are waiting for Edgardo. Lucia relates that, at the fountain, she has seen the ghost of a girl who was stabbed by her jealous lover. Alisa urges her to leave Edgardo, but Lucia insists that her love for Edgardo brings her great joy and may overcome all. Edgardo arrives and explains that he must go to France on a political mission. Before he leaves he wants to make peace with Enrico. Lucia, however, asks Edgardo to keep their love a secret. Edgardo agrees, and they exchange rings and vows of devotion.

ACT II

It is some months later, on the day that Lucia is to marry Arturo. Normanno assures Enrico that he has successfully intercepted all correspondence between the lovers and has in addition procured a forged letter, supposedly from Edgardo, that indicates he is involved with another woman. As the captain goes off to welcome the groom, Lucia enters, continuing to defy her brother. Enrico shows her the forged letter. Lucia is heartbroken, but Enrico insists that she marry Arturo to save the family. He leaves, and Raimondo, convinced no hope remains for Lucia's love, reminds her of her late mother and she finally agrees.

As the wedding guests arrive in the Great Hall, Enrico explains to Arturo that Lucia is still in a state of melancholy because of her mother's death. The girl enters and reluctantly signs the marriage contract. Suddenly Edgardo bursts in, claiming his bride. The entire company is overcome by shock. Arturo and Enrico order Edgardo to leave, but he insists that he and Lucia are engaged. When Raimondo shows him the contract with Lucia's signature, Edgardo curses her and tears his ring from her finger before finally leaving in despair and rage.

ACT III

Enrico visits Edgardo at his dilapidated home and taunts him with the news that Lucia and Arturo have just been married. The two men agree to meet at dawn for a duel. Back at Lammermoor, Raimondo interrupts the wedding festivities with the news that Lucia has gone mad and killed Arturo. Lucia enters, covered in blood. She recalls her meetings with Edgardo and imagines she is with him on their wedding night. She vows she will never be happy in heaven without her lover and that she will see him there. When Enrico returns, he is enraged at Lucia's behaviour but soon realizes that she has lost her senses. After a confused and violent exchange with her brother, Lucia collapses.

In the graveyard, Edgardo laments that he has to live without Lucia and awaits his duel with Enrico, which he hopes will end his own life. Guests coming from Lammermoor Castle tell him that the dying Lucia has called his name. As he is about to rush to her, Raimondo announces that she has died. Determined to join Lucia in heaven, Edgardo stabs himself.

Donizetti's Lucia di Lammermoor from the Met starring Maria Callas

Mark-anthony Turnage: Coraline20180421Kate Molleson presents the world premiere production of Mark-Anthony Turnage's Coraline - an operatic version of the dark fantasy tale by Neil Gaiman, directed by Aletta Collins with libretto by Rory Mullarkey. Soprano Mary Bevan sings the title-role with a cast including mezzo-soprano Kitty Whately and baritone Alexander Robin Baker who are making their Royal Opera debuts. Sian Edwards conducts the Britten Sinfonia.

During the interval, Kate is joined by guest Fiona Maddocks with contributions from Mark-Anthony Turnage and Mary Bevan.

Neil Gaiman has transformed the landscape of children's literature with his highly inventive, atmospheric and otherworldly narratives. His prize-winning novella, Coraline is packed with astonishing imagery - a much-loved story about a girl who discovers a door in her parents' house, leading to an entirely different place and family. For Mark-Anthony Turnage 'the fundamental message beneath the story is that we shouldn't be afraid to do what we believe is right. Coraline is brave, not because she doesn't cry or get scared, but because despite these things she still tries her best and doesn't give up. That's why I wanted to write Coraline, because here's a message well worth telling; through opera or in any other way.

Coraline - Mary Bevan (soprano)

Mother/Other Mother - Kitty Whately (mezzo-soprano)

Father/Other Father - Alexander Robin Baker (baritone)

Miss Spink/Ghost Child 1 - Gillian Keith (soprano)

Miss Forcible ....Frances McCafferty (mezzo-soprano)

Mr Bobo/Ghost Child 2 - Harry Nicoll (tenor)

Ghost Child 3 - Dominic Sedgwick (baritone)

Sian Edwards (conductor)

6.30 pm Act 1

7.30 pm Interval

7.45 pm Act 2.

Coraline by Mark-Anthony Turnage, based on Neil Gaiman's fantasy novella.

Mascagni's Cavalleria Rusticana And Leoncavallo's Pagliacci20160206From the Royal Opera House, Covent Garden a new production of one of the most popular double-acts in the operatic repertoire, 'Cav and Pag' - Mascagni's Cavalleria rusticana and Leoncavallo's Pagliacci. Set in small villages in southern Italy/Sicily, both operas are part of the verismo movement, presenting a slice of real life with all its disappointments and betrayals on the stage. In Cav, Santuzza makes the fateful decision to tell Alfio of his wife's affair with the man she loves, while in Pag, Nedda's affair is avenged by her husband while they're both on stage during the famous play within a play. Aleksandrs Antonenko stars in both operas as Turiddu and Canio, and Dimitri Platanias as Alfio and Tonio, while Eva-Maria Westbroek and Carmen Giannattasio play the unfortunate women in their lives. Martin Handley presents, and is joined in the box by musicologist and opera historian Alexandra Wilson to talk about the operas' history and the impact of the verismo movement. Plus Martin Handley interviews director Damiano Michieletto about his concept for the productions, and conductor Antonio Pappano explains why the music in these two operas sit so well together.

Mascagni: Cavalleria rusticana

Santuzza - Eva-Maria Westbroek (soprano)

Turridu - Aleksandrs Antonenko (tenor)

Alfio - Dimitri Platanias (baritone)

Lucia - Elena Zilio (mezzo-soprano)

Lola - Martina Belli (mezzo-soprano)

Leoncavallo: I Pagliacci

Canio - Aleksandrs Antonenko (tenor)

Nedda - Carmen Giannattasio (soprano)

Tonio - Dimitri Platanias (baritone)

Silvio - Dionysios Sourbis (baritone)

Beppe - Benjamin Hulett (tenor)

Royal Opera Chorus

Orchestra of the Royal Opera House

Antonio Pappano (conductor).

From the Royal Opera House, Mascagni's Cavalleria Rusticana and Leoncavallo's Pagliacci.

Mascagni's Guglielmo Ratcliff20151031Live from Wexford Festival Opera and Ireland's National Opera House, Mascagni's 'Guglielmo Ratcliff' in a new production of this rarely performed opera by director Fabio Ceresa.

Presented by Sean Rafferty

Mascagni was captivated by the young Scottish romantic anti-hero of Heine's play Wilhelm Ratcliff, and he began composing his opera Guglielmo Ratcliff 1882 whilst a student in Milan but set it aside in order to compose Cavalleria rusticana for a competition. He won the competition and made his name as a composer.

The role of Guglielmo Ratcliff has the reputation of being one of the most demanding roles ever written for a tenor. The opera is set in northern Scotland and is a tragic but confusing story of love and jealousy. Maria MacGregor (sung by Mariangela Sicilia) has rejected Guglielmo Ratcliff (Angelo Villari) as a husband but he is determined that she will marry no-one else.

Francesco Cilluffo conducts soloists and the Chorus and Orchestra of Wexford Festival Opera

Guglielmo Ratcliff: Angelo Villari

Maria: Mariangela Sicilia

Count Douglas: David Stout

Margherita: Annunziata Vestri

MacGregor: Gianluca Buratto

Lesley: Alexandros Tsilogiannis

Tom: Quentin Hayes

Willie: Sarah Richmond

Robin: Henry Grant Kerswell

Dick: Stephen Anthony Brown

Bell: Rory Musgrave

John: Matthew Wright

Taddie: Raffaele D'Ascanio

A Servant: Simon Chalford Gilkes

Francesco Cilluffo (conductor).

Live from Wexford Festival Opera, Sean Rafferty presents Mascagni's Guglielmo Ratcliff.

Massenet's Cendrillon20110709Live from Covent Garden, the Royal Opera House presents its first ever production of Massenet's Cendrillon in a staging by French director Laurent Pelly with an all-star cast including Joyce DiDonato and Alice Coote. Massenet's score stays true to Perrault's well-known Cinderella story, but adding a coloratura soprano fairy-godmother, and some ravishing duets for Cendrillon and her prince. Donald Macleod is joined by Sarah Lenton to discuss the background to Massenet's opera, and interviews the cast and conductor about their roles in it.

Presented by Donald Macleod

Cendrillon .....Joyce DiDonato (Mezzo-soprano)

La F退e - Eglise Guti退rrez (Soprano)

Le Prince Charmant - Alice Coote (Mezzo-soprano)

Madame de la Halti耀re - Ewa Podles (Mezzo-soprano)

Pandolfe - Jean-Philippe Lafont (Baritone)

No退mie - Madeleine Pierard (Soprano)

Doroth退e - Kai Rüütel (Mezzo-soprano)

Roi - Jeremy White (Bass)

Doyen de la Facult退 - Harry Nicoll (Tenor)

Surintendant des Plaisirs - Dawid Kimberg (Baritone)

Premier Ministre - John-Owen Miley-Read

Royal Opera House orchestra & chorus

Conductor - Bertrand de Billy.

Donald Macleod presents a Royal Opera House production of Massenet's Cendrillon.

Massenet's Cendrillon From The New York Metropolitan Opera2018042820210227 (R3)Another chance to hear the New York Metropolitan Opera 2018 broadcast of Massenet's take on the Cinderella story. First performed at the Opera Comique in Paris in 1899, Massenet wrote his Wagner-influenced opera at the height of his fame, and it was an immediate success. In this production, as when it was first staged at the Royal Opera House, Joyce DiDonato sings Cendrillon, with Alice Coote as her Prince Charming.

Presented by Mary Jo Heath with commentator Ira Siff.

Cendrillon - Joyce DiDonato (Mezzo-Soprano)

La F退e - Kathleen Kim (Soprano)

Le Prince Charmant - Alice Coote (Mezzo-Soprano)

Madame de la Haltiere - Stephanie Blythe (Mezzo-Soprano)

Pandolfe - Laurent Naouri (Baritone)

Noemie - Ying Fang (Soprano)

Dorothee - Maya Lahyani (Mezzo-soprano)

Metropolitan Opera Orchestra

Metropolitan Opera Chorus

Bertrand de Billy (Conductor).

Massenet's Cendrillon from the Met starring Joyce DiDonato and Alice Coote.

Massenet's Don Quichotte20191130From Wexford Festival Opera, Jules Massenet's last true masterpiece, Don Quichotte, with the bass Goderdzi Janelidze in the title role as the half-crazy, ageing, self-proclaimed knight-errant dreamer, and the raising star mezzo-soprano Aigul Akhmetshina as his love interest, the young and fair Dulcinee. It's based on the Cervantes evergreen novel, a sardonic look at the old-fashioned chivalry romances of yesteryear. Massenet turned it into a delicious com退die-h退roque portraying this unique world in a witty and at the same time sad, and ultimately deeply humane caricature.

Presented by Sean Rafferty with commentary by the 19th-Century opera expert Flora Willson.

Don Quichotte by Jules Masenet - com退die-h退roque in 5 acts

La belle Dulcinee.....Aigul Akhmetshina (Mezzo-soprano)

Don Quichotte.....Goderdzi Janelidze (Bass)

Sancho.....Olafur Sigurdarson (Bass)

Juan.....Gavan Ring (Baritone)

Pedro.....Gabrielle Dundon (Soprano)

Garcias.....Elly Hunter Smith (Soprano)

Rodriguez.....Dominick Felix (Tenor)

Footman I.....Thomas Chenhall (Baritone)

Footman 2.....Rene Bloice-sanders (Baritone)

Wexford Festival Opera Chorus

Wexford Opera House Orchestra

Timothy Myers (Conductor)

Bass Goderdzi Janelidze sings the title role and mezzo Aigul Akhmetshina sings Dulcinee.

Massenet's Manon20230930Jules Massenet's Manon from the Gran Teatre del Liceu, Barcelona, starring Amina Edris in the title role and conducted by Marc Minkowski.

The beautiful Manon is supposed to be in a convent, but instead elopes with the Chevalier des Grieux, much to the annoyance of Manon's brother, Lescaut, and De Bretigny who is in love with her. She's soon tempted away by the rich De Bretigny, but leaves her heart with Des Grieux. Massenet's ever-popular opera in a performance from the Gran Teatre del Liceu in Barcelona stars Amina Edris as the doomed Manon, with Pene Pati and Tomeu Biblioni as the two men vying for her attention.

Presented by Martin Handley with guest Sarah Hibberd.

Massenet: Manon - opera in 5 acts

Manon - Amina Edris (soprano)

Le Chevalier des Grieux - Pene Pati (tenor)

Lescaut - Jarrett Ott (baritone)

Monsieur de Bretigny - Tomeu Biblioni (baritone)

Le Comte des Grieux - Jean-Vincent Blot (bass)

Guillot de Morfontaine - Albert Casals (tenor)

Inkeeper - Pau Armengol (bass)

Gran Teatre de Liceu Chorus and Orchestra

Marc Minkowski (conductor)

Jules Massenet's Manon from the Liceu Opera House, Barcelona, conducted by Marc Minkowski.

Massenet's Thais20071027Massenet's Thas

Soprano Ren退e Fleming leads a star-studded cast in Massenet's exotic tale of love and redemption, recorded in concert at the Royal Opera House in June 2007.

Based on a tale found in early Middle Eastern monastic manuscripts, the opera tells the story of the monk Athanael and his ultimately tragic desire for the Alexandrian courtesan Thas. Massenet's evocative score (which includes the famous Meditation melody) is given vitality and immediacy by the Royal Opera House orchestra under Andrew Davis.

Thas, actress and courtesan - Ren退e Fleming (soprano)

Athana뀀l, a coenobite monk - Simone Alberghini (bass-baritone)

Nicias, a young sybarite philosopher - Joseph Calleja (tenor)

Pal退mon, an old coenobite monk - Robert Lloyd (bass)

Crobyle, a slave - Ana James (soprano)

Myrtale, a slave - Liora Grodnikaite (mezzo-soprano)

Albine, abbess - Clare Shearer (soprano)

La Charmeuse, ballet dancer - Kiera Lyness (soprano)

Servant of Nicias - Nigel Cliffe (baritone)

Royal Opera Chorus

Orchestra of the Royal Opera House

Andrew Davis (conductor).

Exotic tale of love and redemption, recorded at the Royal Opera House in June 2007.

Massenet's Werther20091121Presented by Donald Macleod.

In a new Opera North production directed by Tom Cairns, Richard Farnes conducts tenor Paul Nilon and mezzo-soprano Alice Coote in Massenet's four-act opera Werther.

The work was written after the composer read Goethe's novel The Sorrows of the Young Werther while in Bayreuth to hear Wagner's Parsifal. While initially seen as too gloomy for audiences, it is now perhaps Massenet's most popular opera, giving an insight into the deep recesses of the human psyche although on the surface appearing to be a straightforward tale of love and death.

It tells the story of impossible love between Werther, a passionate young poet, and Charlotte, the eldest daughter of a local family. She has promised her dying mother that she would marry another man and, although his love for her is reciprocated, it becomes impossible after she marries. Ultimately, Werther's obsession leads him to take his own life, destroying those of Charlotte and her family.

Werther - Paul Nilon (tenor)

Charlotte - Alice Coote (mezzo-soprano)

Sophie - Fflur Wyn (soprano)

Albert - Peter Savidge (baritone)

The Magistrate - Donald Maxwell (bass)

Johann - Richard Burkhard

Schmidt - Joshua Ellicott

Orchestra and Chorus of Opera North

Richard Farnes (conductor).

Richard Farnes conducts an Opera North production of Massenet's opera Werther.

Massenet's Werther20110604The passionate young poet Werther meets Sophie, and falls instantly in love with her. Sophie falls for him too, but had promised her dying mother she'd marry Albert, and can't break her vow. Werther won't accept this, leading to tragic consequences for everybody. Massenet's Goethe-based opera is performed at the Royal Opera House with star tenor Rolando Villazon and Sophie Koch as the doomed lovers. Antonio Pappano conducts, and talks to Andrew McGregor about his view of the opera.

Presented by Andrew McGregor

Werther - Rolando Villazon (tenor)

Charlotte - Sophie Koch (mezzo-soprano)

Albert - Audun Iversen (baritone)

Sophie - Eri Nakamura (soprano)

Magistrate - Alain Vernhes (bass)

Johann - Darren Jeffrey (baritone)

Schmidt - Stuart Patterson (tenor)

Conductor - Antonio Pappano

Orchestra of the Royal Opera House, Covent Garden.

Tenor Rolando Villazon and mezzo Sophie Koch star in Massenet's opera Werther.

Massenet's Werther20161015Vittorio Grigolo and Joyce DiDonato star in this performance of Massenet's dark drama of doomed love set against the stifling constrictions of a stultifying bourgeois marriage. Goethe's epistolary novel about the brooding Werther who develops an obsession for the unattainable Charlotte took Europe by storm in the 1770s. Massenet's operatic version focuses on the bitter-sweet pains and pleasures of a forbidden romance, with the lovers seemingly doing their best to make each other unhappy rather than accepting their fate. This revival of Benot Jacquot's strikingly beautiful production for the Royal Opera House, Covent Garden is conducted by Antonio Pappano. Presented by Martin Handley, including interviews with the conductor, director and members of the cast.

Werther - Vittorio Grigolo (tenor)

Charlotte - Joyce DiDonato (mezzo-soprano)

Albert - David Bizic (baritone)

Magistrate - Jonathan Summers (bass baritone)

Schmidt - Francois Piolino (tenor)

Johann - Yuriy Yurchuk (baritone)

Sophie - Heather Engebretson (soprano)

K䀀thchen - Emily Edmonds (mezzo-soprano)

Brühlmann - Rick Zwart (baritone)

Royal Opera House Chorus and Orchestra

Antonio Pappano (conductor)

* 6.40pm Act 1

* 7.30pm Act 2

* 8.00 Interval

* 8.25 Acts 3 & 4.

Vittorio Grigolo and Joyce DiDonato star in Massenet's drama of doomed love.

Massenet's Werther From The Royal Opera House20191026From the Royal Opera House, Covent Garden, Massenet's Werther, recorded earlier this month. The superstar tenor Juan Diego Fl rez takes the title role as the doomed, iconic romantic hero, with the mezzo-soprano Isabel Leonard as his love interest Charlotte, in a tragic drama by Jules Massenet, inspired in Goethe's ground-breaking masterpiece 'The Sorrows of Young Werther'. The Royal Opera House orchestra is conducted by Edward Gardner.

Presented by Flora Willson.

Werther.....Juan Diego Fl rez (Tenor)

Albert.....Jacques Imbrailo (Baritone)

Charlotte.....Isabel Leonard (Mezzo-soprano)

Sophie.....Heather Engebretson (Soprano)

The Bailli.....Alastair Miles (Bass)

Schmidt.....Vincent Ordonneau (Tenor)

Johann.....Michael Mofidian (Bass Baritone)

Kathchen.....Stephanie Wake-edwards (Mezzo-soprano)

Bruhlmann.....Byeongmin Gil (Bass Baritone)

Edward Gardner (Conductor)

With superstar tenor Juan Diego Florez in the title role, conducted by Edward Gardner.

Matilde Di Shabran20081122Ivan Hewett introduces a performance of Rossini's tragicomedy, with Carlo Rizzi conducting soprano Aleksandra Kurzak alongside tenor Juan Diego Florez.

The plot centres on Corradino, who refers to himself as 'heart of iron', but who is actually a petty tyrant, misogynist and hypochondriac. He becomes smitten by Mathilde, a charmer with a ready answer for everything, but has to fight obstacles in the form of love rival Edoardo and the evil Countess.

Matilde di Shabran - Aleksandra Kurzak (soprano)

Corradino - Juan Diego Florez (tenor)

Ginardo - Carlo Lepore (bass)

Aliprando - Marco Vinco (bass)

Isidoro - Alfonso Antoniozzi (baritone)

Edoardo - Vesselina Kasarova (mezzo-soprano)

Contessa d'Arco - Enkelejda Shkosa (mezzo-soprano)

Rodrigo - Bryan Secombe (bass)

Raimondo Lopez - Mark Beesley (bass)

Egoldo - Robert Anthony Gardiner (tenor)

Orchestra of the Royal Opera House

Royal Opera Chorus

Carlo Rizzi (conductor).

Carlo Rizzi conducts Rossini's tragicomedy, Matilde di Shabran.

Meyerbeer Les Huguenots20191012Fairground farce' : Robert Schumann

Martin Handley presents this performance from the Opera Bastille in Paris - home of Grand Opera - with expert Sarah Hibberd. Robert Schumann's criticism came from Meyerbeer's use of the Lutheran chorale 'Eine feste burg' to associate with the Huguenot characters in the opera, but it certainly didn't put Paris audiences off, racking up 1,000 performances by the end of the century.

Les Huguenots was a no expenses spared high octane sequel to 'Robert le Diable' Meyerbeer's huge success from five years before in 1831. Indeed this was a return of the dream team - Robert le Diable had made the reputations not only of Meyerbeer, but Librettist Eugene Scribe and Louis-D退sir退 V退ron, the director of the Paris Opera.

This time the top team were back after five years of preparation and 'Les Huguenots' promised an epic Melodrama set against the historical backdrop of the St.Bartholemew's Day Massacre, in which French Protestants were murdered in huge numbers by their Catholic countrymen. Five Acts, good tunes, a huge cast and lavish settings it had all the signs of success before the curtain even opened for Act One.

Marguerite de Valois - Lisette Oropesa (soprano)

Raoul de Nangis, a Huguenot gentleman - Yosep Kang (tenor)

Valentine, daughter of the Count of Saint-Bris - Ermonela Jaho (soprano)

Urbain, Marguerite's page - Karine Deshayes (soprano)

Count of Saint-Bris - Paul Gay (bass)

Marcel, Raoul's servant - Nicolas Test退 (bass)

Maid of honour - Julie Robard-Gendre (soprano)

Coss退 / Catholic student - Fran瀀ois Rougier (tenor)

Count of Nevers - Florian Sempey (baritone)

Tavannes / First Monk - Cyrille Dubois (tenor)

M退ru / Second Monk - Michal Partyka (baritone)

Thor退 / Maurevert - Patrick Bolleire (bass)

de Retz / Third Monk - Tomislav Lavoie (baritone)

Coryph退e / Young Catholic woman / Bohemian - ɀlodie Hache (soprano)

Bois-Ros退 / Servant - Philippe Do (tenor)

Archer of the watch - Olivier Ayault (bass)

First Noble - John Bernard (tenor)

Second Noble - Cyrille Lovighi (tenor)

Third Noble - Bernard Arrieta (bass)

Fourth Noble - Fabio Bellenghi (bass)

Paris National Opera Chorus

Paris Opera Orchestra

Michele Mariotti, conductor

The Opera Bastille perform Meyerbeer's 'Les Huguenots', a sequel to 'Robert le Diable'.

Meyerbeer's Robert Le Diable20121215Live from the Royal Opera House, Covent Garden

Presented by Martin Handley.

Laurent Pelly's new production of Robert le diable brings Meyerbeer's grand opera to the Covent Garden stage for the first time since 1890. Though hugely successful when it had its premiere in Paris in 1831 - Chopin described it as 'a masterpiece...Meyerbeer has made himself immortal' - the opera subsequently fell out of favour and was rarely performed in the 20th century. It depicts a grand battle between good and evil, as Robert's genuine love for Isabelle, expressed in tender duets, is threatened by the malevolent influence of the deceptively charming Bertram. With a sensational plot featuring courtly entertainments, jousting, romance and the supernatural, the work features one of opera's most memorable scenes - the ballet of the nuns.

Bryan Hymel sings Robert with Patrizia Ciofi John Relyea. Daniel Oren conducts.

Robert - Bryan Hymel (tenor)

Bertram - John Relyea (bass)

Raimbaut - Jean-Fran瀀ois Borras (tenor)

Alice - Marina Poplavskaya (soprano)

Isabelle - Patrizia Ciofi (soprano)

Alberti - Nicolas Courjal (bass)

Priest/Chevalier - Jihoon Kim (bass)

Herald/Chevalier - Pablo Bemsch (tenor)

Master of Ceremonies/Chevalier - David Butt Philip (tenor)

Chevalier - Ashley Riches (baritone)

Dame - Dusica Bijelic (soprano)

Orchestra and Chorus of the Royal Opera House, Covent Garden

Daniel Oren, conductor.

Live from the Royal Opera House, Covent Garden, Meyerbeer's opera Robert le diable.

Mitridate, Re Di Ponto20211016Martin Handley introduces Mozart's Mitridate, Re di Ponto, recorded in 2017 at the Royal Opera House in London.

Mozart was 14 when he wrote this early opera seria masterpiece telling the tragic story of the King of Ponto, a warrior whose sons Farnace and Sifare are in love with his fianc?e Aspasia, which leaves them torn between loyalty to him or betrayal with the enemy.

In this highly acclaimed production, Christophe Rousset conducts the ROH Orchestra and chorus, as well as a stellar cast lead by Michael Spyres in the title role, Albina Shagimuratova as Aspasia, Bejun Mehta as Farnace and Salome Jicia as Sifare.

During the interval: a tribute to the late Graham Vick. Mitridate was one of his landmark productions and a real favourite at the Royal Opera House.

Mitridate - Michael Spyres (tenor)

Aspasia - Albina Shagimuratova (soprano)

Sifare - Salome Jicia (soprano)

Farnace - Bejun Mehta (treble)

Ismene - Lucy Crowe (soprano)

Marzio - Rupert Charlesworth (tenor)

Abate - Jennifer Davis (soprano)

Royal Opera House Chorus

Royal Opera House Orchestra

Christophe Rousset (conductor)

Mozart's opera Mitridate, re di Ponto, recorded at Covent Garden, in 2017.

Kate Molleson and Martin Handley introduce Mozart's Mitridate, Re di Ponto, recorded in 2017 at the Royal Opera House in London.

Mozart was 14 when he wrote this early opera seria masterpiece telling the tragic story of the King of Ponto, a warrior whose sons Farnace and Sifare are in love with his fianc退e Aspasia, which leaves them torn between loyalty to him or betrayal with the enemy.

During the interval: a tribute to the late Sir Graham Vick, director of this production. Kate Molleson talks to Alpesh Chauhan and Anna Picard about the man and his legacy.

Farnace - Bejun Mehta (counter-tenor)

Christophe Rousset (conductor).

Monteverdi 450: L'incoronazione Di Poppea20170513Monteverdi 450: Sara Mohr-Pietsch introduces an acclaimed live recording from 1993 of Monteverdi's final opera, L'incoronazione di Poppea. John Eliot Gardiner conducts a superb line-up of singers including Sylvia McNair as Poppea and Dana Hanchard as Nero. The story is based loosely on real events in 1st-century-AD Rome, recounting the consuming obsession of the Emperor Nero for the beautiful Poppea Sabina, culminating in the highly-charged love-duet 'Pur ti miro'.

Sara is joined in the studio by Monteverdi specialist Robert Hollingworth.

Poppea.....Sylvia McNair (soprano)

Nero.....Dana Hanchard (soprano)

Otto.....Michael Chance (countertenor)

Arnalta.....Bernarda Fink (mezzo-soprano)

Fortune / Octavia / Venus.....Anne Sofie von Otter (mezzo-soprano)

Virtue / Drusilla / Pallas Athena ....Catherine Bott (soprano)

Cupid /Lady-in-Waiting.....Marinella Pennicchi (soprano)

Seneca.....Francesco Ellero d'Artegna (bass)

Nurse..... Roberto Balconi (countertenor)

First soldier / Lucan - Mark Tucker (tenor)

Page.....Constanze Backes (soprano)

Liberto.....Nigel Robson (tenor)

Lictor / Mercury.....Julian Clarkson (baritone)

The English Baroque Soloists

John Eliot Gardiner, director.

A performance of Monteverdi's final opera, L'incoronazione di Poppea.

Monteverdi, L'orfeo20200711Tonight's Opera on 3 is a work crucial to the development of opera as we know it today - Monteverdi's L'Orfeo. Based on the Greek legend of Orpheus, the opera tells of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. Monteverdi brings the story to live with new techniques - harmonic twists and structural devices that bind the narrative together. Danish conductor and baroque expert Lars Ulrik Mortensen teams up with Concerto Copenhagen for Royal Danish Opera's sparklingly vivid interpretation of Monteverdi's unique and immortal music.

Martin Handley presents, with contributions from Dr Flora Willson, music lecturer at King's College London.

Claudio Monteverdi (1567-1643) - L'Orfeo, favola in musica in five acts, SV 318

Orfeo - Marc Mauillon (baritone)

Euridice - Sofie Lund-Tonnesen (soprano)

La Musica/Speranza - Ellen Larsson (soprano)

Ninfa/Proserpina - Philippa Cold (soprano)

Messagiera - Mia Bergstr怀m (mezzo-soprano)

Pastore - Thomas Lichtenecker (countertenor)

Pastore/Eco - Gerald Geerink (tenor)

Apollo - Mark Milhofer (tenor)

Caronte - Kyungil Ko (bass)

Plutone - Nicolai Elsberg (bass)

Spirito - Joel Kyhle (bass)

Lars Ulrik Mortensen (conductor)

Royal Danish Opera's sparklingly vivid production of Monteverdi's L'Orfeo.

Monteverdi's L'incoronazione Di Poppea20170930Monteverdi's L'Incoronazione di Poppea with the period group La Venexiana conducted by Davide Pozzi in a performance taken from this year's Schwetzingen Festival, in Germany. Based on historical characters, the opera tells the story of how Poppea, mistress of the Roman Emperor Nero, manages to be crowned empress, in a tale of seduction, adultery and treason. The mezzo-soprano Giuseppina Bridelli is the emperor Nerone and the soprano Emanuela Galli sings the title role. Andrew McGregor presents, with commentary by Dr. Hannah French.

Nerone - Giuseppina Bridelli (Mezzo-soprano)

Mercurio, Littore - Davide Benetti (Bass)

Poppea - Emanuela Galli (Soprano)

Ottavia - Xenia Meijer (Mezzo-soprano)

Seneca - Salvo Vitale (Bass)

Lucano - Luca Dordolo (Tenor)

Virtu, Damigella - Vittoria Giacobazzi (Soprano)

Amore, Valletto - Lucia Cortese (Soprano)

Nutrice - Alessio Tosi (Tenor)

Arnalta .....Alberto Allegrezza (Tenor)

Soldato pretoriano - Massimo Altieri (Tenor)

Fortuna, Drusilla - Silvia Rosato (Soprano)

Ottone - Raffaele P退 (Counter-tenor)

Soldato pretoriano, Liberto - Riccardo Pisani (Tenor)

Davide Pozzi (Director).

Monteverdi's L'Incoronazione di Poppea performed by La Venexiana conducted by Davide Pozzi

Monteverdi's Orfeo20150302Claudio Monteverdi's first large-scale opera 'Orfeo' from the Roundhouse in North London, as the Roundhouse and the Royal Opera collaborate for the first time in this new production by the director, Michael Boyd.

Hungarian baritone, Gyula Orendt sings the title role in this story of Orfeo, the musician who travels to the underworld in a valiant but failed attempt to bring his wife, Euridice, back to life. Soprano, Mary Bevan sings the roles of Euridice and Music and mezzo-soprano, Susan Bickley is the Messenger.

Emotions run high in the music and text, both intertwined like vines, but it is love and its expression of thrilling elation through to deepest despair that is at the core of Orfeo's psychological journey. Christopher Moulds directs a young cast of soloists, a chorus from the Vocal Department of Guildhall School of Music and Drama and musicians from the Orchestra of Early Opera Company in this production which is sung in English in a new translation by the poet Don Paterson.

Orfeo.....Gyula Orendt (Baritone)

Music/Euridice/Echo.....Mary Bevan (Soprano)

Silvia (Messenger).....Susan Bickley (Mezzo-soprano)

First Shepherd.....Anthony Gregory (Tenor)

Second Shepherd/Apollo.....Alexander Sprague (Tenor)

Third Shepherd.....Christopher Lowrey (Countertenor)

Charon.....James Platt (Bass)

Proserpine.....Rachel Kelly (Mezzo-soprano)

Pluto.....Callum Thorpe (Bass Baritone)

Nymph.....Susanna Hurrell (Soprano)

Early Opera Company Orchestra

Christopher Moulds (Conductor).

From London's Roundhouse, a Royal Opera production of Monteverdi's opera Orfeo.

Monteverdi's The Coronation Of Poppea20071110Presented by Petroc Trelawny and beginning with a behind-the-scenes feature on the opera and this production.

Following their success at English National Opera with Monteverdi's L'Orfeo, conductor Laurence Cummings and director Chen Shi-Zheng team up at ENO once again for Monteverdi's final opera, which contains some of his most sensual music and features an outstanding British cast.

Poppea is the mistress of the Emperor Nero, who is easily manipulated - she wants the power of the throne, and the only obstacle in her way is Nero's wife Ottavia.

Fortune - Katherine Manley (soprano)

Virtue - Jane Harrington (soprano)

Love Sophie Bevan - (soprano)

Mercury - James Gower (bass)

Poppea - Kate Royal (soprano)

Nerone - Anna Grevelius (mezzo-soprano)

Ottavia - Doreen Curran (mezzo-soprano)

Ottone - Tim Mead (countertenor)

Drusilla - Lucy Crowe (soprano)

Seneca - Robert Lloyd (bass)

Arnalta - Christopher Gillett (tenor)

Nurse/Venus - Diana Montague (mezzo-soprano)

English National Opera Orchestra

Laurence Cummings (conductor/harpsichord).

Laurence Cummings conducts the ENO Orchestra in Monteverdi's final opera.

Monteverdi's The Coronation Of Poppea20141027Mary King introduces a performance of Monteverdi's historical drama, The Coronation of Poppea, recorded at the home of Opera North - the Grand Theatre, Leeds.

Based loosely on actual events in 1st-century AD Rome, The Coronation of Poppea charts the consuming erotic obsession of the Emperor Nero for the beautiful Poppea Sabina. Ruthlessly sweeping aside anyone who stands in the way of their union - including Nero's wife Octavia and the poet and philosopher Seneca - Nero and Poppea triumph over all their opponents and rejoice in one of the most sexually-charged love duets ever written.The moral ambivalence of one of opera's earliest masterpieces ensures that it remains to this day one of the most shocking and compelling.

Tim Albery, who directed the production of Handel's Giulio Cesare for Opera North in 2012, has prepared a new performing version of this dramma musicale about which almost everything is disputed, including its authorship. The cast is led by the American mezzo-soprano Sandra Piques Eddy (Poppea) and the British countertenor James Laing (Nerone). The conductor is Laurence Cummings, one of Britain's most exciting and versatile exponents of historically-informed performance.

Poppea.....Sandra Piques Eddy (Mezzo-Soprano)

Nerone.....James Laing (Countertenor)

Ottavia.....Catherine Hopper (Mezzo-Soprano)

Seneca.....James Creswell (Bass)

Ottone.....Christopher Ainslie (Countertenor)

Drusilla.....Katherine Manley (Soprano)

Arnalta.....Fiona Kimm (Mezzo-Soprano)

Fortuna / Valletto.....Ciara Hendrick (Mezzo-Soprano)

Virtù.....Claire Pascoe (Mezzo-Soprano)

Amore.....Emilie Renard (Mezzo-Soprano)

Liberto.....Daniel Norman (Tenor)

Lucano.....Nicholas Sharratt (Tenor)

Famigliari.....Owen Willetts (Countertenor)

Famigliari.....Warren Gillespie (Tenor)

Famigliari.....Dominic Barberi (Bass-Baritone)

Laurence Cummings (music director).

From the Grand Theatre in Leeds, Monteverdi's historical opera The Coronation of Poppea.

Monteverdi's The Return Of Ulysses20180224The Royal Opera House's production of Monteverdi's The Return of Ulysses from the Roundhouse in Camden, directed by John Fulljames. Christian Curnyn conducts the Early Opera Company.

Based on Homer's Odyssey, Ulysses is returning home to Ithaca after twenty years away at the Trojan War. Penelope is his faithful and patient wife, but her suitors grow in number. She declares that anyone who can draw Ulysses' bow will have won her hand and kingdom; the suitors all fail but a disguised Ulysses asks for his turn - and of course is victorious. After so long away, Penelope initially refuses to believe it is him, but they are happily reunited when he convinces her of his identity and love. Roderick Williams stars in the role of Ulysses, and Caitlin Hulcup as Penelope. One of only three surviving operas by Monteverdi, the score is full of pathos and drama.

The chorus for The Return of Ulysses is made up of 40 singers from the Roundhouse community choir and the Royal Opera House Thurrock Community Chorus.

Sean Rafferty presents and his guest is the soprano Elin Manahan Thomas, whose academic research before the stage was in the world of Celtic mythology.

Ulysses / Human Frailty - Roderick Williams (Baritone)

Antinous / Time - David Shipley (Bass)

Minerva / Fortune - Catherine Carby (Mezzo-soprano)

Melantho / Love - Francesca Chiejina (Soprano)

Penelope - Caitlin Hulcup (Mezzo-soprano)

Telemachus - Samuel Boden (Tenor)

Eurycleia - Susan Bickley (Mezzo-soprano

Eumaeus - Mark Milhofer (Tenor)

Irus - Stuart Jackson (Tenor)

Amphinomus - Nick Pritchard (Tenor)

Peisander - Tai Oney (Counter-tenor)

Eurymachus - Andrew Tortise (Tenor)

The Return of Ulysses Community Ensemble

Early Opera Company Orchestra

Christian Curnyn (Conductor).

Monteverdi's The Return of Ulysses from the Roundhouse in Camden.

Mozart Double Bill: Le Nozze Di Figaro And La Clemenza Di Tito20110108Donald Macleod presents Le Nozze di Figaro, K492, with the Chicago Lyric Opera conducted by Andrew Davis, and La Clemenza di Tito, K621, conducted by Rene Jacobs.

When Count Almaviva decides to exercise his droit de seigneur and sample the delights of Figaro's bride-to-be, Susanna, he sets off a train of events which do not make his life any easier.

Figaro - Kyle Ketelsen

Susanna - Danielle de Niese

Countess - Anne Schwanewilms

Count - Mariusz Kwiecien

Cherubino - Joyce DiDonato

Marcellina - Lauren Curnow

Bartolo - Andrea Silvestrelli

Basilio - Keith Jameson

Antonio - Philip Kraus

Barbarina - Angela Mannino

Curzio - David Portillo

Chicago Lyric Opera Chorus and Orchestra

Based on the life of the Roman Emperor Titus, the work was commissioned to celebrate the coronation of Leopold II, Holy Roman Emperor as King of Bohemia, in September 1791. At the core of the opera is Vitellia's plot to assassinate Titus, but there is also unrequited love, a great deal of intrigue, and some heart-stopping reversals of fortune along the way. In this acclaimed recording, Rene Jacobs conducts an all-star cast.

Tito - Mark Padmore

Vitellia - Alexandrina Pendatchanska

Sesto - Bernarda Fink

Annio - Marie-Claude Chappuis

Servilia - Sunhae Im

Publio - Sergio Foresti

RIAS Kammerchor, Freiburg Baroque Orchestra, conductor Ren退 Jacobs.

Donald Macleod presents performances of Le nozze di Figaro and La clemenza di Tito.

Mozart, Idomeneo, Re Di Creta20110109Idomeneo, K366

Idomeneo, at risk of drowning at sea, makes a vow to Neptune: to sacrifice, if he arrives safely on land, the first living creature he should meet. Unfortunately, when he is washed up on a Cretan beach, the first person he sees is his own son.

Idomeneo - Anthony Rolfe Johnson

Idamante - Anne Sofie von Otter

Ilia - Sylvia McNair

Elettra - Hillevi Martinpelto,

Arbace - Nigel Robson

Monteverdi Choir,

English Baroque Soloists,

John Eliot Gardiner.

A complete performance of Mozart's opera Idomeneo, re di Creta, K366.

Mozart, The Marriage Of Figaro20171223Tonight's opera from the Met is Mozart's The Marriage of Figaro; Part of the BBC opera season, and one of the seven operas featured in the V&A's current exhibition called Opera: Passion, Power and Politics, which explores the stories behind seven operatic premieres in seven cities.

Susanna and Figaro are to be married, but their boss, Count Almaviva's feelings for Susanna are getting in the way, much to the distress of the Countess. Luckily the ladies have a plan ... Mozart's sparkling comic opera is conducted by Harry Bicket with a cast including Christiane Karg, Adam Plachetka and Luca Pisaroni.

Presented from the Met by Mary Jo Heath and Ira Siff.

Mozart: The Marriage of Figaro

Susanna - Christiane Karg (soprano)

Figaro - Adam Plachetka (bass-baritone)

Countess Almaviva - Rachel Willis Sørensen (soprano)

Count Almaviva - Luca Pisaroni (baritone)

Cherubino - Serena Malfi (mezzo)

Metropolitan Opera House Chorus & Orchestra

conductor, Harry Bicket.

Mozart's The Marriage of Figaro from the Met, with a cast including Christiane Karg.

Mozart: Don Giovanni2014030320201003 (R3)Tonight's Opera on 3 is another chance to hear a production of Mozart's ever-popular Don Giovanni recorded in 2014 at the Royal Opera House, Covent Garden. Mariusz Kwiecien sings the charismatic seducer who meets his match in the ghost of the man he kills, and V退ronique Gens, Malin Bystrom and Elizabeth Watts sing the women who get drawn helplessly into his net.

Louise Fryer presents, and talks to director Kasper Holten about his interpretation of Mozart and Da Ponte's characters, and what hell means to a contemporary audience.

Don Giovanni - Mariusz Kwiecien (Baritone)

Leporello - Alex Esposito (Bass)

Commendatore - Alexander Tsymbalyuk (Bass)

Donna Elvira - V退ronique Gens (Soprano)

Donna Anna - Malin Bystrom (Soprano)

Don Ottavio - Antonio Poli (Tenor)

Zerlina - Elizabeth Watts (Soprano)

Masetto - Dawid Kimberg (Baritone)

Royal Opera House Chorus

Royal Opera House Orchestra

Nicola Luisotti (Conductor)

From the Royal Opera House: Don Giovanni, starring Mariusz Kwiecien.

Mozart: Idomeneo20190706Tonight's Opera on 3 is Mozart's Idomeneo from Vienna State Opera. Idomeneo, the King of Crete is sailing home from war in stormy waters which will only abate when he swears he'll offer as a sacrifice the first person he sees on landing. This person happens to be his son, Idamante. When he tries to go back on his promise, Crete is afflicted by destruction, and he realises he must choose between his son, and his people.

Musicologist Dr Flora Willson presents, and is joined by Professor Timothy Jones to discuss Mozart's first mature opera and its context.

6.30pm

Idomeneo.....Bernard Richter (Tenor)

Idamante.....Rachel Frenkel (mezzo-soprano)

Elettra.....Irina Lungu (Soprano)

Ilia.....Valentina Nafornita (Soprano)

Arbace.....Pavel Kolgatin (Tenor)

High Priest of Neptune.....Carlos Osuna (Tenor)

Voice of Oracle of Neptune.....Peter Kellner (Bass)

Vienna State Opera Chorus

Vienna State Opera Orchestra

Tomas Netopil (Conductor)

The Trojan war is over. Idomeneo, king of Crete and victorious general of the Greek forces, is sailing home. However, a storm prevents him from arriving safely. The raging seas only abate when he swears that if saved from death he will sacrifice the first human whom he encounters on land. However, this first human turns out to be his son, Idamante. Idamante is in love the Trojan king‘s daughter, Ilia, who is living on Crete as a prisoner of war; and she is in love with him. However, Elettra, who fled from Argos after murdering her mother and has sought refuge in Crete, is also in love with Idamante and believes that she will win him for her own. To save his son from being sacrificed, Idomeneo plans to send him and Elettra to Argos, where they will rule as the new royal couple. His plan fails, and Crete is afflicted by destruction and chaos.

Idomeneo vacillates between sacrificing his son and saving his people. When he decides in favour of his people and against this son, Ilia stops the sacrifice, offering herself in his place. However, this does not occur. Idamante breaks free of his overpowering father and together with Ilia takes over the rule of Crete. Idomeneo and Elettra succumb to the demons of their past.

Mozart's Idomeneo from the Vienna State Opera.

Mozart's Cos\u00ec Fan Tutte20230204From Bavarian State Opera: a comedy of manners which plumbs the depths of human emotion, starring Louise Alder, Sandrine Piau, Christian Gerhaher and Konstantin Krimmel, and conducted by Vladimir Jurowski.

Mozart's wise and witty comedy about the power and illusions of romantic love is one of his most cleverly constructed and at the same time most sensual scores. Through a cranky plot device the two sets of lovers are realigned in a partner-swap scenario, and the ensuing confusions are a springboard for moments of comedy that suddenly switch to deep pathos. As one of the characters says, in a single moment life can become a sea of torment.

This new production by Australian director Benedict Andrews, recorded at the Bavarian State opera in October, clearly underlined the ambiguous and elusive nature of sexual desire with inflatable Disney doll castles contrasted with dirty mattresses and assorted bedroom accoutrements.

Presented by Georgia Mann with guest opera expert Flora Willson.

Fiordiligi - Louise Alder (soprano)

Dorabella - Avery Amereau (contralto)

Guglielmo - Konstantin Krimmel (baritone)

Ferrando - Sebastian Kohlhepp (tenor)

Despina - Sandrine Piau (soprano)

Don Alfonso - Christian Gerhaher (bass-baritone)

Bavarian State Opera Chorus

Bavarian State Orchestra

Conductor Vladimir Jurowski

* 1830 Act 1

* c. 2015 Act 2

Read more about the production on the Bavarian State Opera website: https://bit.ly/3JhfHQI

From Bavarian State Opera, a comedy of manners that plumbs the depths of human emotion.

From Bavarian State Opera, a comedy of manners that plumbs the depths of human emotion, starring Louise Alder, Sandrine Piau, Christian Gerhaher and Konstantin Krimmel, and conducted by Vladimir Jurowski.

Mozart's wise and witty comedy about the power and illusions of romantic love is one of his most cleverly constructed and at the same time most sensual scores. Through a cranky plot device, the two sets of lovers are realigned in a partner-swap scenario, and the ensuing confusions are a springboard for moments of comedy that suddenly switch to deep pathos. As one of the characters says, in a single moment, life can become a sea of torment.

Mozart's Cosi Fan Tutte20161112Presented by Mary King. A recording made last month of Mozart's Cosi fan tutte in a new production by Jan Philipp Gloger, who set this piquant comedy about fidelity, disguise and the true nature of love as theatre within theatre. Young Ferrando and Guglielmo take the bet set by Don Alfonso who believes their lovers, Fiordiligi and Dorabella, are 'like all women' and will not be faithful if better suitors come their way. Semyon Bychkov conducts the orchestra and chorus of the Royal Opera House, Covent Garden, with a cast of young singers mostly making their house debuts. The soprano Corinne Waters is Fiordiligi; the mezzo-soprano Angela Brower, Dorabella; the tenor Daniel Behle, Ferrando and the baritone Alessio Arduini, Guglielmo. Don Alfonso is sung by the baritone Johannes-Martin Kraenzle, while Despina is the soprano Sabina Puertolas.

Fiordiligi - Corinne Winters (Soprano)

Dorabella - Angela Brower (Mezzo-soprano)

Ferrando - Daniel Behle (Tenor)

Guglielmo - Alessio Arduini (Baritone)

Don Alfonso - Johannes-Martin Kraenzle (Baritone)

Despina - Sabina Puertolas (Soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

Semyon Bychkov (Conductor).

From the Royal Opera House, a new production of Mozart's comic opera Cosi fan tutte.

Mozart's Cosi Fan Tutte From The Met In New York20180331Direct from the Met in New York, Mozart's Cosi fan tutte with David Robertson conducting the Metropolitan Opera House orchestra and chorus. The tenor Ben Bliss and the bass-baritone Adam Plachetka take on the roles of Ferrando and Guglielmo, the two young officers in the Neapolitan army who enter a bet to see if their girlfriends Fiordiligi and Dorabella, sung by the soprano Amanda Majeski and the mezzo-soprano Serena Malfi, will be faithful, with intriguing results. This spicy tale of love and treason was the last collaboration between Mozart and librettist Lorenzo Da Ponte. Mary Jo Heath presents with commentator Ira Siff.

Fiordiligi - Amanda Majeski (soprano)

Dorabella - Serena Malfi (soprano)

Despina - Kelli O'Hara (soprano)

Ferrando - Ben Bliss (tenor)

Guglielmo - Adam Plachetka (bass)

Don Alfonso - Christopher Maltman (bass)

New York Metropolitan Opera Chorus

New York Metropolitan Opera Orchestra

David Robertson (conductor).

Mozart's Cosi fan tutte direct from the Met in New York, with David Robertson conducting.

Mozart's Die Entfuhurung Aus Dem Serail20080503David Robertson conducts Mozart's opera about the clash of cultures between East and West.
Mozart's Die Zauberflote20150413From the Royal Opera House, Covent Garden, Mary King presents a revival of David McVicar's acclaimed production of Die Zauberflote, with a stellar cast including Christiane Karg, Pavol Breslik and Markus Werba. Pamina, the daughter of the Queen of the Night has been captured by Sarastro. On seeing a picture of her, Tamino resolves to rescue her, with only a magic flute, and a somewhat unhelpful birdcatcher called Papageno to help him. Mozart's late, great singspiel combines the serious and the comic, with pantomime and Freemasonry thrown in for good measure. Writer and musicologist Gavin Plumley joins Mary to discuss this operatic hybrid, and what we know of the performance conditions of the original production in 1791.

Presented by Mary King

Tamino.....Pavol Breslik (Tenor)

Pamina.....Christiane Karg (Soprano)

Papageno.....Markus Werba (Baritone)

Papagena.....Lauren Fagan (Soprano)

Queen of the Night.....Anna Siminska (Soprano)

Sarastro.....Georg Zeppenfeld (Bass)

Monostatos.....Colin Judson (Tenor)

Speaker of the Temple.....Robert Lloyd (Bass)

First Lady.....Sinead Mulhern (Soprano)

Second Lady.....Nadezhda Karyazina (Mezzo-soprano)

Third Lady.....Claudia Huckle (Mezzo-soprano)

First Boy.....Emerson Murphy (Treble)

Second Boy.....Harry Featherstonhaugh (Treble)

Third Boy.....Conor Quinn (Treble)

First Priest.....Harry Nicoll (Tenor)

Second Priest.....Donald Maxwell (Baritone)

First Man in Armour.....Andrew Macnair (Tenor)

Second Man in Armour.....James Platt (Bass)

Royal Opera House Orchestra

Royal Opera House Chorus

Cornelius Meister (Conductor).

From the Royal Opera House, Covent Garden, a revival of Mozart's opera Die Zauberflote.

Mozart's Don Giovanni20101127Live

6.15pm

Young, arrogant, contemptuous and sexually voracious, Don Giovanni is the dissolute aristocrat who doesn't take no for an answer and leaves a trail of outrage and wrecked lives in his wake. But in the end, even he comes up against something he can't dupe, evade, or kill. One of the greatest (and most hummable) operas in the repertoire stars one of the UK's most exciting singers, Iain Paterson, in the title role, leading an outstanding cast, conducted by Kirill Karabits. Presenter Suzy Klein is joined by novelist Jeanette Winterson to discuss the multilayered music and the production by theatre director, Rufus Norris

6.30pm

Act 1

8.00pm

Interval Suzy Klein and novelist Jeanette Winterson continue their exploration of the opera's themes.

8.20 Act 2

Don Giovanni - Iain Paterson (bass)

Leporello - Brindley Sherratt (bass)

Donna Anna - Katherine Broderick (soprano)

Don Ottavio - Robert Murray (Tenor)

Donna Elvira - Rebecca Evans (soprano)

The Commendatore - Matthew Best (bass)

Masetto...John Molloy (bass)

Zerlina - Sarah Tynan (soprano)

Conductor - Kirill Karabits

Orchestra and Chorus of English National Opera.

Suzy Klein presents a production of Mozart's Don Giovanni, starring Iain Paterson.

Mozart's Don Giovanni20110101Franz Welser-M怀st conducts the Vienna State Opera production of Don Giovanni, with Ildebrando D'Arcangelo in the title role, and Alex Esposito as Leporello.

When Don Giovanni creeps into the house of the Commendatore hoping to seduce his daughter Anna, things do not go quite to plan. Anna cries out; her father rushes to help her and in the subsequent duel he is killed. So begins Mozart's masterpiece and a quest for vengeance which will take the Don and his faithful servant Leporello into the furthest realms of human experience.

Don Giovanni - Ildebrando D'Arcangelo

Donna Anna - Sally Matthews

Don Ottavio - Saimir Pirgu

Donna Elvira - Roxana Constantinescu

Leporello - Alex Esposito

Il Commendatore - Albert Dohmen

Masetto - Adam Plachetka

Zerlina - Sylvia Schwartz

Vienna State Opera Chorus

Vienna State Opera Orchestra

Franz Welser-M怀st.

Franz Welser-Most conducts the Vienna State Opera production of Don Giovanni.

Mozart's Don Giovanni20120623Don Giovanni

Presented by Donald Macleod

24 Hours: the Last Day in the Life of the World's Most Infamous Serial Seducer. Don Giovanni - Mozart's tale of vengeance and retribution, even from beyond the grave - in its latest incarnation at the Royal Opera House, with Erwin Schrott in the title role, and Alex Esposito as his servant Leporello. The conductor is Constantinos Carydis.

Don Giovanni.....Erwin Schrott (Bass)

Leporello.....Alex Esposito (Bass)

Commendatore.....Reinhard Hagen (Bass)

Donna Elvira.....Ruxandra Donose (Mezzo-Soprano)

Donna Anna.....Carmela Remigio (Soprano)

Don Ottavio.....Pavol Breslik (Tenor)

Zerlina.....Kate Lindsey (Mezzo-Soprano)

Masetto.....Matthew Rose (Bass)

Orchestra and Chorus of the Royal Opera

Conductor.....Constantinos Carydis.

Constantinos Carydis conducts a performance of Mozart's opera Don Giovanni.

Mozart's Don Giovanni20150713Don Giovanni - seducer and charmer, ruthless and vengeful - recorded at the Royal Opera House, Covent Garden, in the first revival of a recent production by Kasper Holten. This the blackest of black comedies is enveloped by Mozart's ravishing music. The opera was first staged in 1787 and rapidly became one of the most popular in Europe. It is Mozart's second collaboration with the librettist Lorenzo da Ponte.

The plot is based on the classic Don Juan story of seduction, class division and eventual descent in hell.

The impulsive Don Giovanni travels through Europe seducing women, accompanied by his servant, Leporello. But when he commits murder, Don Giovanni unleashes a dark power beyond his control. He continues to seduce and betray but, haunted by the ghost of the murdered man, he invites him to dinner. The ghost urges him to repent - but Don Giovanni will not...

Presented by Andrew McGregor, including interviews with the conductor, director and a cast of principal singers which includes Christopher Maltman, Alex Esposito, Albina Shagimuratova, Rolando Villaz n and Dorothea R怀schmann.

Don Giovanni.....Christopher Maltman (Baritone)

Leporello.....Alex Esposito (Bass)

Donna Anna.....Albina Shagimuratova (Soprano)

Don Ottavio.....Rolando Villazon (Tenor)

Donna Elvira.....Dorothea R怀schmann (Soprano)

Zerlina.....Julia Lezhneva (Soprano)

Masetto.....Nahuel di Pierro (Bass)

Commendatore.....Eric Halfvarson (Bass)

Royal Opera House Chorus

Royal Opera House Orchestra

Alain Altinoglu (Conductor).

Mozart's Don Giovanni in a performance given at the Royal Opera House, Covent Garden.

Mozart's Don Giovanni20191102Mozart's Don Giovanni, with its compelling story and characterisation, coupled with some of his greatest and most memorable music, has been a hit with audiences ever since its 1787 Prague premiere. It tells the tale of the man who stops at nothing to get what he wants - and he wants one thing only (yes, that). As his long-suffering sidekick Leporello puts it in the famous 'Catalogue' aria, 'It doesn't matter if she's rich, ugly or beautiful; if she wears a skirt, you know what he does.' And he's done it with 2065 of them, leaving a trail of broken promises and wrecked lives throughout Europe. But in the 24 hours portrayed here he at last comes up against something he can't evade, dupe or kill...

Erwin Schrott, internationally celebrated in the title role, leads a starry cast including Roberto Tagliavini as Leporello and Malin Bystrom, Myrto Papatanasiu and Louise Alder as the trio of women bent on revenge.

Presented by Tom Service in conversation with Berta Joncus.

Mozart: Don Giovanni

Don Giovanni.....Erwin Schrott (Bass)

Leporello.....Roberto Tagliavini (Bass)

Donna Anna.....Malin Bystrom (Soprano)

Don Ottavio.....Daniel Behle (Tenor)

Donna Elvira.....Myrto Papatanasiu (Soprano)

Zerlina.....Louise Alder (Soprano)

Masetto.....Leon Kosavic (Baritone)

The Commendatore.....Petros Magoulas (Bass)

Royal Opera House Orchestra

Royal Opera House Chorus

Hartmut Haenchen (Conductor)

Act I

Don Giovanni, a Spanish nobleman, is renowned throughout Europe as a seducer of women; Leporello, his servant, reluctantly aids him by keeping watch. Giovanni attempts to leave the house of Donna Anna, his most recent conquest; he kills Anna's father the Commendatore when the Commendatore tries to stop him. Anna tells her fiance, Don Ottavio, that she was raped by an unknown man and they vow revenge on the murderer. Leporello's attempts to persuade his master to reform are interrupted by Donna Elvira, a former mistress of Giovanni's, who is travelling to look for him. Giovanni leaves it to Leporello to explain the extent of his master's womanizing.

Masetto and his bride Zerlina are to be married at a peasant wedding, but Giovanni sets himself to seduce Zerlina. Elvira interrupts and foils Giovanni's attempt. Ottavio and Anna appeal to Giovanni for help in their pursuit of the murderer of Anna's father. Elvira again interrupts and warns Ottavio and Anna about Giovanni's true nature; Anna tells Ottavio that Giovanni is the man who murdered her father. Leporello discusses with Giovanni the plans for the masque ball his master is hosting that evening. Zerlina assures Masetto that Giovanni has not touched her. Elvira joins forces with Ottavio and Anna; they are going to the ball and intend to exact vengeance on Giovanni. While everyone is dancing at the ball Giovanni attempts to ensnare Zerlina, but she rallies all behind her to try to entrap Giovanni. All accuse him, but he and

Leporello elude them once more.

Act II

Hoping for success with Elvira's maid, Giovanni exchanges clothes with Leporello, who is instructed to lure Elvira away. Giovanni is interrupted by Masetto, who is intent on killing him, but his disguise is successful and he beats Masetto up and escapes. Returning with Elvira, Leporello is mistaken for Giovanni by Anna, Ottavio, Zerlina and Masetto. Removing his disguise, Leporello convinces them that he is not the guilty one. Ottavio swears vengeance on Giovanni whom, in spite of everything, Elvira continues to love.

Giovanni hears the voice of the Commendatore, whom he killed, warning Giovanni of impending retribution. Giovanni orders Leporello to invite the ghost to supper. The ghost of the Commendatore accepts Don Giovanni's invitation and arrives to send him to hell.

Erwin Schrott in the title role leads a starry cast at the Royal Opera House.

Mozart's Don Giovanni20220205Through some of his greatest and most memorable music, Mozart's Don Giovanni tells the tale of the man who stops at nothing to get what he wants. 'It doesn't matter if she's rich, ugly or beautiful; if she wears a skirt, you know what he does,' sings his sidekick Leporello in the famous Catalogue aria. And he's done it with 2065 of them, leaving a trail of broken promises and wrecked lives throughout Europe. But in the 24 hours portrayed here, the tally stubbornly fails to increase (despite his best efforts) and Don Giovanni at last comes up against something he can't evade, dupe or kill...

Teodor Currentzis is one of today's most compelling period performance conductors and in this Salzburg Festival Don Giovanni, when he led a mainly young cast and his own, hand-picked musicAeterna Chorus and Orchestra, the results thrilled audiences and critics.

Introduced by TOM SERVICE.

Act 1

8.15 pm

Interval

The behavioural indicators for antisocial personality disorder on the NHS website appear very precisely to describe the principal characteristics of Don Giovanni. For example: 'A person with antisocial personality disorder may: exploit, manipulate or violate the rights of others; lack concern, regret or remorse about other people's distress; behave irresponsibly and show disregard for normal social behaviour; have difficulty sustaining long-term relationships; lack guilt, or not learn from their mistakes'.

So, is Don Giovanni a psychopath? Tom puts the question to Sir Simon Wessely, Regius Professor of Psychiatry at King's College London.

8.30 pm

Act 2

Don Giovanni - .. Davide Luciano (bass-baritone)

Leporello - .. Vito Priante (bass)

Donna Anna - .. Nadezhda Pavlova (soprano)

Don Ottavio - .. Michael Spyres (tenor)

Donna Elvira - .. Federica Lombardi (soprano)

Zerlina - .. Anna Lucia Richter (soprano)

Masetto - .. David Steffens (bass)

Il Commendatore - .. Mika Kares (bass)

Teodor Currentzis (conductor)

Teodor Currentzis conducts Mozart's great opera at the 2021 Salzburg Festival

musicAeterna Chorus & Orchestra

Image: © SF / Monika Rittershaus

Mozart's Don Giovanni20221022Kaspar Holten's memorable production of Don Giovanni returns to the Royal Opera House with a brand new cast. Luca Micheletti takes on the role of the iconic operatic bad boy, who already has 2,065 female conquests and is after more. But will his plans be thwarted by the ghost of the man he kills? Maria Bengtsson, Paula Murrihy and Christina Gansch play the trio of women who get drawn into his net, and Christopher Maltman sings his unlucky sidekick, Leporello. Constantin Trinks conducts from the fortepiano.

Presented by Flora Willson, with guest Timothy Jones.

6.30pm

Mozart Don Giovanni - Act 1

c.8.10 - interval

Flora Willson chats to tonight's conductor Constantin Trinks, and discusses the opera with Mozart expert Timothy Jones

c.8.25 - Act 2

Don Giovanni.....Luca Micheletti (baritone)

Leporello....Christopher Maltman (baritone)

Donna Anna....Maria Bengtsson (soprano)

Donna Elvira....Paula Murrihy (mezzo-soprano)

Don Ottavio....Charles Castronovo (tenor)

Zerlina....Christina Gansch (soprano)

Masetto....Thomas Faulkner (bass)

The Commendatore....Adam Palka (bass)

Royal Opera Chorus

Orchestra of the Royal Opera House

Constantin Trinks (conductor)

Mozart's Don Giovanni from the Royal Opera House, Covent Garden.

Read the full synopsis on the Royal Opera House website: https://bit.ly/3VLb6Kc

Mozart's Don Giovanni20240127This evening's Opera on 3 marks both Mozart's birthday, born January 27th 1756, and the 50th anniversary this year of the Scottish Chamber Orchestra, with a remarkable recording from 1996 of one of Mozart's most celebrated works, Don Giovanni, conducted by Sir Charles Mackerras.

Bo Skovhus leads the stellar cast as the legendary bad boy, Don Giovanni, who hopes his womanising ways can continue unchecked - that is until he meets the ghost of the man he kills.

Kate Molleson introduces this performance in conversation with soprano Christine Brewer, who sings the role of Donna Anna, and shares her memories of working with Mackerras in this recording.

Don Giovanni - Bo Skovhus (baritone)

Leporello - Alessandro Corbelli (baritone)

Donna Anna - Christine Brewer (soprano)

Don Ottavio - Jerry Hadley (tenor)

Donna Elvira - Felicity Lott (soprano)

Zerlina - Nuccia Focile (soprano)

Il Commendatore / Masetto - Umberto Chiummo (bass)

Scottish Chamber Orchestra and Chorus

Sir Charles Mackerras, conductor

Sir Charles Mackerras conducts the Scottish Chamber Orchestra in Mozart's Don Giovanni.

Sir Charles Mackerras conducts the Scottish Chamber Orchestra in Mozart's Don Giovanni, in an outstanding recording made in 1996. Bo Skovhus stars in the title role.

Mozart's Don Giovanni From The Met2012031020210417 (R3)Indiscriminate and sexually voracious, Don Giovanni is a man who doesn't take no for an answer, leaving a trail of outrage and wrecked lives in his wake. But in the end, even he comes up against something he can't dupe, evade, or kill. One of the greatest (and most hummable) operas in the repertoire stars baritone Gerald Finley in the title role and Bryn Terfel as his manservant Leporello.

This performance from the Met in 2012 is presented by Mary-Jo Heath with guest commentator Ira Siff

Don Giovanni.....Gerald Finley (baritone)

Leporello.....Bryn Terfel (bass)

Donna Anna.....Marina Rebeka (soprano)

Donna Elvira.....Ellie Dehn (soprano)

Don Ottavio ....Matthew Polenzani (tenor)

Masetto.....Shenyang (bass)

Zerlina.....Isabel Leonard (soprano)

Il Commendatore.....James Morris (bass)

New York Metropolitan Opera Orchestra

Metropolitan Opera Chorus

Conductor, Andrew Davis

First broadcast live, 10th March 2012

Mozart's Don Giovanni with Gerald Finley and Bryn Terfel. Andrew Davis conducts. From 2012

Mozart's Idomeneo20150126It's another one of those tricky situations from the world of Greek Myth. Idomeneo, King of Crete, hits a storm as he's sailing back home after a tiring stint in the Trojan War. In return for being spared a briny end, Idomeneo rashly promises Neptune that he'll sacrifice the first human being he sees on landing. Inevitably, that person is his son, Idamante. Idomeneo thinks he can forget his obligation but Neptune thinks otherwise and, to help jog Idomeneo's memory, sends a monster to ravage Crete.

Add to that the de rigueur love triangle (Idamante is loved by Trojan princess Ilia and Greek princess Elettra; he loves Ilia but not Elettra, which makes her cross) and you have a standard eighteenth-century opera plot that could so easily have fallen into the hands of any hack composer.

Happily for us, it came the way of a certain 24-year-old Wolfgang Amadeus Mozart who, desperate to show what he could do, threw everything he had at it.

The result was exceptional, even in Mozart's peerless operatic output. With its gripping dramatic sweep and characterisation, coupled to audacious writing for orchestra and chorus, Idomeneo pushes beyond the boundaries of eighteenth-century operatic convention. No wonder Mozart had a soft spot for it for the rest of his life.

Marc Minkowski conducts an international cast including tenor Matthew Polenzani in the title role, countertenor Franco Fagioli as Idamante, and sopranos Sophie Bevan and Malin Bystr怀m as his love rivals.

Recorded last November at the Royal Opera House, Covent Garden, the production was the UK debut for director Martin Kušej. His post-modern take on Idomeneo set the opera in a dystopia where father and son vie to assert their opposing political systems over a subjugated populace in thrall to a fishy cult.

Martin Handley is joined by Nicholas Kenyon to discuss both music and controversial stage action. And in the interval at 8.45pm Berta Joncus explores the fascinating and uniquely documented background of Idomeneo's genesis.

Idomeneo.....Matthew Polenzani (Tenor)

Idamante.....Franco Fagioli (Countertenor)

Ilia.....Sophie Bevan (Soprano)

Elettra.....Malin Bystrom (Soprano)

Arbace.....Stanislas De Barbeyrac (Tenor)

High Priest of Neptune.....Krystian Adam (Tenor)

Voice of Neptune.....Graeme Broadbent (Bass)

Royal Opera House Orchestra

Royal Opera House Chorus

Marc Minkowski (Conductor).

From the Royal Opera House, Covent Garden, Marc Minkowski conducts Mozart's Idomeneo.

Mozart's Idomeneo (edinburgh International Festival)20100918Edinburgh International Festival

Mozart - Idomeneo in 3 Acts

The dramatic Greek drama of Idomeneo featuring the inevitable struggle of love versus duty, an insoluable love triangle and the intervention of a sea monster and Neptune himself, provide Mozart with the inspiration for this gloriously colourful early masterpiece. The Scottish Chamber Orchestra and a star-studded cast, conducted by Sir Roger Norrington present a concert performance from the Usher Hall in Edinburgh. Presented by Donald MacLeod

Idomeneo - Kurt Streit (tenor)

Idamante - Joyce DiDonato (mezzo soprano)

Ilia - Rosemary Joshua (soprano)

Elettra - Emma Bell (soprano)

Arbace - Rainer Trost (tenor)

Sacerdote - Keith Lewis (tenor)

La Voce - Jan Martinik (bass)

Sir Roger Norrington - Conductor

Scottish Chamber Orchestra Chorus.

Mozart's Idomeneo from the Edinburgh International Festival. Presented by Donald MacLeod.

Mozart's Idomeneo From The Met20230429Idomeneo, the King of Crete is sailing home from war in stormy waters which will only abate when he swears he'll offer as a sacrifice the first person he sees on landing. This person happens to be his son, Idamante. When he tries to go back on his promise, Crete is afflicted by destruction, and he realises he must choose between his son, and his people. Tenor Michael Spyres sings title role, alongside mezzo-soprano Kate Lindsey as the noble prince Idamante and soprano Ying Fang as his conflicted beloved, Ilia.

Presented by Debra Lew Harder, in converstation with Ira Siff.

Mozart: Idomeneo

Idomeneo....Michael Spyres (tenor)

Idamante... Kate Lindsey (mezzo-soprano)

Ilia...Ying Fang (soprano)

Elettra.....Federica Lombardi (soprano)

Arbace....Paolo Fanale (tenor)

Metropolitan Opera Chorus and Orchestra

Manfred Honeck (conductor)

Idomeneo from the New York Met, conducted by Manfred Honeck.

Idomeneo, the King of Crete, is sailing home from war in stormy waters which will only abate when he swears he'll offer as a sacrifice the first person he sees on landing. This person happens to be his son, Idamante. When he tries to go back on his promise, Crete is afflicted by destruction, and the King realises he must choose between his son and his people. Tenor Michael Spyres sings the title role, alongside mezzo-soprano Kate Lindsey as the noble prince Idamante and soprano Ying Fang as his conflicted beloved, Ilia.

Idomeneo - Michael Spyres (tenor)

Idamante - Kate Lindsey (mezzo-soprano)

Ilia - Ying Fang (soprano)

Elettra - Federica Lombardi (soprano)

Arbace - Paolo Fanale (tenor)

Idomeneo, the King of Crete, is sailing home from war in stormy waters which will only abate when he swears he'll offer as a sacrifice the first person he sees on landing. This person happens to be his son, Idamante. When he tries to go back on his promise, Crete is afflicted by destruction, and the King realises he must choose between his son and his people. Tenor Michael Spyres sings the title role, alongside mezzo-soprano Kate Lindsey as the noble prince Idamante and soprano Ying Fang as his conflicted beloved, Ilia.

Presented by Debra Lew Harder, in converstation with Ira Siff.

Mozart: Idomeneo

Idomeneo - Michael Spyres (tenor)

Idamante - Kate Lindsey (mezzo-soprano)

Ilia - Ying Fang (soprano)

Elettra - Federica Lombardi (soprano)

Arbace - Paolo Fanale (tenor)

Metropolitan Opera Chorus and Orchestra

Manfred Honeck (conductor)

Read the full synopsis on the MET opera website: https://bit.ly/3LtLkqY

Idomeneo from the New York Met, conducted by Manfred Honeck.

Mozart's La Clemenza Di Tito2017012920170204 (R3)Tonight's Opera on 3 is Mozart's La Clemenza di Tito in a production from Madrid's Teatro Real conducted by Christophe Rousset.

Vitellia's father has been deposed as emperor by Tito and she wants revenge. She orders Sesto (who is in love with her) to murder Tito, not realising that Tito has in fact chosen her to be his empress. Luckily for the conspirators, Tito offers clemency to all concerned when the plot comes to light.

Sarah Lenton presents, in conversation with Cliff Eisen.

Tito - Jeremy Ovenden (tenor)

Vitellia - Karina Gauvin (soprano)

Sesto - Monica Bacelli (soprano)

Annio - Sophie Harmsen (soprano)

Servilia - Sylvia Schwartz (soprano)

Publio - Guido Loconsolo (bass)

Madrid Teatro Real Chorus and Orchestra

conductor Christophe Rousset.

Mozart's La clemenza di Tito in a performance given at the Teatro Real in Madrid.

Mozart's La Finta Giardiniera20140922Don Anchise (Il Podesta).....Wolfgang Ablinger-Sperrhacke (tenor)

La Marchesa Violante.....Christiane Karg (Soprano)

Arminda.....Nicole Heaston (Soprano)

Count Belfiore.....Joel Prieto (Tenor)

Ramiro.....Rachel Frenkel (Mezzo-soprano)

Serpetta.....Joelle Harvey (Soprano)

Nardo (Roberto).....Gyula Orendt (Baritone)

Orchestra of The Age of Enlightenment

Robin Ticciati (Conductor)

To start the new Opera on 3 season, a performance from Glyndebourne of Mozart's La finta Giardiniera. Written when he was only 18, Mozart based La finta Giardiniera on Goldoni's play Pamela nubile and was only his second comic opera. The story follows seven characters in search of love, involving disguise, and recognition of both identities and emotions - trying to discover what is real and what is 'finta'. Soprano Christiane Karg stars as Violante, who is known in her disguise as Sandrina, pursued by both Belfiore, tenor Joel Prieto and Don Anchise, sung by tenor Wolfgang Ablinger-Sperrhacke. The Orchestra of the Age of Enlightenment is conducted by Glyndebourne's new Music Director Robin Ticciati. Martin Handley presents, and during the interval discusses the opera with Mozart specialist Professor Cliff Eisen.

Photo (c) Tristram Kenton.

A performance given at Glyndebourne of Mozart's early comic opera La finta giardiniera.

Mozart's Le Nozze Di Figaro20220122The philandering Count Almaviva is determined to enjoy his droit de seigneur with Susanna, his valet Figaro's betrothed, on her wedding day. But the humiliated countess is equally determined to expose and embarrass the count, enlisting the help of Susanna and Figaro to do so. And then there's the cross-dressed, cross-dressing mass of raging adolescent hormones that is Cherubino, who is determined to try it on with anything that moves...

In one of the greatest operas of all time and under the guise of comedy, Mozart holds up the iniquities of society and the ambiguities of life to his unerring gaze.

As ever, the Met has assembled a starry international cast, including Lucy Crowe and Ryan McKinny as the young couple and Adam Plachetka and Golda Schultz as the Count and Countess.

Introduced by Debra Lew Harder in conversation with Ira Siff.

Mozart: Le Nozze di Figaro

Susanna - Lucy Crowe (soprano)

Figaro - Ryan McKinny (bass-baritone)

Countess Almaviva - Golda Schultz (soprano)

Count Almaviva - Adam Plachetka (baritone)

Cherubino - Isabel Leonard (mezzo-soprano)

Marcellina - ELIZABETH BISHOP (mezzo-soprano)

Don Basilio - Giuseppe Filianoti (tenor)

Dr. Bartolo - Maurizio Muraro (bass)

Metropolitan Opera House Chorus and Orchestra

Daniele Rustioni (conductor)

Daniele Rustioni conducts Mozart's timeless comedy from the New York Metropolitan Opera.

Acts 1 & 2

8.10 pm

Interval

Including backstage interviews, archive clips, commentary and more.

8.35 pm

Acts 3 & 4

Metropolitan Opera Chorus & Orchestra

Image: ©Chris Lee / Met Opera

Mozart's Marriage Of Figaro20190928Mozart's The Marriage of Figaro

Mozart's great comic opera of intrigue, misunderstanding and forgiveness, packed full of wonderful, and some of Mozart's most celebrated, arias. Christian Gerhaher sings the role of Figaro, who plans to marry Susanna, the soprano Joelle Harvey, but their master Count Almaviva, performed by Simon Keenlyside, has designs on Susanna. Meanwhile the young Cherubino, portrayed by countertenor Kangmin Justin Kim, explores his passion for the ladies and Countess Almaviva, performed by Julia Kleiter fights to regain her husband's love. Kangmin Justin Kim not only makes his debut at the Royal Opera House, but also makes history as the first male to portray Cherubino on the Covent Garden stage.

John Eliot Gardiner conducts the Chorus and Orchestra of the Royal Opera House in this classic production. Kate Molleson presents and is joined by Tim Jones.

Figaro.....Christian Gerhaher (Baritone)

Susanna.....Joelle Harvey (Soprano)

Count Almaviva.....Simon Keenlyside (Baritone)

Countess Almaviva.....Julia Kleiter (Soprano)

Cherubino.....Kangmin Justin Kim (Counter-tenor)

Bartolo.....Maurizio Muraro (Bass)

Marcellina.....Diana Montague (Mezzo-soprano)

Don Basilio.....Jean-Paul Fouchecourt (Tenor)

Antonio.....Jeremy White (Bass)

Don Curzio.....Alasdair Elliott (Tenor)

Barbarina.....Yaritza Veliz (Soprano)

First Bridesmaid.....Rebecca Hardwick (Soprano)

Second Bridesmaid.....Angharad Rowlands (Mezzo-soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

William Spaulding (Chorus Master)

John Eliot Gardiner (Conductor)

Mozart's The Marriage of Figaro from the Royal Opera conducted by John Eliot Gardiner.

Mozart's Marriage Of Figaro From The Metropolitan Opera20210327Mozart's The Marriage of Figaro from the Metropolitan Opera starring Ildar Abdrazakov, Nadine Sierra and Marisuz Kwiecien. The story tells how the crafty servants Figaro and Susanna succeed in getting married, despite the best efforts of their philandering employer Count Almaviva to have a romantic assignation with Susanna before her marriage. But not before a series of comic misunderstandings are resolved.

This performance from 2018 from the Met in New York is presented by Mary-Jo Heath and commentator Ira Siff.

Photo: Ken Howard / Metropolitan Opera

Figaro.....Ildar Abdrazakov (Bass)

Susanna.....Nadine Sierra (Soprano)

Count Almaviva.....Marisuz Kwiecien (Baritone)

Countess Almaviva.....Ailyn Perez (Soprano)

Cherubino.....Isabel Leonard (Mezzo-soprano)

Marcellina.....Katarina Leoson (Soprano)

Doctor Bartolo.....Maurizio Muraro (Singer)

Don Basilio.....Greg Fedderly (Tenor)

Antonio.....Paul Corona (Bass)

Barbarina.....Ashley Emerson (Soprano)

Don Curzio.....Scott Scully (Tenor)

Linda Burman-Hall (Harpsichord)

David Heiss (Cello)

New York Metropolitan Opera Orchestra

New York Metropolitan Opera Chorus

Harry Bicket (Conductor)

Mozart's Mitridate, Re Di Ponto20170708Martin Handley introduces Mozart's Mitridate, Re di Ponto, recorded this month at the Royal Opera House in London. Mozart was 14 when he wrote this early opera seria masterpiece telling the tragic story of the King of Ponto, a warrior whose sons Farnace and Sifare are in love with his fianc退e Aspasia, which leaves them torn between loyalty to him or betrayal with the enemy. Christophe Rousset conducts the ROH Orchestra and chorus, as well as a stellar cast lead by Michael Spyres in the title role, Albina Shagimuratova as Aspasia, Bejun Mehta as Farnace and Salome Jicia as Sifare.

Mitridate - Michael Spyres (tenor)

Aspasia - Albina Shagimuratova (soprano)

Sifare - Salome Jicia (soprano)

Farnace - Bejun Mehta (treble)

Ismene - Lucy Crowe (soprano)

Marzio - Rupert Charlesworth (tenor)

Abate - Jennifer Davis (soprano)

Royal Opera House Chorus

Royal Opera House Orchestra

Christophe Rousset (conductor).

From the Royal Opera House, Covent Garden, Mozart's opera Mitridate, Re di Ponto.

Mozart's The Abduction From The Seraglio20210109Recorded Autumn 2020 in Vienna, this is the opera that famously has 'too many notes' according to the emperor in the film Amadeus, and yet the Abduction was an immediate success. The eastern influence of Turkey was the fashion of the time, and the opera was hugely popular. A humorous tale, the love story centres around Belmonte, a Spanish aristocrat and Konstanza, his betrothed who is captured by pirates and sold into the harem of Bassa Selim, a Turkish pasha. A rescue mission ensues and although Belmonte finds Konstanze, getting out the Seraglio proves an almost impossible task.

Lisette Oropesa is the virtuosic Konstanze, Daniel Behle is Belmonte and Antonello Manacorda conducts the Vienna State Opera Orchestra and Chorus.

Presented by Kate Molleson with guest Timothy Jones

Christian Nickel, [spoken role], Pasha Selim

Belmonte - .. Daniel Behle (tenor)

Belmonte (actor) - ..Christian Natter

Konstanze - .. Lisette Oropesa (soprano)

Konstanze (actor) - ..Emanuela von Frankenberg,

Blondchen - .. Regula Mühlemann (soprano)

Blondchen (actor) - ..Stella Roberts

Osmin, overseer for the Pasha - ..Goran Juri? (tenor)

Osmin (actor) - ..Andreas Gr怀tzinger

Pedrillo, Belmonte's servant - ..Michael Laurenz (tenor)

Pedrillo (actor) - .. Ludwig Blochberger

member of soloist quartet - ..Svenja Kallweit (soprano)

member of soloist quartet - ..Mari Nakayama (mezzo-soprano)

member of soloist quartet - ..Tamas Katona (tenor)

member of soloist quartet - ..Peter Dolinšek (bass)

Vienna State Opera Chorus

Antonello Manacorda (conductor)

Part One

The Spanish nobleman Belmonte arrives at the estate of Bassa Selim searching for his lost fiance?e Konstanze. She was kidnapped by sea pirates together with her servant, the English maid Blonde and his own servant Pedrillo. He meets Osmin the supervisor of the estate who hostilely refuses him any helpful information. Only after reuniting with his servant Pedrillo does Belmonte learn that Konstanze, as well as the pair Blonde and Pedrillo, were bought as slaves by Bassa Selim. The Bassa loves Konstanze but she has never answered his requests. As a European converted to Islam, he »still has enough sensitivity, that none of his wives were ever forced into love«. Belmonte is shortly convinced of this as he secretly watches the Bassa and his entourage with Konstanze's appear. The Bassa again succumbs to Konstanze's wish to postpone her decision. Pedrillo is able to present Belmonte to Bassa Selim as an architect and builder, whereby making it able for him to gain entrance to the palace, against the resistance and opposition of Osmin.

Although given as a slave to Osmin as a gift, Blonde is very self-assured and knows exactly how to defend herself from the romantic approaches of the infatuated Turk. Again, Bassa Selim tries to gain Konstanze's favour although she feels obligated to Belmonte. She would rather suffer the offended the Bassa's tortures than be unfaithful to Belmonte.

Part Two

The desired reunion is fast approaching and Belmonte is waiting for his beloved. As the two European couples finally face each other, their joy becomes severely troubled: Belmonte and Pedrillo suddenly doubt the faithfulness of their women. Konstanze and Blonde are deeply hurt.

The planned midnight abduction of the women fails, because Osmin wakes up from his drunken stupor arranged by Pedrillo too soon. Osmin realizes his hour of revenge has come at last. As Belmonte begs for mercy, the Bassa recognises him as the son of his archrival, the man who once stole his beloved from him and forced him to flee his homeland.

Both couples await their deaths. However, the Bassa gives them their freedom: 'If one cannot gain your favour even by good deeds, then one should get rid of you.' Everyone joins in a song of praise of Bassa's generosity, except Osmin who does not portray correctly, boiling in an impotent, helpless rage.

The Bassa is left alone.

Mozart's The Abduction from the Seraglio from Vienna State Opera.

Mozart's The Magic Flute20121006One of Mozart's last works, The Magic Flute is by turns sublime and ridiculous. It's an opera where true love, jealousy and freemasonry are afoot in an imaginary ancient Eygpt. And with its evil Queen of the Night, giant serpent, pairs of lovers and, of course, magic flute it could well be a pantomime farce. But it just happens to have some of the greatest music Mozart ever wrote. This performance was recorded at the 2012 Salzburg Festival with veteran period instrument specialist Nikolaus Harnoncourt conducting his long-time ensemble, the Vienna Concentus Musicus. Presented by Andrew McGregor.

Sarastro.....Georg Zeppenfeld (Bass)

Tamino.....Bernard Richter (Tenor)

Queen Of The Night.....Mandy Fredrich (Soprano)

Pamina.....Julia Kleiter (Soprano)

First Lady.....Sandra Trattnigg (Soprano)

Second Lady.....Anja Schlosser (Mezzo)

Third Lady.....Wiebke Lehmkuhl (Contralto)

Three Boys.....soloist from Tolzer Knabenchor

Papageno.....Markus Werba (Baritone)

Papagena.....Elisabeth Schwarz (Soprano)

Monostatos.....Rudolf Schasching (Tenor)

Speaker.....Martin Gantner (Baritone)

First Armoured Man / First Priest.....Lucian Krasznec (Tenor)

Second Armoured Man.....Andreas Horl (Bass)

Concentus Musicus Vienna

Conductor.....Nikolaus Harnoncourt.

Mozart's The Magic Flute from the 2012 Salzburg Festival. Nikolaus Harnoncourt conducts.

Mozart's The Magic Flute20230603Nathalie Stutzmann conducts Mozart's fairy-tale comedy at the New York Metropolitan Opera, starring Erin Morley as Pamina and Lawrence Brownlee as Tamino, the Prince who hopes to win her, with only a magic flute to protect him against the dark powers of her mother the Queen of the Night. The Freemasonry-inspired story (both Mozart his librettist were Masons) is frankly bonkers, so sit back and enjoy the music and the stage high jinks. This daring new staging by English director Simon McBurney raises the orchestra pit so that singers and players can interact, and was hailed by The Wall Street Journal's critic as 'the best production I've ever witnessed of Mozart's opera'.

Presented by Debra Lew Harder with commentator Ira Siff.

Pamina - Erin Morley (soprano)

Tamino - Lawrence Brownlee (tenor)

Queen of the Night - Kathryn Lewek (soprano)

Sarastro - Stephen Milling (bass)

Papagena - TBC (soprano)

Papageno - Thomas Oliemans (baritone)

Monostatos - Brenton Ryan (tenor)

Speaker - Harold Wilson (bass)

Metropolitan Opera Chorus and Orchestra

Conductor Nathalie Stutzmann

Nathalie Stutzmann conducts Mozart's fairy-tale comedy at the New York Metropolitan Opera.

Mozart's The Marriage Of Figaro20120526Presented by Louise Fryer

Ildebrando D'Arcangelo stars as Figaro, Lucas Meachem as Count Almaviva and Aleksandra Kurzak as Susanna in Mozart's great comic opera. Sir Antonio Pappano conducts the Orchestra and Chorus of the Royal Opera.

When Count Almaviva takes an over-eager interest in his cunning manservant's wife-to-be, he sets off an elaborate train of events and finds himself thwarted many times. But after a day of madness and a night of confusion, everything ends more or less happily.

Figaro.....Ildebrando D' Arcangelo (Bass)

Susanna.....Aleksandra Kurzak (Soprano)

Bartolo.....Carlo Lepore (Bass)

Marcellina.....Ann Murray (Mezzo-Soprano)

Cherubino.....Anna Bonitatibus (Mezzo-Soprano)

Count Almaviva.....Lucas Meachem (Baritone)

Basilio.....Bonaventura Bottone (Tenor)

Antonio.....Jeremy White (Bass)

Don Curzio.....Harry Nicoll (Tenor)

Barbarina.....Susana Gaspar (Soprano)

Countess Almaviva.....Rachel Willis Sorensen (Soprano)

Chorus and Orchestra of the Royal Opera House, Covent Garden

conductor Antonio Pappano.

Antonio Pappano conducts Mozart's great comic opera The Marriage of Figaro.

Mozart's The Marriage Of Figaro20231111A philandering count, determined to exercise his droit de seigneur with his wily valet's bride-to-be on her wedding day.... a humiliated countess bent on revenge... and a sex-obsessed cross-dressed, cross-dressing teenager...

Subversive and funny, poignant and thought-provoking, Mozart's comedy is one of the greatest operas of all time, packed full of unforgettable tunes, telling characterisation, and trenchant observation both of society's iniquities and the human condition.

Kate Molleson introduces an acclaimed performance recorded at this year's Salzburg Festival, and she talks to Martin Nedbal from the University of Kansas about Figaro's origins and the ever-changing reactions to the opera in different countries at different times.

Mozart: Le nozze di Figaro, K. 492

Count Almaviva - Andrè Schuen (bass)

Countess Almaviva - Adriana González (soprano)

Susanna - Sabine Devieilhe (soprano)

Figaro - Krzysztof BĀ...czyk (bass)

Cherubino - Lea Desandre (mezzo-soprano)

Marcellina - Kristina Hammarström (mezzo-soprano)

Bartolo - Péter Kálmán (bass)

Basilio - Manuel Günther (tenor)

Don Curzio - Andrew Morstein (tenor)

Barbarina - Serafina Starke (soprano)

Gardener - Rafał Pawnuk (bass)

Vienna State Opera Chorus Concert Association

Vienna Philharmonic Orchestra

Raphaël Pichon (conductor)

Mozart's peerless comic opera of love, sex and class, from the 2023 Salzburg Festival

Polish bass Krzysztof Baczyk and French soprano Sabine Devieilhe as Figaro and his wife-to-be Susanna, lead a starry international cast in Mozart's enduring comic masterpiece.

Kate Molleson presents a performance recorded at this year's Salzburg Festival.

Count Almaviva - Andr耀 Schuen (bass)

Countess Almaviva - Adriana Gonzကlez (soprano)

Figaro - Krzysztof B?czyk (bass)

Marcellina - Kristina Hammarstr怀m (mezzo-soprano)

Bartolo - P退ter Kကlmကn (bass)

Gardener - Rafa? Pawnuk (bass)

Rapha뀀l Pichon (conductor)

Mozart's peerless comic opera of love, sex and class, from the 2023 Salzburg Festival.

Mussorgsky: Boris Godunov20081115From London's Coliseum, Suzy Klein presents English National Opera's production of Mussorgsky's classic study of guilt and paranoia. Bass Peter Rose takes the role of the Russian Tsar in a performance of the original version with a new translation by David Lloyd-Jones.

Boris Godunov - Peter Rose (bass)

Prince Vasily Shuisky - John Graham-Hall (tenor)

Andrey Shchelkalov - David Stephenson (baritone)

Pimen - Brindley Sherratt (bass)

Grigory, later Dmitri the Pretender - Gregory Turay (tenor)

Innkeeper - Yvonne Howard (mezzo-soprano)

Varlaam - Jonathan Veira (bass-baritone)

Misail - Anton Rich (tenor)

Xenia - Sophie Bevan (soprano)

Fyodor - Anna Grevelius (mezzo-soprano)

Xenia's Nurse - Deborah Davison (mezzo-soprano)

Nikitch - James Gower (bass-baritone)

Mityukha - Paul Napier-Burrows (baritone)

Border Guard - Charles Johnston (baritone)

Boyar-in-attendance - Philip Daggett (tenor)

Simpleton - Robert Murray (tenor)

Orchestra and Chorus of English National Opera

Edward Gardner (conductor).

Mussorgsky's Boris Godunov, in an ENO production conducted by Edward Gardner.

Mussorgsky's Boris Godunov20220219Ren退 Pape stars as the tortured Tsar in this New York Metropolitan Opera production of Mussorgsky's operatic masterpiece inspired by Pushkin's play. Boris Godunov has become Tsar of Russia after the deaths of Ivan the Terrible and his sons, and proves himself a good ruler - but he is tormented by a terrible secret.

Mussorgsky: Boris Godunov

Boris Godunov - Ren退 Pape (bass)

Xenia, his daughter - Erika Baikoff (soprano)

Feodor, his son - Megan Marino (mezzo-soprano)

Grigory, the pretender - David Butt Philip (tenor)

Pimen, hermit - Ain Anger (bass)

Prince Shuisky - Maxim Paster (tenor)

Shchelkalov - Aleksey Bogdanov (baritone)

Varlaam, tramp - Ryan Speedo Green (bass-baritone)

Holy Fool - Miles Mykkanen (tenor)

Metropolitan Opera Orchestra and Chorus

Conductor Sebastian Weigle

Image: © Marty Sohl / Met Opera

Rene Pape stars as the tortured Tsar in this New York Metropolitan Opera production.

Mussorgsky: Boris Godunov (original 1869 version)

Missail - Brenton Ryan (tenor)

Mitiukha - Bradley Garvin (bass-baritone)

Nikitich, police officer - Richard Bernstein (bass)

Hostess of the inn - Tichina Vaughn (mezzo-soprano)

Nurse - Eve Gigliotti (mezzo-soprano)

Boyar in Attendance - Mark Schowalter (tenor)

Policeman - Kevin Burdette (bass)

Niobe, Regina Di Tebe20101023Tonight's Opera on 3 is a rare chance to hear Agostino Steffani's Niobe, from the Royal Opera House in London. Based on Ovid's Metamorphoses, it tells the story of Queen Niobe whose pride insults the Gods. As punishment, her children are killed and in her grief she turns to stone. Veronique Gens sings Niobe, and male soprano Jacek Laszczkowski her husband Anfione, a role originally written for a castrato. Thomas Hengelbrock conducts his own Balthasar Neumann Ensemble, and discusses why Steffani's music, which had such an influence on Handel, deserves to become better known.

Presented by Louise Fryer

Anfione - Jacek Laszczkowski (Soprano)

Niobe - Veronique Gens (Soprano)

Nerea - Delphine Galou (Contralto)

Clearte - Tim Mead (Alto)

Tiberino - Lothar Odinius (Tenor)

Manto - Amanda Forsythe (Soprano)

Tiresia - Bruno Taddia (Baritone)

Poliferno - Alastair Miles (Bass)

Creonte - Iestyn Davies (Countertenor)

Thomas Hengelbrock (conductor).

A rare chance to hear Agostino Steffani's opera Niobe, regina di Tebe.

Offenbach's Les Contes D'hoffmann20161224Martin Handley introduces a performance of Offenbach's Les Contes d'Hoffmann recorded last month at the Royal Opera House, Covent Garden. Vittorio Grigolo sings the title role in this world of fantasy, as young Hoffmann tells three stories recounting his search for love and his fight against his nemesis, the devil himself, who takes many guises, determined to make him fail. The villains are taken by Thomas Hampson; Olympia, the mechanical doll, is sung by Sofia Fomina; Giulietta, the Venetian courtesan, is Christine Rice; Antonia, the singer, is Sonya Yoncheva, while Nicklausse, the Muse in disguise, is Kate Lindsey. Evelino Pido conducts the orchestra and chorus of the Royal Opera House in this vintage production by John Schlesinger.

Hoffmann.....Vittorio Grigolo (Tenor)

Four Villains.....Thomas Hampson (Baritone)

Olympia.....Sofia Fomina (Soprano)

Giulietta.....Christine Rice (Mezzo-soprano)

Antonia.....Sonya Yoncheva (Soprano)

Nicklausse.....Kate Lindsey (Mezzo-soprano)

Spalanzani.....Christophe Mortagne (Tenor)

Crespel.....Eric Halfvarson (Bass)

Four Servants.....Vincent Ordonneau (Tenor)

Spirit of Antonia's mother.....Catherine Carby (Mezzo-soprano)

Nathanael.....David Junghoon Kim (Tenor)

Hermann.....Charles Rice (Baritone)

Schlemil.....Yuriy Yurchuk (Baritone)

Luther.....Jeremy White (Bass)

Royal Opera House Chorus

Royal Opera House Orchestra

Evelino Pido (Conductor).

Offenbach's Les Contes d'Hoffmann performed at the Royal Opera House, Covent Garden.

Opera North Double Bill: Osud And Trouble In Tahiti20171230Tom Redmond introduces, with expert Nigel Simeone, performances of two rarely performed short operas: Leos Janacek's semi-autobiographical 'Osud' (Destiny) which the composer wrote in the first decade of the last century, and Leonard Bernstein's jazz inflected 'Trouble In Tahiti' written in the 1950s as an observation on marriage in the age of consumerism. The two operas were recorded at the Grand Theatre in Leeds earlier in the year and were given by Opera North as part of a festival of compact opera under the banner 'Little Greats'.

Osud cast:

M퀀la Valkovက - Giselle Allen (soprano)

Živný - John Graham-Hall (tenor)

M퀀la's Mother - Rosalind Plowright (soprano)

Dr. Suda - Peter Auty (tenor)

Lhotský - Richard Burkhard (baritone)

Kone?ný - Dean Robinson (baritone)

Miss Stuhlက - Ann Taylor (mezzo-soprano)

Chorus and Orchestra of Opera North

conductor Martin Andr退

Trouble in Tahiti cast:

Sam - Quirijn de Lang (baritone)

Dinah - Wallis Giunta (mezzo-soprano)

Swing Trio: Fflur Wyn (soprano), Joseph Shovelton (tenor), Nicholas Butterfield (bass)

conductor Tobias Ringborg.

Tom Redmond with a double bill of Janacek and Bernstein from Opera North.

Partenope20081108Christian Curnyn makes his debut at the Coliseum, conducting a new ENO production of Handel's comic opera, updated by Christopher Alden to the time of the surrealists and starring Rosemary Joshua, Patricia Bardeon and Christian Rice.

Queen Partenope of Naples has four suitors: one, Eurimene, is actually Rosmira disguised as a man and trying to regain the affections of her ex, Arsace, now another Partenope suitor. Another, Emilio, ends up declaring war when she refuses to marry him. After many twists and turns, she ends up with a fourth claimant to her affections, while the ex-lovers are reunited.

Presented by Suzy Klein. The broadcast includes interviews with the director and cast, plus insights from Handel expert Dr Donald Burrows.

Emilio - John Mark Ainsley (tenor)

Partenope - Rosemary Joshua (soprano)

Arsace - Christine Rice (mezzo-soprano)

Armindo - Iestyn Davies (countertenor)

Rosmira (Eurimene) - Patricia Bardon (mezzo-soprano)

Ormonte - James Gower (bass-baritone)

Nicholas Ansdell-Evans, Joseph McHardy (harpsichords)

David Newby (cello continuo)

David Miller (theorbo continuo)

Orchestra of English National Opera

Christian Curnyn (conductor).

Christian Curnyn conducts an ENO production of Handel's comic opera.

Peter Eotvos, Three Sisters20160625Peter E怀tv怀s's opera Three Sisters was recorded in March at the Vienna State Opera. Based on the play by Chekhov, the opera explores the complex love conflicts of three sisters in the Prozorov family, set in an oppressing Russian provincial atmosphere at the beginning of the 20th century. Departing from Chekhov, E怀tv怀s divides the piece into three sequences, each representing the same events as seen by three different characters. E怀tv怀s adds to the psychological tension of Chekhov's drama by providing a back-stage orchestra which complements a smaller ensemble in the pit. In the title roles are the soprano Aida Garifullina as Irina and mezzo-sopranos Margarita Gritskova as Mascha and Ilseyar Khayrullova as Olga. The chorus and orchestra of the Vienna State Opera are conducted back-stage by Jonathan Stockhammer, while the composer himself directs the ensemble in the pit. Presented by Christopher Cook.

Irina - Aida Garifullina (soprano)

Mascha - Margarita Gritskova (mezzo-soprano)

Olga - Ilseyar Khayrullova (mezzo-soprano)

Natascha - Eric Jurenas (counter-tenor)

Tusenbach - Boaz Daniel (baritone)

Verschinin - Clemens Unterreiner (baritone)

Andrei - Gabriel Bermudez (baritone)

Kulygin - Dan Paul Dumitrescu (bass)

Doctor - Norbert Ernst (tenor)

Solyony - Viktor Shevchenko (bass)

Anfissa - Marcus Pelz (bass-baritone)

Rode - Jason Bridges (tenor)

Fedotik - Jinxu Xiahou (tenor)

Chorus of the Vienna State Opera

Conductor (stage orchestra) Jonathan Stockhammer

Conductor (orchestra pit ensemble) Peter E怀tv怀s.

From Vienna State Opera, a performance of Peter Eotvos's opera Three Sisters.

Peter Maxwell Davies: Taverner20091128With a performance from City Halls, Glasgow's mini-festival celebrating Peter Maxwell Davies' 75th birthday comes to an end with a concert performance of his iconic morality opera Taverner.

This production brings together the BBC Scottish Symphony Orchestra, a cast featuring the best of British vocal talent and combined choirs. Begun in 1956 and premiered in 1972, it is considered by many to be one of the composer's greatest creations. It is based on episodes from the life and times of the English Tudor composer and recounts John Taverner's religious and personal journey from believer to persecutor.

Presented by Tom Service with contributions from the composer and performers, and commentary from Ian McQueen.

John Taverner - Daniel Norman (tenor)

Richard Taverner - Richard Angas (bass)

Cardinal/Archbishop - Martyn Hill (tenor)

King/Archangel Michael/Captain - Stephen Richardson (bass)

Jester/Death - David Wilson-Johnson (bass)

White Abbot - Roderick Williams (bass)

Priest/God - Andrew Watts (countertenor)

Boys - Michael Yeoman, Alasdair Robertson (trebles)

Antichrist/Second Monk - Stephen Jeffes (spoken/tenor)

Archangel Gabriel/First Monk - Christopher Bowen (tenor)

Rose/Virgin Mary - Susan Bickley (mezzo-soprano)

Royal Scottish Academy of Music and Drama Chamber Choir

University of Glasgow Chapel Choir

Royal Scottish National Orchestra Junior Chorus

Martyn Brabbins (conductor).

Martyn Brabbins conducts the BBC SSO and tenor Daniel Norman in Maxwell Davies's Taverner.

Peter Maxwell Davies: Taverner20160409As a tribute to Sir Peter Maxwell Davies's who died last month, another chance to hear his iconic morality opera Taverner, recorded at City Halls, Glasgow as part of the mini-festival which celebrated his 75th birthday there in 2009.

This production brings together the BBC Scottish Symphony Orchestra, a cast featuring the best of British vocal talent and combined choirs. Begun in 1956 and premiered in 1972, it is considered by many to be one of the composer's greatest creations. It is based on episodes from the life and times of the English Tudor composer and recounts John Taverner's religious and personal journey from believer to persecutor.

Presented by Tom Service with contributions from the composer and performers.

John Taverner - Daniel Norman (tenor)

Richard Taverner - Richard Angas (bass)

Cardinal/Archbishop - Martyn Hill (tenor)

King/Archangel Michael/Captain - Stephen Richardson (bass)

Jester/Death - David Wilson-Johnson (bass)

White Abbot - Roderick Williams (bass)

Priest/God - Andrew Watts (countertenor)

Boys - Michael Yeoman, Alasdair Robertson (trebles)

Antichrist/Second Monk - Stephen Jeffes (spoken/tenor)

Archangel Gabriel/First Monk - Christopher Bowen (tenor)

Rose/Virgin Mary - Susan Bickley (mezzo-soprano)

Royal Scottish Academy of Music and Drama Chamber Choir

University of Glasgow Chapel Choir

Royal Scottish National Orchestra Junior Chorus

Martyn Brabbins (conductor).

Peter Maxwell Davies's opera Taverner, in performance given in 2009 at City Halls, Glasgow

Philip Glass's Akhnaten20160326Philip Glass's Akhnaten recorded at ENO earlier this month, with countertenor Anthony Roth Costanzo in the title role and mezzo-soprano Emma Carrington as his wife Nefertiti, in this tragic tale about the pharaoh in Ancient Egypt who banished old gods to bring monotheism to his kingdom, creating havoc, rebellion and murder. Director Phelim McDermott gives life to this Glass meditative masterpiece, not staged in the UK for 30 years. Karen Kamensek, a minimalist specialist, conducts, making her ENO debut. Sara Mohr-Pietsch presents.

Akhnaten - Anthony Roth Costanzo (counter-tenor)

Nefertiti - Emma Carrington (mezzo-soprano)

Queen Tye - Rebecca Bottone (soprano)

Horemhab - James Cleverton (baritone)

Aye - Clive Bayley (bass)

High Priest of Amon - Colin Judson (tenor)

Scribe - Zachary James (narrator)

Bekhetaten - Clare Eggington (soprano)

Meretaten - Alexa Mason (soprano)

Maketaten - Rosie Lomas (soprano)

Ankhesenpaaten - Anna Huntley (mezzo-soprano)

Neferneferuaten - Katie Bray (mezzo-soprano)

Sotopenre - Victoria Gray (mezzo-soprano)

The Chorus of English National Opera

The Orchestra of English National Opera

Karen Kamensek (conductor).

From the Coliseum in London, an ENO production of Philip Glass's opera Akhnaten.

Poulenc, Dialogues Des Carmelites From The Met20190511Poulenc's Dialogues des Carm退lites is a story of faith put to the ultimate test. The opera is about a group of Carmelite nuns who, during the French Revolution, were guillotined in Paris for refusing to renounce their vocation. It is in three acts and was completed in 1956.

Yannick N退zet-S退guin conducts this powerful score. Mezzo-soprano Isabel Leonard sings the innocent novice Blanche and soprano Karita Mattila takes on the dramatic role of the Prioress.

Presented from the Met by Loren Toolajian and Ira Siff.

Blanche.....Isabel Leonard (Mezzo-soprano)

Madame Lidoine.....Adrianne Pieczonka (Soprano)

Sister Constance.....Erin Morley (Soprano)

Mother Marle.....Karen Cargill (Mezzo-soprano)

Madame de Croissy.....Karita Mattila (Soprano)

Chevalier.....David Portillo (Tenor)

Marquis de la Force.....Dwayne Croft (Baritone)

Sister Mathilde.....Emily D'angelo (Mezzo-soprano)

Mother Jeanne.....Tichina Vaughn (Contralto)

Chaplain.....Tony Stevenson (Tenor)

Thierry.....Eduardo Valdes (Baritone)

Monsieur Javelinot.....Paul Corona (Bass)

First Commissioner.....Scott Scully (Tenor)

Second Commissioner.....Richard Bernstein (Bass)

Jailer.....Patrick Carfizzi (Baritone)

off-stage voice.....Jean Braham (Soprano)

New York Metropolitan Opera Chorus

New York Metropolitan Opera Orchestra

Yannick Nezet-Seguin (Conductor)

~Opera On 3 from the Metropolitan Opera House, New York

Poulenc's Dialogues Des Carmelites20140607Poulenc's Dialogues des Carm退lites.

Live from the Royal Opera House, Covent Garden.

Presented by Sara Mohr-Pietsch with Jeremy Sams

Poulenc takes the harrowing story of the martyrdom of the nuns of Compi耀gne during the French Revolution, and creates a rich and moving work which centres on Blanche, a young novice who deals with her own fears to face her destiny.

Robert Carsen's production comes to London as Simon Rattle returns to Covent Garden to conduct his first production there since Debussy's Pell退as et M退lisande in 2007.

Blanche - Sally Matthews (Soprano)

Constance - Anna Prohaska (Soprano)

Madame Lidoine - Emma Bell (Soprano)

Mother Marie - Sophie Koch (Mezzo-soprano)

Madame de Croissy - Deborah Polaski (Soprano)

Marquis de la Force - Thomas Allen (Baritone)

Chevalier de la Force - Yann Beuron (Tenor)

Mother Jeanne - Elizabeth Sikora (Mezzo-soprano)

Sister Mathilde - Catherine Carby (Mezzo-soprano)

Father Confessor - Alan Oke (Tenor)

First Commissary - David Butt Philip (Baritone)

Second Commissary - Michel De Souza (Baritone)

First Officer - Ashley Riches (Baritone)

Gaoler - Craig Smith (Conductor)

M.Javelinot - John Bernays (Bass)

Thierry - Neil Gillespie (Tenor)

Royal Opera House Orchestra

Royal Opera House Chorus

Simon Rattle (Conductor).

Simon Rattle leads Poulenc's opera Dialogues des Carmelites at the Royal Opera House.

Poulenc's Dialogues Des Carmelites20230128From the New York Met: a devastating tragedy set in a French convent during the Revolution, starring Ailyn Pe??rez, Sabine Devieilhe, Alice Coote, Christine Goerke and Jamie Barton. Poulenc's masterpiece is inspired by the true story of the Carmelite sisters of Compi耀gne in northern France, who were guillotined in Paris during the Reign of Terror in 1794 for refusing to renounce their faith. But the emotional heart of the opera is the fictional character of Blanche de la Force, the timid young aristocratic nun whose faith wavers but who finally finds the courage to die with her sisters.

Sister Blanche - Ailyn P退rez (soprano)

Sister Constance - Sabine Devieilhe (soprano)

Madame de Croissy, Prioress - Alice Coote (mezzo-soprano)

Madame Lidoine, the new Prioress - Christine Goerke (soprano)

Mother Marie, assistant Prioress - Jamie Barton (mezzo-soprano)

Chevalier de la Force, Blanche's brother - Piotr Buszewski (tenor)

Marquis de la Force, their father - Laurent Naouri (bass-baritone)

Metropolitan Opera Chorus and Orchestra

Conductor Bertrand de Billy

Read the full synopsis on the MET opera website: https://bit.ly/3XIyitk

From the New York Met: a devastating tragedy set in a French convent during the Revolution, starring Ailyn Pe?rez, Sabine Devieilhe, Alice Coote, Christine Goerke and Jamie Barton. Poulenc's masterpiece is inspired by the true story of the Carmelite sisters of Compi耀gne in northern France, who were guillotined in Paris during the Reign of Terror in 1794 for refusing to renounce their faith. But the emotional heart of the opera is the fictional character of Blanche de la Force, the timid young aristocratic nun whose faith wavers but who finally finds the courage to die with her sisters.

Prokofiev's The Gambler20080412Valery Gergiev conducts a rare performance of Prokofiev's first major stage work.
Prokofiev's The Gambler20100522The Royal Opera House curtains open onto the town of Roulettenburg where the whole of life is based around the casino. In the middle of this money-driven world is the possibility of a love story, but is Alexey really in love with Polina, or addicted to her in the same way as he is to his gambling? Prokofiev's rarely heard score is based on Dostoyevsky's novel, and contains some of his most unusual and energetic music. The cast of colourful characters include Roberto Saccà and Angela Denoke as the lovers, and John Tomlinson as the General whose life disintegrates as his aged aunt gambles away his inheritance. Andrew McGregor is joined by Prokofiev biographer David Nice, with interviews from the cast, conductor, and director.

Presented by Andrew McGregor with guest David Nice

Alexey - Roberto Saccà (tenor)

Polina - Angela Denoke (soprano)

General - John Tomlinson (bass)

Blanche - Jurgita Adamonyte (mezzo-soprano)

Marquis - Kurt Streit (tenor)

Mr Astley - Mark Stone (baritone)

Babulenka - Susan Bickley (mezzo-soprano)

Prince Nilsky - John Easterlin (tenor)

Potapytch - Dawid Kimberg (baritone)

Baron - Jeremy White (bass)

Gaudy Lady - Simona Mihai (soprano)

Pale Lady - Elisabeth Meister (soprano)

Dubious Old Lady - Elizabeth Sikora (mezzo-soprano)

Lady Comme Ci, Comme À?a - Carol Rowlands (soprano)

Venerable Lady - Kai Rüütel (mezzo-soprano)

Rash Gambler - Jeffrey Lloyd-Roberts (tenor)

Hypochondriac Gambler - Steven Ebel (tenor)

Hunchback Gambler - Alasdair Elliott (tenor)

Aged Gambler - John Cunningham (bass-baritone)

Fat Englishman - David Woloszko (bass-baritone)

Tall Englishman - Lukas Jakobski (bass)

Casino Director - Graeme Danby (bass)

First Croupier - Hubert Francis (tenor)

Second Croupier - Robert Anthony Gardiner (tenor)

Antonio Pappano - Conductor

Royal Opera Chorus

Orchestra of the Royal Opera House.

Antonio Pappano conducts Prokofiev's rarely-heard opera, based on Dostoyevsky's novel.

Prokofiev's War And Peace20071222Prokofiev's adaptation of Tolstoy's monumental novel captures its sweeping world view as well as its insights into individuals. The 13 scenes depict a 'peace' story about the loves of the young Natasha set against the 'war' of the ill-fated Napoleonic invasion of Russia of 1812. Musically there are wonderful choruses, waltzes, and a mixture of intimate duets and massive battle scenes. The dynamic Valery Gergiev conducts a predominantly Russian cast.

Presented from New York by Margaret Juntwait, including behind-the scenes features and the popular Met Quiz, hosted by soprano Martina Arroyo.

Natasha Rostova - Marina Poplovskaya (soprano)

Sonya - Ekaterina Semenchuk (mezzo-soprano)

Mme Akhrosimova - Larisa Shevchenko (soprano)

Pierre Bezukhov - Kim Begley (tenor)

Prince Andrey Bolkonsky - Alexej Markov (baritone)

Napoleon - Vassily Gerello (baritone)

Field-Marshal Kutuzov - Samuel Ramey (bass)

Orchestra and Chorus of the New York Metropolitan Opera

Valery Gergiev (conductor).

Valery Gergiev conducts a mainly Russian cast in Prokofiev's adaptation of Tolstoy's novel

Prokofiev's War And Peace20181013Welsh National Opera presents Prokofiev's epic realisation of the world's most celebrated novel, War and Peace by Leo Tolstoy. His drama follows the intertwined stories of carefree Natasha, duty-bound Andrei, idealistic Pierre, dissolute Anatole and their many friends, family and comrades - as they search for love, happiness and meaning in their lives. All this, while Russia herself fights for survival against the relentless march of Napoleon and his Army. When Moscow burns, it becomes clear that nothing will ever be the same again.

Prokofiev vividly immerses us among the complex passions and predicaments of these many interconnected lives. His music is brilliantly scored - by turns, lyrical, violent, playful, ironic and unashamedly patriotic. In the end, he shows us that it is the spirit and resolve of the Russian people that transcends all else.

David Pountney's production for Welsh National Opera is sung in English and features a huge cast, and expanded chorus. It features a new critical edition of Prokofiev's original version of War and Peace, edited by Katya Ermolaeva and Rita McAllister, with some additional material from the composer's later revisions. Recorded on 29th September at Wales Millennium Centre, Cardiff. Presented by Donald Macleod.

Jonathan McGovern - Andrei (baritone)

Lauren Michelle - Natasha (soprano)

Mark Le Brocq - Pierre (tenor)

Leah-Marian Jones - Marie (mezzo-soprano)

Jurgita Adamonyt? - Helene (mezzo-soprano)

Adrian Dwyer - Anatole (tenor)

James Platt - Count Rostov (bass)

Jonathan May - Old Prince Bolkonsky (bass-baritone)

Donald Thomson - Jacquot (bass-baritone)

David Stout - Dolokhov (baritone)

Simon Bailey - Kutuzov (bass-baritone)

Samantha Price - Sonya (mezzo soprano)

Julian Boyce - Servant / Dr Metivier

Carolyn Jackson - Housemaid / Vasilisa

Sarah Pope - Matriosha / Trishka

Laurence Cole - Valet / Gavrila / Matveyev

George Newton-Fitzgerald - Joseph

Joe Roche - Abbe / De Beausset / 1st Lunatic

Gareth Dafydd Morris - Konovitsyn / Karatayev

Paula Greenwood - Shopkeeper

Colm Seery - Dancer

Mar퀀a Comes - Dancer

Rhodri Prys Jones - Fyodor

Owen Webb - Orderly

Welsh National Opera Orchestra and Chorus

Tom  Hanus (Conductor)

SYNOPSIS

Epigraph: The Russian people prepare to defend themselves.

Prince Andrei Bolkonsky pays a visit to Count Rostov's estate and meets his daughter, Natasha.

At a ball, Andrei and Natasha's relationship deepens. Natasha and her father are coldly received by Prince Bolkonsky, Andrei's father, opposes her match with his son and sends him abroad.

Pierre Bezukhov has inherited his father's title and fortune, but struggles to understand his responsibilities. His wife H退l耀ne and her brother, Anatole, enjoy seducing others into her loose ways. Natasha falls victim to Anatole's advances, and rashly agrees to elope with him.

Anatole and Natasha's elopement is forestalled, but Natasha is disgraced. Pierre comforts her, though he is disturbed to realise that he also has strong feelings for her.

Pierre confronts Anatole, and forces him to go abroad to avoid a scandal engulfing Natasha. Suddenly the news arrives that Napoleon has crossed the Russian border. It is War.

Volunteers and partisans prepare to defend Moscow. Andrei, now a serving officer, reflects on his loss of Natasha. Pierre sees the war as the moment to find his true self. The two men meet among the chaos of impending conflict.

Russian general Kutuzov reviews his troops. Andrei chooses to fight with his soldiers. The battle for Moscow has begun.

Napoleon observes the progress of the battle. It is clear the battle will yield no clear victory.

In the battle's aftermath, Kutuzov concludes that he must abandon Moscow, and lure the enemy into the trap of the Russian winter.

The citizens of Moscow prefer to burn their city rather than allow it to give protection and nourishment to the enemy.

Pierre plans to assassinate Napoleon. He learns Prince Andrei has been wounded and is being cared for by Natasha in the country. Pierre is arrested and accused of arson. He is ordered to be executed, but instead becomes a prisoner.

Witnessing terrible hunger and violence, he starts to understand his own identity and purpose.

Andrei is delirious and dying. Natasha nurses him. In death they find understanding and reconciliation.

The French retreat through the snow. Pierre is dragged along as a prisoner of war. His friend dies at his side, but the partisans rescue him in the nick of time.

The French have gone and for the Russians the ordeal is over. Pierre has survived, and wonders if Natasha will, after all, form part of his future. General Kutuzov, as always modest and self-deprecating, ends it all with a smile and a joke.

Producer: Chris Taylor, BBC Wales

[Photo: Natasha and Andrei played by Lauren Michelle and Jonathan McGovern. Credit Clive Barda. Synopsis credit: WNO]

Welsh National Opera presents Prokofiev's realisation of Tolstoy's celebrated novel

Prokofiev's War And Peace20201205Prokofiev's colossal opera 'War and Peace', based on Leo Tolstoy's novel, one of the classics of world literature, in an archive recording from the Metropolitan Opera House in New York. The opera chronicles the French invasion to Russia and the impact of the Napoleonic Wars in Russian society. It features the soprano Anna Netrebko as Natasha Rostova, the mezzo-soprano Ekaterina Semenchuk as Sonya, the tenor Gegam Grigorian as Count Bezukhov and the baritone Dmitri Hvorostovsky as Prince Bolkonsky. The Metropolitan Opera orchestra and chorus is conducted by Valery Gergiev.

This archive performance from 2002 is presented by Mary-Jo Heath with Ira Siff

Natasha Rostova - Anna Netrebko (Soprano)

Sonya - Ekaterina Semenchuk (Mezzo-soprano)

Maria Akhrosimova - Elena Obraztsova (Main Artist)

Count Bezukhov - Gegam Grigorian (Tenor)

Prince Bolkonsky - Dmitri Hvorostovsky (Baritone)

Prince Kutuzov - Samuel Ramey (Bass)

Napoleon Bonaparte - Vasily Gerello (Baritone)

Platon Karataev - Nikolai Gassiev (Tenor)

New York Metropolitan Opera Orchestra

New York Metropolitan Opera Chorus

Valery Gergiev (Conductor)

A recording from the Metropolitan Opera House in New York, featuring Anna Netrebko.

Puccini, Tosca2011100120201031 (R3)Another chance to hear Puccini's Tosca recorded in 2011 - Jealousy, torture, murder and suicide: the path of true love certainly produces a bumpy ride.. It's a work that can make for a compelling night at the theatre. But when, as here, you get a cast, conductor and orchestra all at the top of their game, it is positively overwhelming. Three of the great operatic performers of our time are united: Angela Gheorghiu sings the title role, Jonas Kaufmann is her lover Cavaradossi, and Bryn Terfel is that menacing embodiment of sadistic evil, Baron Scarpia. Antonio Pappano conducts. Not to be missed.

Presented by Suzy Klein in conversation with William Ward who puts Tosca's Rome setting in context.

Tosca - Angela Gheorghiu (Soprano)

Cavaradossi - Jonas Kaufmann (Tenor)

Scarpia - Bryn Terfel (Baritone)

Spoletta - Hubert Francis (Tenor)

Angelotti - Lukas Jakobski (Bass)

Sacristan - Jeremy White (Bass)

Sciarrone - Zheng Zhou (Baritone)

Shepherd Boy......William Payne (treble)

Chorus and Orchestra of the Royal Opera House, Covent Garden

Conductor, Antonio Pappano

Puccini's Tosca with Angela Gheorghiu, Jonas Kaufmann and Bryn Terfel.

Puccini: La Boheme20080405Nicola Luisotti conducts Puccini's portrayal of the tragedy of bohemian life in Paris.
Puccini: La Fanciulla Del West20081227Puccini's La fanciulla del West in a production by the Royal Opera House, Covent Garden.

The cloudy mountains of Wild West California at the height of the Gold Rush form the setting for La Fanciulla del West, the most vivdly cinematic of Puccini's operas. Its characters come from the ends of the earth to the Polka Saloon, where they gather to drink, gamble, gossip and fight. The mining camp is full of men, with just one woman, the owner of the saloon, Minnie. She is a scripture-reading innocent, admired and respected by everybody. Into this environment comes Dick Johnson, in reality Ramirez, a bandit on the run. Despite her better instincts, Minnie falls for him, much to the annoyance of Jack Rance the sheriff, who fancies Minnie himself. Rance hunts Johnson down and is about to have him lynched, when Minnie finds a way to save him.

Presented by Martin Handley, with guest Alexandra Wilson.

Minnie - Eva-Maria Westbroek (soprano)

Dick Johnson - Jose Cura (tenor)

Jack Rance - Silvano Carroli (baritone)

Nick - Bonaventura Bottone (tenor)

Ashby - Eric Halfvarson (bass)

Jake Wallace - Vuyani Mline (bass)

Sonora - Daniel Sutin (baritone)

Trin - Hubert Francis (tenor)

Bello - Kostas Smoriginas (bass-baritone)

Happy - Quentin Hayes (bass)

Joe - Harry Nicoll (tenor)

Larkens - Andrew Foster-Williams (baritone)

Harry - Robert Murray (tenor)

Sid - Adrian Clarke (baritone)

Billy Jackrabbit - Graeme Danby (bass)

Wowkle - Clare Shearer (soprano)

Jose Castro - Jeremy White (bass)

Chorus and Orchestra of the Royal Opera House, Covent Garden

Antonio Pappano (conductor).

Puccini's Il Trittico20110917The Royal Opera House season begins with a production of Il Trittico, directed by Richard Jones and broadcast live. Puccini's triple bill comprises three contrasting one act operas encompassing lust, murder, faith, romance and comedy. In Il Tabarro Eva-Maria Westbroek sings Giorgetta whose affair with a deckhand provokes her husband to murder. Then we move to the world of a convent where Suor Angelica sung by Ermonela Jaho has been banished for having an illegitimate child. Both these are new productions. Finally a revival of Richard Jones' production of the farcical comedy where Gianni Schicchi, sung by Lucio Gallo, tricks a grasping family out of its inheritance.

Donald Macleod presents and is joined by Italian opera scholar, Roger Parker. Plus an interview with Elaine Padmore, the outgoing Director of Opera at the Royal Opera House.

Michele.....Lucio Gallo (Baritone)

Luigi..... Aleksandrs Antonenko (Tenor)

Tinca..... Alan Oke (Tenor)

Talpa..... Jeremy White (Bass)

Giorgetta.....Eva-Maria Westbroek (Soprano)

Venditore.....Ji-Min Park (Tenor)

Frugola..... Irina Mishura (Mezzo-soprano)

Suor Angelica..... Ermonela Jaho (Soprano)

La Zia Principessa.....Anna Larsson (Mezzo-soprano)

La Suora Zelatrice.....Elena Zilio (Mezzo-soprano)

Maestra Delle Novizie.....Elizabeth Sikora (Mezzo-soprano)

Suor Genoveva.....Anna Devin (Soprano)

Nursing Sister.....Elizabeth Woollett (Soprano)

Le Cercatrici ...Gillian Webster (Soprano)

Giannia Schicchi

Gianni Schicchi...Lucio Gallo (Baritone)

Lauretta... Anna Devin (soprano)

Zita...Elena Zilio (Mezzo-soprano)

Gherardo...Alan Oke (Tenor)

Nella... Lisa-Anne Robinson (soprano)

Betto di Signa... Jeremy White (Bass)

Simone...Gwynne Howell (Bass)

Marco...Robert Poulton (Baritone)

La Ciesca...Marie Mclaughlin (Soprano)

Spinelloccio...Henry Waddington (Bass)

Pinellino... Daniel Grice (baritone)

Guccio... John Molloy (bass)

Royal Opera House Orchestra

Royal Opera House Chorus

Conductor - Antonio Pappano.

Puccini's opera triple bill, comprised of Il Tabarro, Suor Angelica and Gianni Schicchi.

Puccini's Il Trittico20221112Soprano Asmik Grigorian stars in all three operas of Puccini's Il Trittico in a performance with the Vienna Philharmonic conducted by Franz Welser-M怀st.

Puccini wrote the three one-act operas which make up Il Trittico in the middle of the First World War. These seemingly unrelated stories all share the theme of individuals trapped in the grinding mills of unfreedom. Written in the more compressed style of his later operas, these three works contain moments of high drama and soaring melody. In this production by Christof Loy the normal order of the operas is changed:

So we start with the Comedy of Gianni Schicchi set in Florence, in the house of Buoso Donati, who has just died. The cunning Gianni Schicchi finds a way to win the inheritance for himself. In Il tabarro (‘The Cloak') set in Paris, the barge owner Michele suspects his stevedore Luigi of an affair with his wife, Giorgetta. In Suor Angelica the young nun Angelica has been banished to the convent for an indiscretion. When she learns that her young son has died, she decides to take her own life.

Recorded earlier this summer at the Salzburg Festival in Austria. Georgia Mann in conversation with opera expert ROGER PARKER introduces these three tales of love, jealousy, greed, despair and death.

Giacomo Puccini: Il Trittico

1830

Gianni Schicchi: Misha Kiria, baritone

Lauretta: Asmik Grigorian, soprano

Zita: Enkelejda Shkosa, contralto

Rinuccio: Alexey Neklyudov, tenor

Gherardo: Dean Power, tenor

Nella: Lavinia Bini, soprano

Manel Esteve Madrid: Betto di Signa, bass

Simone: Scott Wilde bass

Marco: Iurii Samoilov, baritone

La Ciesca: Caterina Piva, mezzo-soprano

Maestro Spinelloccio: Matteo Peirone, bass

Ser Amantio di Nicolao: Miko?aj Tr?bka, baritone

Pinellino: Aleksei Kulagin, bass

Guccio: Liam James Karai, bass

1930

Michele: Roman Burdenko, baritone

Giorgetta: Asmik Grigorian, soprano

Luigi: Joshua Guerrero, tenor

Tinca: Andrea Giovannini, tenor

Talpa: Scott Wilde, bass

La Frugola: Enkelejda Shkosa, mezzo-soprano

2030

Sister Angelica: Asmik Grigorian, soprano

The Princess: Karita Mattila, mezzo-soprano

The Abbess: Hanna Schwarz, mezzo-soprano

The Monitress: Enkelejda Shkosa, mezzo-soprano

The Mistress of the novices: Caterina Piva, mezzo-soprano

Sister Genovieffa: Giulia Semenzato, soprano

Sister Osmina: Martina Russomanno, soprano

Sister Dolcina: Daryl Freedman, soprano

The nursing sister: Juliette Mars, mezzo-soprano

Vienna State Opera Chorus

Salzburger Festspiele und Theater Kinderchor

Franz Welser-M怀st Conductor

The three one-act operas that make up Puccini's Il Trittico, recorded in Salzburg.

Puccini wrote the three one-act operas which make up Il trittico in the middle of the First World War. These seemingly unrelated stories all share the theme of individuals trapped in the grinding mills of unfreedom. Written in the more compressed style of his later operas, these three works contain moments of high drama and soaring melody. In this production by Christof Loy the normal order of the operas is changed.

Gianni Schicchi - Misha Kiria (baritone

Lauretta - Asmik Grigorian (soprano)

Zita - Enkelejda Shkosa (contralto)

Rinuccio - Alexey Neklyudov (tenor)

Gherardo - Dean Power (tenor)

Nella - Lavinia Bini (soprano)

Betto di Signa - Manel Esteve Madrid (bass)

Simone - Scott Wilde (bass)

Marco - Iurii Samoilov (baritone)

La Ciesca - Caterina Piva (mezzo-soprano)

Maestro Spinelloccio - Matteo Peirone (bass)

Ser Amantio di Nicolao - Miko?aj Tr?bka (baritone)

Pinellino - Aleksei Kulagin (bass)

Guccio - Liam James Karai (bass)

Michele - Roman Burdenko (baritone)

Giorgetta - Asmik Grigorian (soprano)

Luigi - Joshua Guerrero (tenor)

Il Tinca - Andrea Giovannini (tenor)

Il Talpa - Scott Wilde (bass)

La Frugola - Enkelejda Shkosa (mezzo-soprano)

Song-seller / A lover - Dean Power (tenor)

A lover - Martina Russomanno (soprano)

Sister Angelica - Asmik Grigorian (soprano)

The Princess - Karita Mattila (soprano)

The Abbess - Hanna Schwarz (mezzo-soprano)

The Monitress - Enkelejda Shkosa (mezzo-soprano)

The Mistress of the novices - Caterina Piva (mezzo-soprano)

Sister Genovieffa - Giulia Semenzato (soprano)

Sister Osmina - Martina Russomanno (soprano)

Sister Dolcina - Daryl Freedman (soprano)

The Nursing sister - Juliette Mars (mezzo-soprano)

Alms sisters - Lavinia Bini (soprano), Alma Neuhaus (mezzo-soprano)

Novice - Amira Elmadfa (soprano)

Franz Welser-M怀st (conductor)

Read the synopsis and further details about the production on the Salzburg Festival website: https://bit.ly/3hrcZMD

Puccini's La Boh\u00e8me20220129They call her Mim쀀 and in her badly insulated garret her tiny hand is frozen. But it's not long before it (and Mim쀀) is clasped in the warm embrace of neighbour Rodolfo. As the pretty seamstress and unsuccessful poet fall in love, an ominous cough prefigures an unhappy ending...

This is the 40th anniversary of Franco Zeffirelli's cinematic New York Met production of Puccini's classic tale of joys and sorrows, love and loss among the impoverished arty set of 1830s Paris. Maria Agresta and Charles Castronovo are the ill-fated lovers and Gabriella Reyes and Lucas Meachem play their friends Musetta and Marcello, who persistently fall in and out of love.

Introduced by Debra Lew Harder in conversation with Ira Siff.

Act 1

7.15 pm

Interval 1

Including features, backstage interviews and more.

7.25 pm

Act2

7.40 pm

Interval 2

More from behind the scenes.

8.05 pm

Act 3

8.30 pm

Interval 3

Including the famous Met Quiz with special guest Joseph Calleja.

9.00 pm

Act 4

Mim쀀 - - Maria Agresta (soprano)

Musetta - - Gabriella Reyes (soprano)

Rodolfo - - Charles Castronovo (tenor)

Marcello - - Lucas Meachem (baritone)

Schaunard - - Alexander Birch Elliott (baritone)

Colline - - Peter Kellner (bass)

Benoit/Alcindoro - - Donald Maxwell (baritone)

Metropolitan Opera Orchestra and Chorus

Carlo Rizzi (conductor)

Image: © Evan Zimmerman / Met Opera

Puccini's classic opera of joys and sorrows, love and loss, from the New York Met.

Puccini's La Boh\u00e8me20230513From the New York Met: Puccini's romantic tearjerker conducted by Yannick N退zet-S退guin, with Eleonora Buratto as Mim쀀 (whose tiny hand is frozen) and Stephen Costello as Rodolfo. Dreamy poet Rodolfo falls for - literally - the girl next door, seamstress Mim쀀, and this popular favourite follows them and their friends through the joys and sorrows of love and loss as they struggle to make ends meet in the Montmartre garrets of nineteenth-century Paris.

Presented by Debra Lew Harder with commentator Ira Siff.

Mim쀀 - Eleonora Buratto (soprano)

Rodolfo - Stephen Costello (tenor)

Musetta - Sylvia D'Eramo (soprano)

Marcello - Davide Luciano (baritone)

Schaunard - Alexey Lavrov (baritone)

Colline - Christian Van Horn (bass-baritone)

Benoit / Alcindoro - Donald Maxwell (baritone)

Metropolitan Opera Chorus and Orchestra

Conductor Yannick N退zet-S退guin

From the New York Met: Puccini's romantic tearjerker conducted by Yannick Nezet-Seguin

Puccini's La Boh\u00e8me20240113From the New York Metropolitan Opera: Puccini's ultimate romantic tearjerker set in the garrets of Montmartre, with Elena Stikhina and Stephen Costello as lovers Rodolfo and Mimì, the struggling poet and the girl next door, a seamstress with a tiny frozen hand. Spoiler alert: it doesn't end well.

Presented by Debra Lew Harder with Ira Siff.

Mimì - Elena Stikhina (soprano)

Rodolfo - Stephen Costello (tenor)

Marcello, a painter - Adam Plachetka (bass-baritone)

Musetta, a singer - Kristina Mkhitaryan (soprano)

Schaunard, a musician - Rodion Pogossov (baritone)

Colline, a philosopher - Krzysztof BĀ...czyk (bass)

Benoît, their landlord / Alcindoro - Donald Maxwell (baritone)

Metropolitan Opera Chorus and Orchestra

Conductor Marco Armiliato

From the New York Metropolitan Opera: Puccini's ultimate romantic tearjerker.

From the New York Metropolitan Opera: Puccini's ultimate romantic tearjerker set in the garrets of Montmartre, with Elena Stikhina and Stephen Costello as lovers Rodolfo and Mimì.

Opera performance from around the world.

Puccini's La Boheme20120616Presented by Martin Handley

For Rodolfo, living in poverty with a group of bohemian friends, life changes when there's a knock at the door, and Mim쀀, a fragile seamstress who lives in another room in the building, asks for help with her candle. But, as he discovers, love does not bring happiness. Puccini's La Boheme, an opera which seems to have a special place in the hearts of performers and audience alike, returns to Covent Garden.

Rodolfo.....Joseph Calleja (Tenor)

Mimi.....Carmen Giannattasio (Soprano)

Marcello.....Fabio Maria Capitanucci (Baritone)

Schaunard.....Thomas Oliemans (Tenor)

Colline.....Yuri Vorobiev (Bass)

Musetta.....Nuccia Focile (Soprano)

Benoit.....Jeremy White (Bass)

Alcindoro.....Donald Maxwell (Baritone)

Orchestra and Chorus of the Royal Opera House

Conductor.....Semyon Bychkov.

Puccini's La Boheme with Carmen Giannattasio. Semyon Bychkov conducts.

Puccini's La Boheme20150608Live from the Royal Opera House, Covent Garden, one of opera's most endearing love stories: Puccini's La boh耀me with Anna Netrebko bringing to London her celebrated portrayal of Mimi opposite Joseph Calleja as Rodolfo. Dan Ettinger conducts a starry cast and the Royal Opera House orchestra and chorus in the final run of John Copley's classic production, recreating the struggles of young bohemians in 19th-century Paris. Presented by Martin Handley.

Mimi - Anna Netrebko (soprano)

Rodolfo - Joseph Calleja (tenor)

Marcello - Lucas Meachem (baritone)

Musetta - Jennifer Rowley (soprano)

Schaunard - Simone Del Savio (bass-baritone)

Colline - Marco Vinco (bass)

Benoit - Jeremy White (bass)

Alcindoro - Ryland Davies (tenor)

Parpignol - Luke Price (tenor)

Royal Opera House Chorus

Dan Ettinger, conductor.

Live from the Royal Opera House, Covent Garden, a performance of Puccini's La boheme.

Puccini's La Boheme20171007Donald Macleod presents Puccini's La Boheme from the Royal Opera House, Covent Garden, the first new production there for more than 40 years. Telling the tragic love story between Mimi and Rodolfo, the opera focuses on their relationship, and that of Rodolfo and his fellow bohemians. A stellar cast is led by Nicole Car and Michael Fabiano, with Antonio Pappano in the pit. Donald talks to director Richard Jones about the legacy of Boheme productions at the Royal Opera House, and is joined in the box by Susan Rutherford, Professor of Music at the University of Manchester, to set the opera in context.

Mimi - Nicole Car (soprano)

Rodolfo - Michael Fabiano (tenor)

Marcello - Mariusz Kwiecie? (baritone)

Musetta - Simona Mihai (soprano)

Schaunard - Gyula Nagy (baritone)

Colline - Luca Tittoto (bass)

Benot - Jeremy White (bass)

Alcindoro - Wyn Pencarreg (baritone)

Royal Opera House Chorus & Orchestra

Antonio Pappano (conductor).

La Boheme from the Royal Opera House, conducted by Antonio Pappano.

Puccini's La Fanciulla Del West20140405Tonight's Opera on 3 is Puccini's La Fanciulla del West, the Girl of the Golden West, set in a mining town during the American gold rush of 1849. An unlikely setting for an Italian opera, but one that has a happy ending! It tells the tale of Minnie, the bartender in the saloon whom all the local men adore, and Dick Johnson alias Ramerrez, a notorious bandit. Dick and Minnie fall in love on first meeting, so much so that he vows to change his life as a bandit. Puccini wrote the romantic leads for two great singers: Enrico Caruso and Emmy Destin, but the roles in this recording are sung by two contemporary great singers: Nina Stemme and Jonas Kaufmann. Andrew McGregor is joined by musicologist Alexandra Wilson, to discuss this performance given last October at the Vienna State Opera, under conductor Franz Welser-M怀st.

Minnie - Nina Stemme (soprano)

Dick Johnson alias Ramerrez - Jonas Kaufmann (tenor)

Jack Rance, sheriff - Tomasz Konieczny (baritone)

Nick, bartender at the Polka saloon - Norbert Ernst (tenor)

Ashby, Wells Fargo agent - Paolo Rumetz (bass)

Sonora, a miner - Boaz Daniel (baritone)

Trin, a miner - Michael Roider (tenor)

Sid, a miner - Hans Peter Kammerer (baritone)

Bello, a miner - Tae-Joong Yang (baritone)

Harry, a miner - Peter Jelosits (tenor)

Joe, a miner - Carlos Osuna (tenor)

Happy, a miner - Clemens Unterreiner (baritone)

Jim Larkens, a miner - Il Hong (bass)

Billy Jackrabbit, an Indian - Jongmin Park (bass)

Wowkle, his squaw - Juliette Mars (mezzo-soprano)

Jake Wallace, a travelling camp minstrel - Alessio Arduini (baritone)

Jos退 Castro, a mestizo 'greaser' - Alessio Arduini (bass)

The Pony Express rider - Wolfram Igor Derntl (tenor)

Vienna State Opera Chorus

Vienna State Opera Orchestra

Andrew McGregor introduces a performance of Puccini's opera La Fanciulla del West.

Puccini's La Rondine20130930~Opera On 3 from the Royal Opera House Covent Garden. Magda enjoys a comfortable life as the mistress of the rich banker Rambaldo, but this all changes when she meets the young Ruggero who falls in love with her. She leaves Rambaldo for him, but is she really in love with Ruggero, or just trying to recreate the exciting romances of her youth? Angela Gheorghiu sings Madga, the restless swallow in the title of Puccini's light opera La Rondine, with Charles Castronovo as her unfortunate lover. Marco Amiliato conducts the Royal Opera House Orchestra in Puccini's little-known but very tuneful score.

Presented by Martin Handley.

Magda - Angela Gheorghiu (soprano),

Ruggero Lastouc - Charles Castronovo (tenor),

Lisette - Sabina Puertolas (soprano),

Prunier - Edgaras Montvidas (tenor),

Rambaldo Fernandez - Pietro Spagnoli (baritone),

Yvette - Du?ica Bijelic (soprano),

Bianca - Hanna Hipp (soprano),

Suzy - Justina Gringyte (mezzo-soprano),

Gobin - Pablo Bemsch (tenor),

P退richaud - John Cunningham (baritone),

Cr退billon - Ashley Riches (bass),

Georgette - Kathy Batho (soprano),

Gabriella - Melissa Alder (soprano),

Lolette - Amanda Floyd (soprano),

Rabonier - Jonathan Fisher (bass),

Young Man - Elliot Goldie (tenor),

Distant Voice - Du?ica Bijelic (soprano),

Matre d'h䀀tel - John Bernays (bass),

Royal Opera Chorus

Orchestra of the Royal Opera House

Conducted by Marco Armiliato.

From the Royal Opera House, Covent Garden, a performance of Puccini's opera La Rondine.

Puccini's La Rondine From The Met2009011020210306 (R3)Puccini's opera La Rondine - the Swallow - was commissioned to be an operetta but instead he delivered a comic opera. Initially it was well received but soon denounced and the 'gem', as Puccini called it, has always seemed the poor relation to his other great operas.

The score is full of dance rythms, such as the tango, foxtrot and the waltz, denoting various characters, all woven into Puccini's luscious and melodious score.

The story has parallels to La Traviata - a doomed love story between a courtesan, Magda, and an innocent man, Ruggero - who is devastated when Magda reveals her past and explains they cannot be together and, like a swallow, flies off.

This archive performance from January 10, 2009 is presented by Mary Jo Heath with commentator Ira Siff

Magda - Angela Gheorghiu (soparno)

Lisette - Lisette Oropesa (soprano)

Ruggero - Roberto Alagna (tenor)

Prunier - Marius Brenciu (tenor)

Rambaldo - Samuel Ramey (bass)

Marco Armiliato, conductor

Photo: Angela Gheorghiu as Magda and Roberto Alagna as Ruggero in Puccini's 'La Rondine.

(C) Ken Howard/Metropolitan Opera

SYNOPSIS

ACT I

Paris, the 1920s. The wealthy Rambaldo and his mistress, Magda, are entertaining theatrical and literary friends. Prunier, a poet and the lover of Magda's maid, Lisette, declares that romantic love is back in fashion. No one except Magda takes him seriously. When Prunier sings a ballad he has written about a girl who rejects the love of a king, Magda sits at the piano and finishes the song, making up a second verse that tells how the girl falls in love with a student (`Chi il bel sogno di Doretta`). She thinks about her own flirtations and recalls an encounter with a young man at Bullier's restaurant. Rambaldo says he knows what love means and gives Magda a pearl necklace, which she accepts without changing her opinion that love has nothing to do wealth. Prunier offers to read Magda's palm and predicts that she will go south in pursuit of romance and happiness, just like `la rondine,` the swallow. Rambaldo introduces a visitor, Ruggero, the son of a childhood friend, who is new to Paris and wants to know where to spend the evening. They decide on Bullier's, and Ruggero leaves to go there. Lisette, flirting with Prunier, tells him that it is her night off and the two follow Ruggero. As the guests depart, Magda decides to remain at home, then changes her mind. She dresses as a shop girl and leaves, confident that no one will recognize her, and ready for an adventure at the restaurant.

ACT II

Bullier's restaurant is alive with a crowd of artists, students, and young women. Ruggero sits alone at a table. When Magda enters, several young men approach her, but she says she already has a date and joins Ruggero. He doesn't recognize her. She introduces herself as Paulette. When she teases him about his probable love affairs, he replies that should he ever love a woman, it would be forever. While they talk and dance, they both realize that they have fallen in love with each other. Prunier and Lisette arrive. She is startled by the sight of Magda, but Prunier, understanding the situation, convinces her that it is someone else with a chance resemblance. Suddenly Rambaldo appears, and Prunier asks Lisette to keep Ruggero out of sight. Rambaldo demands an explanation for her escapade from Magda. She replies that she has found true love and is going to leave him. Rambaldo bows ironically, expressing hope that she will not regret it. Ruggero returns and Magda leaves with him to start a new life.

ACT III

Magda and Ruggero have been living in a villa on the Riviera, but their money is running out. Ruggero says he has written to his mother for her consent to their marriage and paints an idyllic picture of his family's home in the country. Madga is dismayed that her lover doesn't know anything of her past. After he has left, Prunier and Lisette arrive, quarreling: he had tried to make her a singer but her debut was a disaster. Magda tells Lisette she would be glad to take her into service once more. Prunier, who can't imagine Magda continuing her fantasy life, delivers a message from Rambaldo: he is ready to welcome her back on any terms. Prunier leaves as Ruggero returns with a letter from his mother, who is delighted that her son has found a good and virtuous bride. Heartbroken, Magda confesses that she can be his mistress but never his wife. He insists he loves her anyway, but she says she will not ruin his future. Leaving the devastated Ruggero behind, she turns away to go back to her old life.

Puccini's La Rondine in a performance from 2009 at the Met.

Puccini's Madama Butterfly20110702Live from the Royal Opera House in London - two acts and one interval.

Presented by Suzy Klein.

Giacomo Puccini's Madama Butterfly: a tragic tale of boundless love and selfish betrayal, with undertones of the clashing of two cultures. The Royal Opera House, Covent Garden, welcomes soprano Kristine Opolais in the title role, Cio-Cio San, a tender Japanese geisha who's deceived by Benjamin Franklin Pinkerton, a thoughtless lieutenant in the US Navy, performed by tenor James Valenti. The Orchestra and Chorus of the Royal Opera House, conducted by Andris Nelsons, take on this, one of Puccini's best scores, much loved for its passion, drama and sensuality. This is a revival of a production by Moshe Leiser and Patrice Caurier.

Cio-Cio San - Kristine Opolais (soprano)

Pinkerton - James Valenti (tenor)

Sharpless - Anthony Michaels-Moore (baritone)

Goro - Robin Leggate (tenor)

Suzuki - Helene Schneiderman (soprano)

Bonze - Jeremy White (bass)

Yamadori - Zheng Zhou (baritone)

Royal Opera House Orchestra & Chorus

Conductor - Andris Nelsons.

From the Royal Opera House, Andris Nelsons conducts Puccini's Madama Butterfly.

Puccini's Madama Butterfly20220709TOM SERVICE presents Puccini's operatic tragedy from the Royal Opera House, Covent Garden, with Armenian soprano Lianna Haroutounian and British-Italian tenor Freddie De Tommaso as the young Japanese geisha Cio-Cio-San and the American naval officer Pinkerton who callously breaks her heart. This revival of the Royal Opera production by Moshe Leiser and Patrice Caurier, reworked with the participation of Japanese experts, aims to be 'both true to the spirit of the original and more authentic in its representation of Japan'.

Puccini: Madama Butterfly

Cio-Cio-San (Madama Butterfly) - Lianna Haroutounian (soprano)

Lieutenant B. F. Pinkerton - Freddie De Tommaso (tenor)

Sharpless, American Consul - Lucas Meachem (baritone)

Suzuki, Cio-Cio San's maid - Kseniia Nikolaieva (mezzo-soprano)

Goro, matchmaker - Alexander Kravets (tenor)

The Bonze, Cio-Cio-San's Uncle - Jeremy White (bass)

Kate Pinkerton - Rachael Lloyd (mezzo-soprano)

Prince Yamadori - Alan Pingarr n (tenor)

Royal Opera Chorus

Orchestra of the Royal Opera House

Conductor Dan Ettinger

TOM SERVICE presents Puccini's operatic tragedy from the Royal Opera House, Covent Garden.

Suzuki, Cio-Cio-San's maid - Kseniia Nikolaieva (mezzo-soprano)

Read the full synopsis on the Royal Opera House website: https://bit.ly/3RmdAwm

Puccini's Manon Lescaut20080216The young Puccini's first great success, Manon Lescaut is a drama of a free-spirited beauty whose equal need for love and luxury causes her downfall.

Finnish soprano Karita Mattila sings the title role for the first time at the Met in a score full of youthful and erotic passion. Marcello Giordani plays Manon's young lover des Grieux and the Met's Music Director James Levine conducts. The programme also includes backstage interviews with some of the artists.

Presented from New York by Margaret Juntwait.

Manon Lescaut - Karita Mattila (soprano)

des Grieux - Marcello Giordani (tenor)

Lescaut - Dwayne Croft (baritone)

Geronte de Ravoir - Dale Travis (baritone)

Musician - Tamara Mumford (mezzo-soprano)

Edmondo - Sean Panikkar (tenor)

Dancing Master - Bernard Fitch (tenor)

Lamplighter - Tony Stevenson (tenor)

Innkeeper - Paul Plishka (bass)

Sergeant - James Courtney (bass)

Captain - Richard Bernstein (bass)

Orchestra and Chorus of New York Metropolitan Opera

James Levine (conductor).

James Levine conducts a production of Puccini's passionate but tragic opera.

Puccini's Manon Lescaut20140701Live from the Royal Opera House, Covent Garden

Presented by Martin Handley

Puccini's Manon Lescaut in a new production by Jonathan Kent, with Kristine Opolais as Manon, Jonas Kaufmann as des Grieux and Maurizio Muraro as Geronte de Ravoir. Antonio Pappano conducts.

Manon Lescaut - Kristine Opolais (Soprano)

Chevalier des Grieux - Jonas Kaufmann (Tenor)

Lescaut - Christopher Maltman (Baritone)

Geronte de Ravoir - Maurizio Muraro (Bass)

Singer - Nadezhda Karyazina (Soprano)

Edmondo - Benjamin Hulett (Tenor)

Dancing Master - Robert Burt (Tenor)

Lamplighter - Luis Gomes (Tenor)

Innkeeper - Nigel Cliffe (Baritone)

Sergeant - Jihoon Kim (Bass Baritone)

Naval Captain - Jeremy White (Bass)

Royal Opera House Orchestra

Royal Opera House Chorus

Antonio Pappano (Conductor)

Manon, who has shown a taste for pleasure, is on her way to a convent on the orders of her parents when she meets the young student Des Grieux. The pair fall in love and elope to Paris, but when the elderly Geronte offers Manon a life of wealth and luxury, her head is turned. Puccini's first triumph returns to Covent Garden for the first time in 30 years, with Kristine Opolais as Manon, Jonas Kaufmann as the Chevalier des Grieux and Maurizio Muraro as Geronte de Ravoir. Antonio Pappano conducts.

Live from the Royal Opera House, Covent Garden, Puccini's opera Manon Lescaut.

Puccini's Tosca20120128Live from The Met

The action of Puccini's masterpiece takes place over a single day and night in Rome. During that day an escaped political prisoner shelters in a church. An artist, Mario Cavaradossi, helps him. The artist's lover is opera-singer Floria Tosca - passionate and jealous. The sadistic Chief of Police Baron Scarpia is hunting both the escaped prisoner and (for very different reasons) Tosca. By the following morning Scarpia, Cavaradossi and Tosca are all dead - murder, a firing squad and suicide. All of the ingredients for the grandest of operas are present and Puccini's mastery of the art of music-theatre produces an opera that manages to be both ingeniously composed and highly popular.

The Met has assembled a strong cast for this revival. Leading American soprano Patricia Racette sings the title role, the outstanding Argentine tenor Marcelo @lvarez is Cavaradossi and the veteran American bass-baritone James Morris brings his enormous experience to the role of Scarpia. The conductor is the young Finnish maestro Mikko Franck. He's currently Finnish National Opera's Artistic Director and General Music Director - a job to which he was appointed 8 years ago at the age of 25.

Presented by Margaret Juntwait with guest commentator Ira Siff.

Tosca...Patricia Racette (Soprano)

Cavaradossi...Marcelo @lvarez (Tenor)

Scarpia...James Morris (Bass)

Sacristan...Paul Plishka (Bass)

Cesare Angelotti...Richard Bernstein (Bass)

Spoletta...Joel Sorensen (Tenor)

Sciarrone...James Courtney (Bass)

Jailer...Jeremy Galyon (Bass)

New York Metropolitan Opera Orchestra

New York Metropolitan Opera Chorus

Conductor.....Mikko Franck.

Puccini's Tosca, from the New York Met, with soprano Patricia Racette in the title role.

Puccini's Tosca20211211From the New York Met: Sondra Radvanovsky is Tosca in Puccini's tale of love and betrayal; Brian Jagde sings her lover Cavaradossi and Evgeny Nikitin is the police chief Scarpia. Presented by Debra Lew Harder.

Floria Tosca, a celebrated singer - Sondra Radvanovsky (soprano)

Mario Cavaradossi, a painter - Brian Jagde (tenor)

Baron Scarpia - Evgeny Nikitin (baritone)

Sacristan - Patrick Carfizzi (baritone)

Cesare Angelotti - Kevin Short (bass)

Spoletta - Tony Stevenson (tenor)

Sciarrone - Christopher Job (bass)

Jailer - Adam Lau (bass)

Metropolitan Opera Chorus and Orchestra

Conductor Yannick N退zet-S退guin

From the New York Met: Sondra Radvanovsky is Tosca in Puccini's tale of love and betrayal.

From the New York Met: Sondra Radvanovsky is Tosca in Puccini's tale of love and betrayal; Brian Jagde sings her lover Cavaradossi and George Gagnidze is the police chief Scarpia. Presented by Debra Lew Harder.

Baron Scarpia - George Gagnidze (baritone)

Image: © Marty Sohl / Met Opera

Puccini's Tosca20230408From the New York Met: Puccini's Tosca starring Liudmyla Monastyrska in the title role of an opera singer caught up in political conflict in Rome. Matthew Polenzani is Tosca's lover Cavaradossi, a painter with republican sympathies: can she save him from the sadistic police chief Scarpia?

Presented by Debra Lew Harder, in conversation with Ira Siff.

Puccini: Tosca

Floria Tosca - Liudmyla Monastyrska (soprano)

Mario Cavaradossi - Matthew Polenzani (tenor)

Baron Scarpia - Željko Lu??i? (baritone)

Sacristan - Patrick Carfizzi (baritone)

Spoletta - Brenton Ryan (tenor)

Sciarrone - Christopher Job (bass)

Cesare Angelotti - Kevin Short (bass)

Jailer - Paul Corona (bass)

Metropolitan Opera Chorus and Orchestra

Conductor Domingo Hindoyan

From the New York Met: Puccini's Tosca starring Liudmyla Monastyrska in the title role.

From the New York Met: Puccini's Tosca starring Angela Gheorghiu in the title role of an opera singer caught up in political conflict in Rome. Matthew Polenzani is Tosca's lover Cavaradossi, a painter with republican sympathies: can she save him from the sadistic police chief Scarpia?

Presented by Debra Lew Harder, in converstation with Ira Siff.

Floria Tosca - Angela Gheorghiu (soprano)

From the New York Met: Puccini's Tosca starring Angela Gheorghiu in the title role.

Baron Scarpia - Željko Lu?i? (baritone)

Puccini's Tosca With Maria Callas20231202On the 100th anniversary of Maria Callas' birth, a chance to hear her legendary 1953 recording of Puccini's Tosca, with Giuseppe Di Stefano as Cavaradossi, Tito Gobbi as Scarpia, and Victor de Sabata conducting.

Famous opera singer Floria Tosca's lover, the painter Cavaradossi, has been arrested by the merciless chief of police Scarpia. Tosca knows that only she can save Cavaradossi's life, but how far will she go to do so? Puccini's sweeping melodies are combined with romance, revolution and a final, devastating crisis.

Martin Handley presents and is joined by writer and broadcaster Sarah Lenton to discuss Callas' voice, life and legacy, and also celebrate some of her other signature roles.

Puccini: Tosca

Tosca - .. Maria Callas (soprano)

Cavaradossi - .. Giuseppe Di Stefano (tenor)

Scarpio . - Tito Gobbi (bass)

Cesare Angelotti .. - Franco Calabrese (bass)

Spoletta .. - Angelo Mercuriali (tenor)

Shepherd boy .. - Alvaro Cordova (boy soprano)

Sciarrone/Gaoler .. - Dario Caselli (bass)

Sacristan .. - Melchiorre Luise (bass)

Chorus and Orchestra of La Scala, Milan

Victor de Sabata (conductor)

Plus highlights from other famous Maria Callas recordings:

Donizetti: Lucia di Lammermoor - mad scene (Act 3 scene 2)

Lucia - .. Maria Callas (soprano)

Enrico - .. Piero Cappuccilli (baritone)

Raimondo - .. Bernard Ladysz (bass)

Philharmonia Chorus and Orchestra

Tullio Serafin (conductor)

Bellini: Norma - final scene (Act 2 scene 3)

Norma - .. Maria Callas (soprano)

Pollione - .. Mario Filippeschi (tenor)

Oroveso - .. Nicola Rossi-Lemeni (bass)

Clotilde - .. Rina Cavallari (soprano)

Bizet: Carmen - L'amour est un oiseau rebelle (Act 1); C'est toi - Carmen, il est temps encore - Viva viva! La course et belle! (Act 4)

Carmen - .. Maria Callas (soprano)

Don José - .. Nicolai Gedda (tenor)

Choeurs Rene Duclos

Paris Opera Orchestra

Georges Pretre (conductor)

The legendary 1953 recording starring Maria Callas on the 100th anniversary of her birth

On the 100th anniversary of Maria Callas' birth, a chance to hear her legendary 1953 recording of Puccini's Tosca, with Giuseppe Di Stefano, Tito Gobbi & conductor Victor de Sabata

On the 100th anniversary of Maria Callas' birth, a chance to hear her legendary 1953 recording of Puccini's Tosca, with Giuseppe Di Stefano as Cavaradossi, Tito Gobbi as Scarpia, and Victor de Sabata conducting.

Famous opera singer Floria Tosca's lover, the painter Cavaradossi, has been arrested by the merciless chief of police Scarpia. Tosca knows that only she can save Cavaradossi's life, but how far will she go to do so? Puccini's sweeping melodies are combined with romance, revolution and a final, devastating crisis.

Martin Handley presents and is joined by writer and broadcaster Sarah Lenton to discuss Callas' voice, life and legacy, and also celebrate some of her other signature roles.

Puccini: Tosca

Tosca - .. Maria Callas (soprano)

Cavaradossi - .. Giuseppe Di Stefano (tenor)

Scarpio . - Tito Gobbi (bass)

Cesare Angelotti .. - Franco Calabrese (bass)

Spoletta .. - Angelo Mercuriali (tenor)

Shepherd boy .. - Alvaro Cordova (boy soprano)

Sciarrone/Gaoler .. - Dario Caselli (bass)

Sacristan .. - Melchiorre Luise (bass)

Chorus and Orchestra of La Scala, Milan

Victor de Sabata (conductor)

Plus highlights from other famous Maria Callas recordings:

Donizetti: Lucia di Lammermoor - mad scene (Act 3 scene 2)

Lucia - .. Maria Callas (soprano)

Enrico - .. Piero Cappuccilli (baritone)

Raimondo - .. Bernard Ladysz (bass)

Philharmonia Chorus and Orchestra

Tullio Serafin (conductor)

Bellini: Norma - final scene (Act 2 scene 3)

Norma - .. Maria Callas (soprano)

Pollione - .. Mario Filippeschi (tenor)

Oroveso - .. Nicola Rossi-Lemeni (bass)

Clotilde - .. Rina Cavallari (soprano)

Bizet: Carmen - L'amour est un oiseau rebelle (Act 1); C'est toi - Carmen, il est temps encore - Viva viva! La course et belle! (Act 4)

Carmen - .. Maria Callas (soprano)

Don José - .. Nicolai Gedda (tenor)

Choeurs Rene Duclos

Paris Opera Orchestra

Georges Pretre (conductor)

The legendary 1953 recording starring Maria Callas on the 100th anniversary of her birth

On the 100th anniversary of Maria Callas' birth, a chance to hear her legendary 1953 recording of Puccini's Tosca, with Giuseppe Di Stefano, Tito Gobbi & conductor Victor de Sabata

Puccini's Turandot20170916Puccini's great final work Turandot from the Royal Opera House, Covent Garden. This grand spectacle of legendary China stars Christine Goerke as the Ice Princess Turandot and Aleksandrs Antonenko as Prince Calaf, the unknown prince captivated by her beauty. Turandot has vowed that no man will marry her unless he can correctly answer three riddles - Prince Calaf takes up the challenge knowing he must thaw her heart or die. The cast also includes Hibla Gerzmava as the loyal and kind Liu, and Insung Sim as Timur, Calaf's father. The Chorus and Orchestra of Covent Garden are conducted by Dan Ettinger. James Naughtie presents this recording, made earlier this summer from the Royal Opera House, and his guest in the box is Sarah Lenton.

Turandot - Christine Goerke (soprano)

Calaf - Aleksandrs Antonenko (tenor)

Liu - Hibla Gerzmava (soprano)

Timur - Insung Sim (bass)

Ping - Michel De Souza (baritone)

Pang - Aled Hall (tenor)

Pong - Pavel Petrov (tenor)

Emperor Altoum - Robin Leggate (tenor)

Mandarin - Yuriy Yurchuk (baritone)

Royal Opera House Orchestra

Chorus of the Royal Opera House

Dan Ettinger (conductor).

Puccini's Turandot20240316From the Metropolitan Opera in New York: Puccini's final opera, imbued with the sounds of mythic China. The beautiful Princess Turandot has decided that no man shall ever possess her - to win her hand, suitors must answer three riddles, and if they fail, they are killed. Prince Calaf, however, thinks he's up to the challenge. Oksana Lyniv conducts a starry cast including Elena Pankratova in her Met debut as Turandot, and SeokJong Baek as Calaf.

Presented by Debra Lew Harder with commentator Ira Siff.

Turandot - Elena Pankratova (soprano)

Calaf - SeokJong Baek (tenor)

Liu - Alekasndra Kurzak (soprano)

Timur - Vitalij Kowaljow (bass)

Metropolitan Opera Chorus and Orchestra

Conductor Oksana Lyniv

From the Metropolitan Opera in New York: Elena Pankratova in her Met debut as Turandot.

From the Metropolitan Opera in New York: Elena Pankratova makes her Met debut as the legendary princess Turandot, with SeokJong Baek as the prince who risks his life for her love.

Puccini's Turandot From The Met20220507Puccini's final masterpiece is both modern and romantic, a classic of 20th-century opera. Liudmyla Monastyrska performs the title role of the proud princess of ancient China, whose riddles doom every suitor who seeks her hand. She appears opposite Yonghoon Lee, who as Cal
Puccini's Turandot Recorded At The New York's Met20200502An archive recording of Giacomo Puccini's Turandot made at the Metropolitan Opera House in New York and first heard in 2016, in the sumptuous production by Franco Zeffirelli. Puccini's final masterpiece is both modern and romantic; reflecting eastern harmonies and coupled with his imaginative use of the orchestra at his disposal, he created a classic of 20th-century opera. Nina Stemme performs the title role of the proud princess of ancient China, whose riddles doom every suitor who seeks her hand. She appears opposite Marco Berti, who as Cal
Purcell Double-bill: Dido And Aeneas, The Fairy Queen20240309Hannah French introduces performances of two Purcell operas: the evening opens with possibly Purcell's most famous work, Dido and Aeneas, recorded in the Notre-Dame Basilica at the International Baroque and Romantic Opera Festival, Beaune last year. Mezzo-soprano and recent Radio 3 New Generation Artist Helen Charlston stars as the love-lorn Dido, ending in the heart-stoppingly beautiful lament.

The second part of the evening's broadcast is devoted to Purcell's The Fairy Queen, his semi-opera in five acts, adapted from Shakespeare's A Midsummer Night's Dream, recorded last year at the Utrecht Early Music Festival. The Fairy Queen has some of Purcell's finest theatre music, some slapstick elements contrasting with more sublime and magical moments.

Hannah French is joined by Kirsten Gibson to talk about Purcell's glorious music in these two performances by Les Arts Florissants and conductor William Christie.

Dido and Aeneas:

Dido - Helen Charlston

Aeneas / Sorceress - Renato Dolcini

Belinda - Ana Viera Leite

First Witch - Maud Gnidzaz

Second Witch / Second Woman - Virginie Thomas

Sailor - Jacob Lawrence

Spirit - Michael Loughlin-Smith

William Christie, conductor

Paulina Francisco, soprano

Georgia Burashko, mezzo-soprano

Rebecca Leggett, mezzo-soprano

Juliette Mey, mezzo-soprano

Rodrigo Carreto, tenor

Iljia Aksionov, tenor

Hugo Herman-Wilson, baritone

Benjamin Schilperoort, bass-baritone

Purcell's Dido and Aeneas, and The Fairy Queen, performed by Les Arts Florissants.

Hannah French introduces a Purcell double-bill: Dido and Aeneas, and The Fairy Queen, performed by Les Arts Florissants and conductor William Christie.

Purcell's The Indian Queen20141013Purcell's Indian Queen had a difficult birth, a managerial crisis led to the defection of most of the cast to a rival company during rehearsals and Purcell himself - who was only 36 - died before he'd finished the work. So what the audience saw on the first night contained less than an hour of music performed by young and inexperienced actors and singers with a final masque hastily supplied by Purcell's brother Daniel. Despite all this it still contains some of Purcell's most refined and dramatic music and is a piece the director of this production, Peter Sellars, has wanted to bring to the stage for many years. To make it work Sellars has completely rewritten the original play about the Mexican Queen Zempoalla and her struggle against the Peruvians and turned it into a story about Spain's conquest of South America, religion, and the relationship between the conqueror and the conquered. The opera now lasts over three hours and uses Purcell's original music while also weaving some of his religious anthems and secular songs into the action to create a dramatic new work full of contemporary resonances.

Sara Mohr-Pietsch introduces this performance recorded at the Teatro Real, Madrid, she talks to Purcell expert Andrew Pinnock about Purcell's original opera and Peter Sellars talks about his passion for Purcell's music and about his new version.

The Indian Queen.....Julia Bullock (Soprano)

Dona Isabel.....Nadine Koutcher (Soprano)

Ixbalanque.....Christophe Dumaux (Countertenor)

Mayan hero.....Vince Yi (Countertenor)

Don Pedrarias.....Markus Brutscher (Tenor)

Don Pedro de Alvarado.....Noah Stewart (Tenor)

Mayan Priest.....Luthando Qave (Baritone)

Leonor.....Maritxell Carrero (Narrator)

MusicAeterna

Theodor Currentzis (Conductor).

From Teatro Real, Madrid, a new version of Purcell's final work, The Indian Queen.

Rachmaninov's Aleko20100313Gianandrea Noseda conducts the BBC Philharmonic, Turin Regio Chorus and an all-Russian cast in Rachmaninov's early 1-Act opera Aleko, based on Pushkin's dramatic poem The Gypsies.

Synopsis:

Aleko has fled society and is taken in by the gypsy Zemfira. He is soon performing with a tame bear, singing as it dances, while Zemfira's father plays a tambourine and Zemfira herself collects money from the audience. They have a child, but Zemfira betrays Aleko with a young gypsy. One night, he surprises the lovers and murders both. The tribe moves off, leaving him alone on the steppe.

Aleko: Sergey Murzaev (baritone)

Old Gypsy: Gennadi Bezzubenkov (bass)

Zemfira: Svetla Vasilieva (soprano)

Young Gypsy: Evgeny Akimov (tenor)

Old Gypsy Woman: Nadezhda Vasilieva (mezzo-soprano)

Gianandrea Noseda (conductor)

Turin Teatro Regio Chorus.

Gianandrea Noseda conducts Rachmaninov's opera Aleko, based on Pushkin's poem The Gypsies.

Rameau's Castor And Pollux20120114Here's something: a love square. Two sides are made from Castor and Pollux, twin progeny of Jupiter, one divine one mortal. The term 'brotherly love' might have been coined for them. The other two sides, a pair of sisters: Telare and Phoebe.

Both Castor and Pollux love Telare; Phoebe loves Pollux but the sentiment is not reciprocated. Telare loves Castor better than Pollux and when Castor is killed in battle she asks the surviving sibling to get Jupiter to bring him back to life. Thinking that his brother's happiness is more important than his own, Pollux sets about helping out. But nothing's simple and terms and conditions apply: Jupiter has decreed that Pollux must exchange his immortality for Castor's mortality. And it gets worse. As Pollux enters the Underworld to reclaim Castor, he not only has to endure the all the horrors the nether regions have to throw at him, but he also has to put up with Phoebe and her endless jealousy.

All's well that ends well - if not for everybody. Jupiter decides to make both brothers immortal and sends them up to the heavens to become the Gemini (what else?) constellation. Phoebe has killed herself; Telare is left on earth, bereft. It's a happy ending, Greek myth-style.

Although Rameau is one of the great dramatic composers the baroque era and 'Castor and Pollux' is widely regarded as his masterpiece, this is the first time any Rameau opera has been staged at ENO. A cast including some of the UK's finest young singers is conducted by period instrument specialist Christian Curnyn in this new production by Barry Kosky, translated by Amanda Holden.

Presented by Donald Macleod in conversation with Simon Heighes

Castor..... Allan Clayton (tenor)

Pollux..... Roderick Williams (baritone)

Telare..... Sophie Bevan (soprano)

Phoebe..... Laura Tatulescu (soprano)

Jupiter..... Henry Waddington (bass)

High Priest of Jupiter..... Andrew Rupp (baritone)

Mercury/Athlete..... Ed Lyon (tenor)

English National Opera Orchestra and Chorus

Conductor.....Christian Curnyn.

Christian Curnyn conducts the ENO Orchestra and Chorus in Rameau's Castor and Pollux.

Richard Ayres's Peter Pan20150615Richard Ayres and Lavinia Greenlaw's new opera on JM Barrie's most famous creation, Peter Pan. Erik Nielsen conducts the British premiere at Wales Millennium Centre.

Faithful to JM Barrie's original tale, Welsh National Opera's new production by director Keith Warner is set in Edwardian London. The Darling family are struggling to make ends meet. When the mysterious figure of Peter Pan and his friend Tinkerbell appear at the Darlings' nursery window a fantasy adventure quickly unfolds. To the consternation of their faithful nursemaid, a Newfoundland dog, Nana, Peter Pan invites the children to fly to his home in Neverland where he lives with his cohorts the Lost Boys in a magical world of fairies, red Indians and swashbuckling pirates. After a battle, their leader, Captain Hook confronts his nemesis, a crocodile who's swallowed a clock.

Worn out with the demands of being surrogate mother to Peter and the Lost Boys, Wendy and her brothers return home. As the Darling family happily reunite, now considerably enlarged by the arrival of the Lost Boys, it is Peter Pan alone who remains 'the Boy who would not grow up'.

In the UK premiere broadcast, Peter Pan is Iestyn Morris, Marie Arnet takes the role of Wendy, Ashley Holland doubles as Mr. Darling and Captain Hook and Hilary Summers sings Mrs. Darling and Tiger-Lily, Aidan Smith is Nana. Presented by Christopher Cook, including interviews with the conductor, director, and principal singers.

Peter Pan... Iestyn Morris (Counter-tenor)

Wendy..... Marie Arnet (Soprano)

Mr Darling / Captain Hook..... Ashley Holland (Baritone)

Mrs Darling / Tiger Lily.....Hilary Summers (Contralto)

John.... Nicholas Sharratt (Tenor)

Michael...Rebecca Bottone (Soprano)

Smee....Mark le Brocq (Tenor)

Nana.....Aidan Smith (Baritone)

Orchestra and Chorus of Welsh National Opera

Erik Nielsen (conductor).

Erik Nielsen conducts WNO's new production of Richard Ayres's Peter Pan.

Richard Strauss: Ariadne Auf Naxos2014071620200425 (R3)Tonight's Opera on 3 was originally scheduled to feature the soprano Karita Mattila in the planned ROH production in April of Janacek's Jenufa. That production was cancelled with the current closure of the Opera House but this repeat broadcast is an opportunity to hear Karita Mattila in another opera, Richard Strauss's Ariadne auf Naxos.

Karita Mattila stars as the prima donna who appears later as Ariadne and Roberto Sacca is the tenor, later Bacchus, in this often funny work which once again sets a libretto by Strauss's greatest collaborator, the librettist Hugo von Hoffmansthal. The work was originally intended as a short divertissement to be performed after Hoffmansthal's version of Moliere's Le Bourgeois Gentilhomme which itself had incidental music by Strauss. However, it soon became clear that in this version the work wouldn't be performed often due to the expense. So it was revised as an opera in a prologue and one act, albeit with a small orchestra and with another of Strauss's great soprano roles.

Presented by Ivan Hewitt, and was first broadcast in July 2014 as part of the Richard Strauss 150 celebration.

Ariadne / The Prima Donna - Karita Mattila (Soprano)

Bacchus / The Tenor - Roberto Sacca (Tenor)

Zerbinetta - Jane Archibald (Soprano)

The Composer - Ruxandra Donose (Mezzo-soprano)

Harlequin - Markus Werba (Baritone)

Music Master - Thomas Allen (Baritone)

Dancing Master - Ed Lyon (Tenor)

Wig Maker - Ashley Riches (Baritone)

Lackey - Jihoon Kim (Bass Baritone)

Scaramuccio - Wynne Evans (Tenor)

Brighella - Paul Schweinester (Tenor)

Truffaldino - Jeremy White (Bass)

Officer - David Butt Philip (Baritone)

Naiad - Sofia Fomina (Soprano)

Dryad - Karen Cargill (Mezzo-soprano)

Echo - Kiandra Howarth (Soprano)

Major Domo - Christopher Quest (Speaker)

Royal Opera House Orchestra

Antonio Pappano (Conductor)

Karita Mattila in Strauss's Ariadne auf Naxos, recorded at the Royal Opera House.

Richard Strauss: Elektra2014010620200704 (R3)Elektra by Richard Strauss, from the Royal Opera House, Covent Garden, conducted by Andris Nelsons. Christine Goerke sings the title role.

The Greek hero Agamemnon returns home from the Trojan War, only to be murdered by his wife Klytemnestra and her lover, Aegisthus. His daughter, Elektra, has become possessed by a desperate need to revenge her father and will not rest until she has done so. Strauss's music plunges the audience straight into this psychologically intense and violent world, and Charles Edwards's production highlights the moral decay at its heart.

Presented by Louise Fryer.

Elektra.....Christine Goerke (Soprano)

Chrysothemis.....Adrianne Pieczonka (Soprano)

Klytemnestra.....Michaela Schuster (Soprano)

Confidante.....Louise Armit (Mezzo-soprano)

Trainbearer.....Marianne Cotterill (Soprano)

Overseer.....Elaine Mckrill (Soprano)

Young Servant.....Douglas Jones (Tenor)

Old Servant.....Jeremy White (Bass)

Orestes.....Iain Paterson (Bass)

Orestes's Companion.....John Cunningham (Bass)

Aegisthus.....John Daszak (Tenor)

First Maid.....Anna Burford (Mezzo-soprano)

Second Maid.....Catherine Carby (Mezzo-soprano)

Third Maid.....Elizabeth Sikora (Mezzo-soprano)

Fourth Maid.....Elizabeth Woollett (Soprano)

Fifth Maid.....Jennifer Check (soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

Andris Nelsons (Conductor)

Elektra by Richard Strauss, from the Royal Opera House, Covent Garden.

Richard Strauss's Ariadne Auf Naxos20220312From the New York Met, soprano Lisa Davidsen stars in RICHARD STRAUSS's most unusual opera, as the gods of ancient Greek myths meet the clowns of the Italian commedia dell'arte. The household of Vienna's richest man is in turmoil: he's ordered three different after-dinner entertainments, a serious opera, a comedy and a firework display, but there simply isn't enough time to fit them all in. The solution, to the horror of the young Composer: telescope the opera and the comedy into one piece. So Ariadne, abandoned by her lover Theseus on the isle of Naxos, learns from the commedia dell'arte troupe and their flighty leading lady Zerbinetta that her best bet is to accept the next bloke who turns up - who just happens to be the god Bacchus.

Presented by Debra Lew Harder with commentator Ira Siff.

Ariadne / Prima Donna..... Lise Davidsen (soprano)

Bacchus - Brandon Jovanovich (tenor)

Zerbinetta - Brenda Rae (soprano)

Harlequin - Sean Michael Plumb (baritone)

Composer - Isabel Leonard (mezzo-soprano)

Music Master - Johannes Martin Kr䀀nzle (baritone)

Major-Domo - Sir Thomas Allen (baritone)

Nymphs - Deanna Breiwick, Maureen McKay (sopranos), Tamara Mumford (mezzo-soprano)

Brighella - Miles Mykkanen (tenor)

Scaramuccio - Alok Kumar (tenor)

Truffaldino - Ryan Speedo Green (bass-baritone)

Dancing Master - Brenton Ryan (tenor)

A lackey - Patrick Carfizzi (bass-baritone)

Officer - Thomas J. Capobianco (tenor)

Wigmaker - Philip Cokorinos (bass-baritone)

Metropolitan Opera Orchestra and Chorus

Conductor Marek Janowski

Read the full synopsis at the Met Opera website: https://bit.ly/3i3xqwj

Image: © Marty Sohl / Met Opera

Soprano Lisa Davidsen stars in RICHARD STRAUSS's most unusual opera at the New York Met.

From the New York Met, soprano Lisa Davidsen stars in RICHARD STRAUSS's most unusual opera, as the gods of ancient Greek myths meet the clowns of Italian commedia dell'arte. The household of Vienna's richest man is in turmoil: he's ordered three different after-dinner entertainments, a serious opera, a comedy and a firework display, but there simply isn't enough time to fit them all in. The solution, to the horror of the young Composer: telescope the opera and the comedy into one piece. So Ariadne, abandoned by her lover Theseus on the isle of Naxos, learns from the commedia dell'arte troupe and their flighty leading lady Zerbinetta that her best bet is to accept the next bloke who turns up - who just happens to be the god Bacchus.

Richard Strauss's Elektra20220416Based on Sophocles's Electra, revenge is the engine that drives Strauss's compelling, blood-soaked masterpiece, where ancient Greek tragedy combusts with early 20th-century expressionism, unleashed in a one-act opera of gripping and unrelenting intensity.

This New York Metropolitan Opera production, conducted by one of today's leading Strauss interpreters, features a stunning cast led by Nina Stemme and Lise Davidsen, two of the most celebrated dramatic sopranos of our times.

Elektra - Nina Stemme (soprano)

Chrysothemis - Lise Davidsen (soprano)

Klyt䀀mnestra - Michaela Schuster (mezzo-soprano)

Aegisth - Stefan Vinke (tenor)

Orest - Greer Grimsley (bass)

Orest's tutor - HAROLD WILSON (bass)

Young servant - Thomas J. Capobianco (tenor)

Old servant - Richard Bernstein (bass)

Overseer / Klyt䀀mnestra's Confidante - Alexandra LoBianco (soprano)

Maids - Tichina Vaughn, Eve Gigliotti, Krysty Swann (mezzo-sopranos), Alexandria Shiner, Hei-Kyung Hong (sopranos)

New York Metropolitan Opera Chorus and Orchestra

Donald Runnicles (conductor)

From the New York Met: Nina Stemme stars in Strauss's gripping take on Greek tragedy.

Read the full synopsis at the Met Opera website: https://bit.ly/35RsXKs

Image: © Ken Howard / Met Opera

Richard Strauss's Elektra20240210Ancient Greek tragedy combusts with early 20th-century expressionism as blood-soaked revenge drives Richard Strauss's compelling one-act masterpiece to its gripping conclusion.

Strauss based his opera on Sophocles's play Electra. On returning from the Trojan War, King Agamemnon is murdered by his queen Klytämnestra and her lover, his cousin Aegisth. Elektra, the queen's daughter, sends her brother Orest away for his own protection. The action begins a year later.

Determined to honour her father and longing to avenge his murder, Elektra becomes increasingly unkempt, desperate and unhinged. Her sister Chrysothemis wants to escape from the oppressive atmosphere of the palace. Elektra tells the now guilt-wracked Klytämnestra that she will die a violent death, but then hears the devastating news that her brother Orest is dead. However, a mysterious stranger appears. Elektra is overjoyed when she recognises him as Orest, who then fulfils his destiny with the brutal murder first of Klytämnestra and then Aegisth.

Antonio Pappano conducts a stellar international cast including Ausrine Stundyte in the title role and Karita Mattila as her murderous mother Klytämnestra.

Recorded last month at the Royal Opera House, Covent Garden, and introduced by Martin Handley, with contributions from Antonio Pappano and Karita Mattila.

Richard Strauss: Elektra

Elektra - Ausrine Stundyte (soprano)

Chrysothemis - Sara Jakubiak (soprano)

Klytämnestra - Karita Mattila (mezzo-soprano)

Aegisth - Charles Workman (tenor)

Orest - ŀ?ukasz Goliński (bass)

Orest's companion - Michael Mofidian (bass)

Young servant - Michael Gibson (tenor)

Old servant - Jeremy White (bass)

Overseer - Lee Bisset (soprano)

Maids - Noa Beinart (contralto), Veena Akama-Makia, Gabrielė Kupšytė (mezzo-sopranos), Ella Taylor, Valentina Puskás (sopranos)

Royal Opera Chorus

Orchestra of the Royal Opera House

Antonio Pappano (conductor)

Ausrine Stundyte takes the title role in Strauss's blood-soaked expressionist opera.

Ausrine Stundyte takes the title role in Strauss's great, blood-soaked expressionist one-acter, recorded at the Royal Opera House, Covent Garden, and conducted by Antonio Pappano.

Rimsky-korsakov's Christmas Eve20231223With Christmas Eve around the corner, this evening's Opera on 3 is set in the Ukrainian village of Dikanka with Rimsky-Korsakov's 'Christmas Eve'.

A snowstorm has hit the village, where the blacksmith, Wakula, is unhappily in love with Oksana. She'll only marry him if he gets her the Tsarina's golden shoes. The villagers are singing kolyadkas, Ukrainian Christmas Carols, but Wakula is in not in the mood for singing. In desperation, he turns to the devil to fly him to the capital to get the shoes for Oksana. Will this be enough to win her hand?

Tom Service presents this concert performance recorded last year at the Philharmonie, Berlin, in conversation with Rosamund Bartlett. The cast is led by Mikhail Vekua as the blacksmith and Sofia Fomina as Oksana, with the Berlin Radio Symphony Orchestra, George Enescu Philharmonic Chorus, conducted by Vladimir Jurowski.

Vakula the smith - Mikhail Vekua (tenor)

Chubb, an elderly Cossack - Dmitry Ulyanov (bass)

Oksana - Sofia Fomina (soprano)

Solokha - Ksenia Dudnikova (mezzo-soprano)

Tsaritsa - Marina Prudenskaja (mezzo-soprano)

Golova, the mayor - Sergei Leiferkus (baritone)

Devil - Alexander Fedorov (tenor)

Patsyuk/Panas - Milan Siljanov (bass-baritone)

Sexton Ossip - Vsevolod Grivnov (tenor)

Woman with a violet nose - Nadine Weissmann (alto)

Woman with an ordinary nose - Josefine Mindus (soprano)

Iosif Ion Prunner, chorus master

Vladimir Jurowski, conductor

Rimsky-Korsakov's Christmas Eve, recorded in Berlin 2022, conducted by Vladimir Jurowski.

Andrew McGregor introduces a concert performance of Rimsky-Korsakov's Christmas Eve, recorded in the Philharmonie, Berlin, last December, and conducted by Vladimir Jurowski.

Rimsky-korsakov's The Tsar's Bride20110611Presented by Martin Handley

The Tsar has been looking for a bride, and assembled some 2000 girls for inspection. The one he's taken with is Marfa, but she is already promised in marriage to her childhood sweetheart Ivan. The situation is already complicated enough, but Marfa is also loved by another powerful man, Grigory, who's one of the Tsar's secret police. It's a love-triangle which has all the makings of catastrophe.

Marfa Sobakina - Marina Poplavskaya (soprano)

Grigory Gryaznoy - Johan Reuter (baritone)

Lyubasha - Ekaterina Gubanova (mezzo-soprano)

Ivan Sergeyevich Lkov - Dmitry Popov (tenor)

Elisa Bomelius - Vasily Gorshkov (bass)

Vasily Sobakin - Paata Burchuladze (bass)

Dunyasha Saburova - Jurgita Adamonyte (mezzo-soprano)

Domna Saburova - Elizabeth Woollett (soprano)

Malyuta-Skuratov - Alexander Vinogradov (bass)

Petrovna - Anne-Marie Owens (mezzo-soprano)

Royal Opera House Orchestra and Chorus

Conductor - Sir Mark Elder.

Martin Handley presents Rimsky-Korsakov's The Tsar's Bride, with baritone Johan Reuter.

Rossini's Guillaume Tell20150714Live from the Royal Opera House in London, Rossini's last opera, and one of his greatest masterpieces, Guillaume Tell, with Gerald Finley in the heroic title role, Malin Bystr怀m as Mathilde, John Osborn as Arnold, and Nicolas Courjal as Gesler. Set in Austrian-occupied Switzerland in the Middle Ages and based on Friedrich Schiller's play, the opera is an ode to the fight against oppression and tyranny. Sir Antonio Pappano conducts the choir and orchestra of the Royal Opera House in a new production by Damiano Michieletto, who makes his debut in the main Covent Garden stage. Ivan Hewett presents.

Guillaume Tell.....Gerald Finley (Bass-Baritone)

Arnold Melcthal.....John Osborn (Tenor)

Mathilde.....Malin Bystr怀m (Soprano)

Walther Furst.....Alexander Vinogradov (Bass)

Jemmy.....Sofia Fomina (Soprano)

Hedwige.....Enkelejda Shkosa (Mezzo-soprano)

Gesler.....Nicolas Courjal (Bass)

Melcthal.....Eric Halfvarson (Bass)

Rodolphe.....Michael Colvin (Tenor)

Ruodi.....Ji Hyun Kim (Tenor)

Leuthold...Samuel Dale Johnson (baritone)

Royal Opera House Chorus

Royal Opera House Orchestra

Antonio Pappano (Conductor).

Live from the Royal Opera House, Covent Garden, Rossini's final opera Guillaume Tell.

Rossini's Il Barbiere Di Siviglia20080126Considered the most popular comic opera of all time, Rossini's opera features the composer at his most exhilarating. Figaro helps Count Almaviva win the hand of the lovely Rosina. But first the Count and his trusty barber must stop her guardian, Doctor Bartolo, from marrying her himself.

Rosina - Elina Garanca (mezzo-soprano)

Count Almaviva - Jose Manuel Zapata (tenor)

Figaro - Franco Vassallo (baritone)

Dr Bartolo - Bruno Pratico (bass-baritone)

Don Basilio - Peter Rose (bass)

Berta - Jennifer Check (soprano)

Sergeant - Mark Schowalter (tenor)

Fiorello - John Moore (baritone)

Ambrogio - Rob Besserer (bass)

Chorus and Orchestra of New York Metropolitan Opera

Frederic Chaslin (conductor).

Frederic Chaslin conducts Rossini's popular comic opera at the New York Met.

Rossini's Il Barbiere Di Siviglia (the Barber Of Seville)20091010From the Royal Opera House, Covent Garden, Donald Macleod presents Rossini's comic opera Il Barbiere di Siviglia. Artistic director Antonio Pappano conducts a cast including Peruvian tenor Juan Diego Florez as the Count, Italian baritone Pietro Spagnoli as the resourceful barber and American mezzo-soprano Joyce DiDonato as the young maiden Rosina. This is a revival of the critically acclaimed production by French directors Moshe Leiser and Patrice Caurier.

Figaro - Pietro Spagnoli (baritone)

Count Almaviva - Juan Diego Florez (tenor)

Rosina - Joyce DiDonato (mezzo-soprano)

Dr Bartolo - Alessandro Corbelli (baritone)

Don Basilio - Ferruccio Furlanetto (bass)

Berta - Jennifer Rhys-Davies (soprano)

Fiorello - Changhn Lim (baritone)

Ambrogio - Bryan Secombe (bass)

Officer - Christopher Lachner (baritone)

Chorus and Orchestra of the Royal Opera House, Covent Garden

Antonio Pappano (conductor).

Antonio Pappano conducts a production from the Royal Opera House, Covent Garden.

Rossini's Il Turco In Italia20100515Ivan Hewett presents Il Turco in Italia - Rossini's perceptive comedy of Neapolitan life and love, recorded at the Royal Opera House, Covent Garden in April. A Turkish Prince, Selim, arrives in Naples by boat, looking for an amorous adventure. At the same time, the respectable Don Geronio is struggling to keep his younger wife, Fiorilla, happy. She is more interested in flirting with the young men around her, and she is immediately drawn to the exotic young Turk. Meanwhile, the poet Prosdocimo is trying to find a subject for a new play, and he decides to stir things up in the name of theatre, especially when he discovers Zaida, a young gypsy girl who was jilted by a prince in Turkey, and Don Narciso, the previous lover of Fiorilla, now usurped by Selim.

Rossini's lively vocal ensembles sparkle with desire, frustration, jealousy, and love. In this production, updated to the 1960s, this is all played out at the beach in Naples complete with pasta, wine, Italian cars, a Vespa, and a masked ball.

With additional insights during the interval from writer and broadcaster Daniel Snowman, and members of the cast, the conductor Maurizio Benini, and the directors, Moshe Leiser and Patrice Caurier.

Fiorilla - Aleksandra Kurzak (soprano)

Don Narciso - Colin Lee (tenor)

Don Geronio - Alessandro Corbelli (baritone)

Selim - Ildebrando d'Arcangelo (bass)

Prosdocimo - Thomas Allen (baritone)

Zaida - Leah-Marian Jones (mezzo-soprano)

Albazar - Steven Ebel (tenor)

Maurizio Benini - Conductor

Royal Opera Chorus

Orchestra of the Royal Opera House.

Maurizio Benini conducts Rossini's perceptive comedy of Neapolitan life and love.

Rossini's La Donna Del Lago20130615Ivan Hewett introduces Rossini's La Donna del Lago, recorded last month at the Royal Opera House, Covent Garden, starring Juan Diego Florez, Joyce DiDonato and Colin Lee.

Based on Walter Scott's The Lady of the Lake, Rossini's opera illustrates the Romantic fascination with Renaissance Scotland as a place of wild emotion and political confrontation.

Elena, the Lady of the Lake, longs to be united with her true love, Malcom. But her father, the rebel Duglas, is determined that she will marry the Highland chief Rodrigo. Torn between love and duty, she finds her plight is made all the more complicated by Uberto, a handsome stranger who nobody seems to know much about.

This new production by John Fulljames contains, in the words of one critic, 'some of the most spectacular singing to be heard at Covent Garden for a while', and celebrates not only the historic Scotland in which the action of the opera takes place, but also the Scotland of the nineteenth century, the period of Rossini and Sir Walter Scott (when fascination with Scots history was at its height). The production highlights the beauty of Scottish landscape, of which the heroine, Elena, is a symbol, while not forgetting the struggles and battles that feature in all retellings of Scottish history.

Elena.....Joyce DiDonato (mezzo-soprano)

King James of Scotland.....Juan Diego Fl rez (tenor)

Malcolm.....Daniela Barcellona (mezzo-soprano)

Douglas.....Simon Orfila (bass)

Rodrigo.....Colin Lee (tenor)

Albina.....Justina Gringyte (mezzo-soprano)

Serano.....Robin Leggate (tenor)

A Bard.....Christopher Lackner (baritone)

King's Soldier.....Pablo Bemsch (tenor)

Chorus and Orchestra of the Royal Opera House, Covent Garden

Michele Mariotti, conductor.

Rossini's opera La Donna del Lago performed at the Royal Opera House in Covent Garden.

Rossini's La Gazza Ladra20151003Rossini's melodramma La Gazza Ladra - the Thieving Magpie - from this year's Rossini Opera Festival in Pesaro conducted by Donato Renzetti and starring Nino Machaidze and Alex Esposito

Presented by Andrew McGregor

Cast:

Fabrizio Vingradito..... Simone Alberghini (bass-baritone)

Lucia..... Teresa Iervolino (mezzo-soprano)

Giannetto..... Ren退 Barbera (tenor)

Ninetta..... Nino Machaidze (soprano)

Fernando Villabella..... Alex Esposito (bass-baritone)

Gottardo..... Marko Mimica (bass-baritone)

Pippo..... Lena Belkina (mezzo-soprano)

Isacco..... Matteo Macchioni (tenor)

Antonio..... Alessandro Luciano (tenor)

Giorgio..... Riccardo Fioratti (baritone)

Ernesto / Il Pretore..... Claudio Levantino (bass-baritone)

Una Gazza..... Sandhya Nagaraja (actress)

The Orchestra and Chorus of the Teatro Communale di Bologna

Donato Renzetti (conductor)

~Opera On 3 continues with recordings from this year's summer festivals with Rossini's popular melodramma La Gazza Ladra - the Thieving Magpie - from the Rossini Opera Festival in Pesaro conducted by Donato Renzetti. The performance stars soprano Nino Machaidze as the servant girl Ninetta, tenor Ren退 Barbera as her love Giannetto and bass-baritone Alex Esposito as Ninetta's father. The melodramma in two acts is based on the comedy La pie voleuse: Ninetta is condemned to death for stealing silver from her employers, the Vingradito family, but the opera conforms to to the traditional happy ending when the silver is discovered in the eponymous magpie's nest. La Gazza Ladra is perhaps most well-known for its overture, but the opera has some of Rossini's finest arias in this semiseria genre. Presented by Andrew McGregor in conversation with Francesco Izzo.

Donato Renzetti conducts Rossini's La gazza ladra at the 2015 Pesaro Festival.

Rossini's Le Comte Ory From The Met20130202Rossini's comic opera Le Comte Ory in a performance first broadcast in February 2013 from the Metropolitan Opera in New York.

Count Ory is determined to win the countess Adele, and will do anything to get access to the castle where the women are, including disguising himself and his men as nuns. Rossini's sparkling comedy stars tenor Juan Diego Florez as the count, Pretty Yende as Adele and Karine Deshayes in the trouser role of Isolier.

Presented by Mary-Jo Heath with commentator Ira Siff.

Photo: Marty Sohl/Metropolitan Opera

Countess Adele - Pretty Yende (soprano)

Isolier - Karine Deshayes (mezzo-soprano)

Ragonde - Susanne Resmark (mezzo-soprano)

Count Ory - Juan Diego Florez (tenor)

Raimbaud - Nathan Gunn (baritone)

The Tutor - Nicola Ulivieri (baritone)

Chorus and Orchestra of the Metropolitan Opera, New York

Maurizio Benini, conductor

Synopsis

ACT I

France, around 1200. The Count of Formoutiers and most of the men have left for the Holy Land to fight in the Crusades, leaving behind the count's sister, Ad耀le, and her companion Ragonde. The young Count Ory, who is trying to win the countess, is resolved to take advantage of the situation. With the help of his friend Raimbaud, he has disguised himself as a hermit and taken up residence outside the castle gates. Village girls and peasants gather to get the holy man's advice on matters of the heart. Ory blesses them and promises to make all their wishes come true. Among the crowd is Ragonde. She tells Ory that, in the men's absence, the ladies of the castle have taken a vow to live as widows, but that the Countess Ad耀le, who is suffering from a strange melancholy, will come to consult him. Ory is overjoyed at the prospect of seeing her.

Ory's page Isolier arrives with Ory's tutor, who is looking for his charge (`Veiller sans cesse`). The tutor is suspicious about the hermit's identity and leaves to summon reinforcements. Isolier however, who does not recognize his master, confides to the `hermit` that he is in love with the countess and that he has a plan to enter the castle: he will disguise himself as a pilgrim (Duet: `Une dame de haut parage`). Ory, impressed by the idea, agrees to help but secretly resolves to use the plan for his own ends.

The countess appears, lamenting her melancholy (`En proie

Rossini's Matilde Di Shabran20121117John Shea presents a recording of Rossini's Matilde di Shabran from the 2012 Pesaro Festival conducted by Michele Mariotti with Olga Peretyatko in the title role.

Matilde di Shabran - Olga Peretyatko (soprano)

Edoardo - .Anna Goryachova (mezzo)

Raimondo Lopez - Marco Filippo Romano (baritone)

Corradino - Juan Diego Fl rez (tenor)

Ginardo - Simon Orfila (bass-baritone)

Aliprando - Nicola Alaimo (baritone)

Isidoro - Paolo Bordogna (baritone)

Contessa d'Arco - Chiara Chialli (mezzo)

Egoldo - Giorgio Misseri (tenor)

Rodrigo - Ugo Rosati (tenor)

Chorus and Orchestra of the Teatro Comunale, Bologna

Michele Mariotti, conductor.

John Shea presents Rossini's Matilde di Shabran performed at the 2012 Pesaro Festival.

Rossini's Moses In Egypt20141020Christopher Cook presents Welsh National Opera's new production of Rossini's Moses in Egypt, given at the Wales Millennium Centre in Cardiff. Although not as well known as the Barber of Seville, La Cenerentola, or William Tell, Moses in Egypt is among Rossini's greatest musical achievements. First heard in Naples in 1818, Rossini's telling of the Old Testament story pulls focus between the epic and the intimate, as the story of an entire people persecuted by a cruel tyrant is juxtaposed with the forbidden love of two young people on either side of a religious divide.

The Pharaoh refuses to free the Hebrews from slavery and allow them to leave for the Promised Land. Moses, with God's help, brings down plagues on the Egyptians until eventually he and his people are freed. But Pharaoh's son, Osiris, is in love with a Hebrew girl, Elcia, and he is punished when he attempts to have Moses killed.

The Hebrews reach the Red Sea and are rescued from the pursuing Egyptians by divine intervention.

Characters (in order of singing)

Osiride / Osiris Pharaoh's son.....David Alegret (tenor)

Faraone / Pharaoh..... Andrew Foster-Williams (bass-baritone)

Amaltea Pharaoh's wife..... Christine Rice (mezzo-soprano)

Mos耀 / Moses..... Mikl s Sebesty退n (bass-baritone)

Aronne / Aaron..... Barry Banks (tenor)

Mambre, Egyptian high priest..... Nicky Spence (tenor)

Elcia, Hebrew girl..... Claire Booth (soprano)

Amenofi, Hebrew woman..... Leah-Marian Jones (mezzo-soprano)

Chorus of Welsh National Opera

Orchestra of Welsh National Opera

Carlo Rizzi (conductor).

With rare and fascinating operatic performances.

Rossini's Otello20101211A concert performance of Rossini's rarely heard opera, setting Francesco Berio di Salsa's libretto based on a French translation of Shakespeare's play. The American tenor John Osborn sings the title role with Anna Caterina Antonacci as his wife Desdemona.

Rossini's Otello was written for performance in Naples and first given in 1816. It many respects it has been overshadowed by Verdi's operatic masterpiece but Rossini's opera marks a real development in his dramatic style. The libretto gives a different emphasis to some of the characters both in Shakespeare's original and in Verdi's version most notably Iago. Rossini writes Otello, Iago and Rodrigo as tenors and his librettist replaces the important stolen handkerchief with a letter. The whole opera takes place in Venice with the Cypriot location forgotten.

Presented by Alexandra Wilson with comments from Rossini biographer Richard Osborne.

Evelino Pido conducts a concert performance in the Theatre Chatelet, Paris by the Lyon Opera recorded last month.

Otello - John Osborn (Tenor)

Desdemona - Anna Caterina Antonacci (Mezzo-soprano)

Rodrigo - Dmitri Korchak (Tenor)

Jago - Jos退 Manuel Zapata (Tenor)

Emilia - Jos退 Maria Lo Monaco (Mezzo-soprano)

Doge of Venice and Gondolier - Tansel Akzeybek (Tenor)

Lucio - Fabrice Constans (Tenor)

Elmiro - Marco Vinco (Bass)

Lyon Opera Orchestra and Chorus

Evelino Pid  (Conductor).

Alexandra Wilson presents a concert performance of Rossini's rarely heard opera Otello.

Rossini's Semiramide At The Royal Opera House, Covent Garden20180106Presented by Donald Macleod, a Rossini masterpiece not seen at the Royal Opera House for more than 120 years: Semiramide, the dramatic story of the Queen of Assyria, who conspired with her then lover Assur, an army commander, to poison her husband, King Nino, whose corpse comes back from the underworld to claim justice. As if things weren't complicated enough, Semiramide now loves a younger warrior, Arsace, and wants him to be king, but unbeknown to her, he's her long-lost son - and discovering it triggers an ending of tragic proportions. Superstar mezzo-soprano Joyce DiDonato takes the title role, with mezzo-soprano Daniela Barcellona as Arsace and the bass Michele Pertusi as Assur. Sir Antonio Pappano conducts the Orchestra and Chorus of the Royal Opera House, Covent Garden, in a production by David Alden.

Semiramide - Joyce DiDonato (mezzo-soprano)

Assur - Michele Pertusi (bass)

Arsace - Daniela Barcellona (mezzo-soprano)

Idreno - Lawrence Brownlee (tenor)

Azema - Jacquelyn Stucker (soprano)

Oroe - Bကlint Szab  (bass)

Mitrane - Konu Kim (tenor)

Nino's Ghost - Simon Shibambu (bass)

Royal Opera Chorus

Orchestra of the Royal Opera House

Sir Antonio Pappano (Conductor).

Rossini's Semiramide, recorded at the Royal Opera House. Joyce DiDonato in the title role.

Rossini's Tancredi20201114This evening's opera is Rossini's rarely heard Tancredi, based on Voltaire's tragedy Tancrede. This performance, which received superb reviews, was recorded at the 2017 Beaune Festival with Accademia Bizantina conducted by Ottavio Dantone.

Rossini is perhaps best known now for his comedies but he wrote many more tragedies and was highly regarded for them in his day. This is the first of them, a spirited and lyrical work that was an instant success. It's set in Syracuse at the start of the 11th century, and in a similar way to the Montagues and Capulets in Romeo and Juliet, the families of Argirio and Orbazzano are constantly fighting. The tragedy is based around the doomed lovers, Amenaide and Tancredi, sung by Sylvia Schwartz and mezzo Teresa Iervolino.

Presented by Martin Handley who talks to his guest Flora Willson about Rossini's opera which was to become a watershed moment for the young composer.

Tancredi - Teresa Iervolino, mezzo-soprano

Amenaide - Sylvia Schwartz, soprano,

Argirio - Matthew Newlin, tenor

Orbazzano - Luigi De Donato, bass

Roggiero - Alix Le Saux, mezzo-soprano

Isaura - Anthea Pichanick, contralto,

Namur Chamber Choir

Ottavio Dantone, conductor

Photo Credit Giulia Pappetti

SYNOPSIS

Argirio and Orbazzano, two warring nobles, celebrate a truce. Argirio names Orbazzano the leader against the Moors but warns him of the threat of the banished Tancredi. His daughter Amenaide is in love with Tancredi and she is worried about his absence. Argirio offers Amenaide to Orbazzano in marriage. She pleads with him to postpone the marriage ceremony for another day.

Tancredi arrives on the seashore and is determined to seek out his beloved and defend his city from invaders. He dispatches Roggiero with a message for Amenaide and has his followers spread a message throughout the city of an unknown knight coming to save the city.

Tancredi spots his beloved and her father in the garden. Amenaide continues pleading with him, but he informs her that Solamir, the enemy has asked for her hand in marriage after surrounding the city. Orbazzano pledges to fight the enemy.

Tancredi and Amenaide share a moment and she tells him that he must escape. She rejects his vows of love.

At the wedding ceremony, Tancredi offers his services to Argirio, the latter not knowing the titular character's identity. Amenaide refuses the marriage and Orbazzano denounces her publicly. He produces a letter that he feels was intended for Solamir and claims that she has betrayed her people. This letter had been intended for Tancredi but never arrived. Amenaide, despite swearing that she is innocent, is denounced by her father and even Tancredi.

Arigirio signs a death warrant for his daughter. Orbazzano and his followers prepare to see the execution carried out. He asks if anyone wants to defend her and Tancredi steps forward. He challenges Orbazzano to a duel. He defeats Orbazzano and the people rejoice at his victory. He sets out to leave Sicily, still believing that Amenaide has been unfaithful to him.

Alone in the Saracens camp, Tancredi reflects on his sad fate. Amenaide and Argirio go searching for him and reveal that there will be peace if she agrees to marry Solamir. He goes off to battle and learns that Solamir has testified to Amenaide's innocence. Tancredi is mortally wounded and learns of Amenaide's innocence as he dies in her arms. He is still able to be married to her in this version before dying.

Rossini's opera Tancredi from the Beaune Festival.

Rossini's The Barber Of Seville20160917Live from the Royal Opera House, Covent Garden

Presented by Christopher Cook and Flora Willson

Henrik Nကnကsi conducts a cast including Javier Camarena, Daniela Mack and Vito Priante in this revival of The Royal Opera's sparkling production of Rossini's The Barber of Seville.

Figaro .....Vito Priante (Bass)

Count Almaviva - Javier Camarena (Tenor)

Rosina - Daniela Mack (Mezzo-soprano)

Doctor Bartolo - Jose Fardilha (Bass)

Don Basilio - Ferruccio Furlanetto (Bass)

Berta - Madeleine Pierard (Soprano)

Fiorello - Gyula Nagy (Baritone)

Royal Opera House Orchestra

Royal Opera House Chorus

Henrik Nanasi (Conductor)

A group of musicians, including the wealthy (and disguised) Count Almaviva, has gathered outside Dr Bartolo's house to serenade a beautiful young maiden kept hidden away inside. She's Rosina, Dr Bartolo's ward, and the deluded old gentleman hopes to marry her himself. Figaro suggests that Almaviva disguise himself as a poor drunken soldier, with orders to be billeted with Dr Bartolo, in order to gain access to the girl. Thus the scene is set for one of the most delightful works in the operatic repertory.

Live from the Royal Opera House, Covent Garden, Rossini's The Barber of Seville.

Rossini's The Barber Of Seville20210116Rossini's evergreen comedy, in an archive performance from the Met first broadcast in April 26, 2007, with Joyce DiDonato as Rosina and Lawrence Brownlee as Count Almaviva.

Presented by Mary Jo Heath and commentator Ira Siff.

Rosina - Joyce DiDonato

Berta - Claudia Waite

Count Almaviva - Lawrence Brownlee

Figaro - Russell Braun

Dr. Bartolo - John Del Carlo

Don Basilio - Samuel Ramey

Chorus and Orchestra of the Metropolitan Opera House, New York

Maurizio Benini, conductor

ACT I

Seville. Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house. Figaro the barber, who knows all the town's secrets and scandals, explains to Almaviva that Rosina is Bartolo's ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo's house so that he may gain access to Rosina. Almaviva is excited and Figaro looks forward to a nice cash pay-off.

Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet the man it belongs to—as Almaviva has led her to believe, a poor student named Lindoro. Bartolo appears with Rosina's music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Basilio suggests slander as the most effective means of getting rid of Almaviva. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. Bartolo warns her not to trifle with him.

Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. Bartolo is infuriated by the stranger's behavior and noisily claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the argument they hear coming from inside the house. The civil guard bursts in to arrest Almaviva, but when he secretly reveals his true identity to the captain he is instantly released. Everyone except Figaro is amazed by this turn of events.

ACT II

Bartolo suspects that the `soldier` was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio, to give Rosina her singing lesson in place of Basilio, who, he says, is ill at home. `Don Alonso` then tells Bartolo that when visiting Almaviva at his inn, he found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva's behalf. This convinces Bartolo that `Don Alonso` is indeed a student of the scheming Basilio, and he allows him to give Rosina her lesson. With Bartolo dozing off, Almaviva and Rosina declare their love.

Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina's balcony. Suddenly Basilio shows up looking perfectly healthy. Almaviva, Rosina, and Figaro convince him with a quick bribe that he is in fact ill and must go home at once. While Bartolo gets his shave, Almaviva plots with Rosina to meet at her balcony that night so that they can elope. But the doctor overhears them and realizing he has been tricked again, flies into a rage. Everyone disperses.

The maid Berta comments on the crazy household. Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Bartolo then shows Rosina her letter to Lindoro, as proof that he is in league with Almaviva. Heartbroken and convinced that she has been deceived, Rosina agrees to marry Bartolo. A thunderstorm passes. Figaro and the count climb a ladder to Rosina's balcony and let themselves in with the key. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio shows up with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with soldiers, but it is too late. He accepts that he has been beaten, and Figaro, Rosina, and the count celebrate their good fortune.

(C) Photo Russell Braun as Figaro, Joyce DiDonato as Rosina, and Lawrence Brownlee as Count Almaviva in Rossini's 'Il Barbiere di Siviglia.' Photo: Ken Howard / Met Opera

Rossini's tale of love and disguise, in an archive performance from the Met.

Rossi's Orpheus20151128Luigi Rossi's 17th-century opera on the myth of Orpheus from the candlelit space of the Sam Wanamaker Playhouse, performed by the Early Opera Company, conducted by Christian Curnyn and directed by Keith Warner. Rossi's version of the myth casts two sopranos in the leading roles - Mary Bevan sings the role of the musician Orpheus who is betrothed to Eurydice, sung by Louise Alder, but bad omens threaten their future together. The shepherd Aristaeus, sung by mezzo-soprano Caitlin Hulcup, is also in love with Eurydice and is driven mad by her rejection of him. This version of the tale includes Eurydice's death and Orpheus's journey into Hades to bring her back; but Rossi's opera, written for a lavish Paris staging in the 17th century, ends on a happier note. This little-known opera includes some charming music, beautiful arias and ensembles.

Sara Mohr-Pietsch introduces this latest collaboration between the Royal Opera and Shakespeare's Globe recorded at the Sam Wanamaker Playhouse

Cast:

Orpheus - Mary Bevan (soprano)

Eurydice - Louise Alder (soprano)

Aristeus - Caitlin Hulcup (mezzo-soprano)

Engymion/Charon - Philip Smith (baritone)

Venus - Sky Ingram (soprano)

Cupid - Keri Fuge (soprano)

Satyr/Pluto - Graeme Broadbent (bass)

Momus/Alkippe/Jove - Mark Milhofer (tenor)

Aegea - Verena Gunz (mezzo-soprano)

Thalia/Hymen/Clotho - Lauren Fagan (soprano)

Euphrosyne/Lachesis - Jennifer Davis (soprano)

Aeglea/Atropos/Bacchus .....Emily Edmonds (mezzo-soprano)

The Orchestra of the Early Opera Company

Christian Curnyn (conductor).

From the Sam Wanamaker Playhouse in London, a performance of Luigi Rossi's opera Orpheus.

Royal Opera House: Weill's Mahagonny20150314The Rise and Fall of the City of Mahagonny, by Brecht and Weill, live from the Royal Opera House, Covent Garden, starring Christine Rice as Jenny and Kurt Streit as Jimmy MacIntyre. Mark Wigglesworth conducts.

Leokadja Begbick.....Anne Sofie von Otter (Mezzo-soprano)

Fatty.....Peter Hoare (Tenor)

Trinity Moses.....Willard White (Bass)

Jenny Smith.....Christine Rice (Mezzo-soprano)

Jimmy MacIntyre.....Kurt Streit (Tenor)

Jack O'Brien.....Jeffrey Lloyd-Roberts (Tenor)

Bank Account Billy.....Darren Jeffery (Bass)

Alaska Wolf Joe.....Neal Davies (Bass Baritone)

Toby Higgins.....Hubert Francis (Tenor)

Royal Opera House Chorus

Royal Opera House Orchestra

Mark Wigglesworth (Conductor)

Three criminals on the run find they can go no further, so they found a city - Mahagonny, city of gold. The destitute and the disenchanted flock there, among them the prostitute Jenny and the lumberjack Jim.

The city swells with debauchery. Jim and Jenny try to escape, but for all their efforts find they cannot leave. Jim is arrested and accused of many crimes. He gets short sentences for the lesser ones, but for having no money, he is sentenced to death. He is executed and the city burns.

Director John Fulljames directs The Royal Opera's first production of the work, focusing on Brecht and Weill's stinging critique of consumerism while finding new relevance in today's insatiable depletion of the earth's resources.

Presented by Andrew Mcgregor.

John Fulljames directs Brecht and Weill's The Rise and Fall of the City of Mahagonny.

Ryan Wigglesworth's The Winter's Tale20170520When King of Sicilia Leontes becomes convinced that his queen Hermione is pregnant by his childhood friend and King of Bohemia Polixenes, he descends into an unstoppable, self-destructive spiral of anger, despair and paranoia. The jealous husband and woman scorned at the heart of The Winter's Tale are standard operatic fare, so it's no wonder that Ryan Wigglesworth based his first opera on Shakespeare's play.

It's a major work with roles specially tailored for its cast, here recorded at its premiere run at English National Opera in March and presented by Tom McKinney in conversation with new music expert and Head of Music at Southbank Centre, Gillian Moore. Actor Rory Kinnear made his directorial debut with this production and he, along with the composer and members of the cast, talk not only about the challenges of creating a new work for the stage but also about its striking contemporary resonance.

7.40pm Interval

Composer, director and members of the cast reflect on The Winter's Tale as stage play and opera and explore the themes and roles in the work.

8.00pm Act 2

8.35pm Act 3

Ryan Wigglesworth: The Winter's Tale

Leontes.....Iain Paterson (bass-baritone)

Hermione.....Sophie Bevan (soprano)

Perdita.....Samantha Price (mezzo-soprano)

Polixenes.....Leigh Melrose (baritone)

Florizel/Court Official.....Anthony Gregory (tenor)

Paulina.....Susan Bickley (mezzo-soprano)

Antigonus/Shepherd.....Neal Davies (bass-baritone)

Camillo.....Timothy Robinson (tenor)

Two Guards.....Geraint Hylton (tenor), Michael Burke (bass)

Servant.....Paul Napier-Burrows (baritone)

Chorus and Orchestra of English National Opera

Ryan Wigglesworth (conductor).

An English National Opera production of Ryan Wigglesworth's new work The Winter's Tale.

Saint-sa\u00ebns's Samson Et Dalila20220625Baritone-turned-tenor SeokJong Baek and superstar mezzo El?na Garan??a take the title roles in Richard Jones's new production of Saint-Sa뀀ns's Samson et Dalila, the Old Testament story where faith and love collide with deceit and vengeance.

After years of oppression under the yoke of the heathen Philistines, the Israelites have almost lost faith in God and seem paralysed in disillusioned, fatalistic despair. Samson, whose strength of faith is mirrored by his physical power, rouses his people to revolt against their oppressors. Bent on revenge for her people, Philistine Dalila seduces Samson and persuades him to reveal the secret of his strength, precipitating the Bible's most famous haircut. Now, unable to fend off the Philistines, Samson is humiliated, tortured and blinded. But his faith never deserts him and in one last superhuman feat Samson pulls down the temple in the midst of the Philistines' idolatrous orgy.

Famous for Dalila's erotically charged seduction aria 'Mon cœur s'ouvre

Salome At The Edinburgh International Festival2022091720221001 (R3)The Bergen Philharmonic Orchestra perform RICHARD STRAUSS's Salome.

Swedish soprano Malin Bystr怀m takes the title role in RICHARD STRAUSS's decadent one-act thriller based on OSCAR WILDE's scandalous play. Salome was first performed in Dresden in 1905 but the combination of the biblical and the erotic lead it to be banned in London by the Lord Chamberlain's office until 1907. Conductor EDWARD GARDNER and the Bergen Philharmonic Orchestra return to the Edinburgh International Festival, following their acclaimed PETER GRIMES in 2017, to paint a compelling picture of a court awash with desire and death.

Strauss: Salome

Salome.....Malin Bystr怀m

Jochanaan.....Johan Reuter

Herodes.....Gerhard Siegel

Herodias.....Katarina Dalayman

Narraboth.....Bror Magnus Tødenes

Page of Herodias.....Hanna Hipp

First Jew.....Michael Müller-Kasztelan

Second Jew.....Petter Moen

Third Jew.....John W Olsen

Fourth Jew.....James Nathan Kryshak

Fifth Jew.....Callum Thorpe

First Nazarene.....Clive Bayley

Second Nazarene.....James Ley

First Soldier.....Igor Bakan

Second Soldier.....James Platt

A Cappadocian.....James Berry

A Slave.....Rita Therese Ziem

EDWARD GARDNER (conductor)

Presenter: Kate Molleson

Producer: Lindsay Pell

Swedish soprano Malin Bystr怀m takes the title role in RICHARD STRAUSS's decadent one-act thriller based on OSCAR WILDE's scandalous play. Salome was first performed in Dresden in1905 but the combination of the biblical and the erotic lead it to be banned in London by the Lord Chamberlain's office until 1907. Conductor EDWARD GARDNER and the Bergen Philharmonic Orchestra return to the Edinburgh International Festival, following their acclaimed PETER GRIMES in 2017, to paint a compelling picture of a court awash with desire and death.

Salome At The Edinburgh International Festival20221001Swedish soprano Malin Bystr怀m takes the title role in RICHARD STRAUSS's decadent one-act thriller based on OSCAR WILDE's scandalous play. Salome was first performed in Dresden in1905 but the combination of the biblical and the erotic lead it to be banned in London by the Lord Chamberlain's office until 1907. Conductor EDWARD GARDNER and the Bergen Philharmonic Orchestra return to the Edinburgh International Festival, following their acclaimed PETER GRIMES in 2017, to paint a compelling picture of a court awash with desire and death.

Strauss: Salome

Salome.....Malin Bystr怀m

Jochanaan.....Johan Reuter

Herodes.....Gerhard Siegel

Herodias.....Katarina Dalayman

Narraboth.....Bror Magnus Tødenes

Page of Herodias.....Hanna Hipp

First Jew.....Michael Müller-Kasztelan

Second Jew.....Petter Moen

Third Jew.....John W Olsen

Fourth Jew.....James Nathan Kryshak

Fifth Jew.....Callum Thorpe

First Nazarene.....Clive Bayley

Second Nazarene.....James Ley

First Soldier.....Igor Bakan

Second Soldier.....James Platt

A Cappadocian.....James Berry

A Slave.....Rita Therese Ziem

EDWARD GARDNER (conductor)

Presenter: Kate Molleson

Producer: Lindsay Pell

The Bergen Philharmonic Orchestra perform RICHARD STRAUSS's Salome.

Schoenberg's Moses Und Aron20140616Presented by Christopher Cook.

A rare opportunity to hear Arnold Schoenberg's masterpiece 'Moses und Aron' from Welsh National Opera. Loosely drawn from the biblical stories of Moses, his brother Aaron and the flight of the Jews from Egypt, the opera is a culmination of Schoenberg's pre-occupation with musico-dramatic form and the prevailing cultural conflicts of the 1920s and 30s. Responding to the rise of fascism and anti-semitic rhetoric, in this old testament adaptation, Schoenberg reconnects with his own Jewish identity and faith as Moses, a spoken role, performed here by Sir John Tomlinson, struggles to overcome his despair that he will be unable to find the right words to tell the people of God's will.

Still incomplete at Schoenberg's death in 1951, the two acts performed in WNO's new production nonetheless reach a dramatic point of conclusion, when the gap between Moses, acting under the direct authority of God, and Aron, whose talent for communication presents persuasive, yet confusing images to the chosen people, widens to become morally irreconcilable.

Moses - John Tomlinson (Speaker)

Aron - Mark le Brocq (Tenor)

A Young Maiden/First Naked Virgin - Elizabeth Atherton (Soprano)

A Youth - Alexander Sprague (Tenor)

Another Man/Ephraimite - Daniel Grice (Baritone)

A Priest - Richard Wiegold (Bass)

First Elder - Julian Boyce (Bass)

Second Elder - Laurence Cole (Bass)

Third Elder - Alastair Moore/Julian Boyce (Bass)

Sick Woman/Fourth Naked Virgin - Rebecca Afonwy-Jones (Mezzo-soprano)

Naked Youth - Edmond Choo (Tenor)

Second Naked Virgin - Fiona Harrison (Soprano)

Third Naked Virgin - Louise Ratcliffe (Mezzo-soprano)

Chorus of six solo voices - Fiona Harrison (Soprano), Amanda Baldwin, Sian Meinir (Mezzo-sopranos), Peter Wilman (Tenor), Alastair Moore/Alastair Merry, Laurence Cole (Basses)

Chorus and Extra Chorus of Welsh National Opera

Orchestra of Welsh National Opera

Lothar Koenigs (Conductor).

Schoenberg's rarely-performed Moses und Aron, from Welsh National Opera.

Scottish Chamber Orchestra2022091720230321 (R3)Renowned violinist and conductor Pekka Kuusisto directs the Scottish Chamber Orchestra and acclaimed tenor Allan Clayton in a performance recorded at Glasgow's City Halls. Presented by Stephen Broad.

Surreal French poetry weaves through the two vocal works in this concert, as Benjamin Britten sets words by Arthur Rimbaud depicting castles made of bone and howling moons, whilst Nico Muhly uses Andre Breton's imaginary visions and the many loves of Jaques-Bernard Brunius in his Three Songs. Before the interval, Haydn's final symphony No. 104 and after it the Scottish premiere of Muhly's violin concerto ‘Shrink'. It's a work that ‘obsesses over certain musical intervals like ninths and sevenths', performed tonight by its dedicatee Pekka Kuusisto.

Muhly: Three Songs for tenor, violin and drones

Haydn: Symphony No 104 in D ‘London

20:30 - Interval.

Britten: Rejoice In The Lamb, in a recording by the Choir of King's College, Cambridge, Ben San Lau (organ) and Stephen Cleobury.

20:50

Muhly: Violin Concerto ‘Shrink

Britten: Les Illuminations Op.18

Pekka Kuusisto Violin/Director

Allan Clayton Tenor

Stephen Broad - presenter

Laura Metcalfe - producer

Strange and wonderful music by Britten, Nico Muhly and Haydn.

Shostakovich's Lady Macbeth Of Mtsensk2018051920201010 (R3)Shostakovich's opera Lady Macbeth of Mtsensk is one of the twentieth century's masterpieces, acclaimed at its premiere in 1934 but then banned two years later by Stalin. It tells a tragic tale of adultery and murder as the bored and lonely heroine Katerina, sung by soprano Eva-Maria Westbroek, falls in love with one of her husband's workers, the manipulative Sergey, tenor Brandon Jovanovich. Their treachery leads to a gruesome series of murders - and ultimately to her own devastating end.

Eva-Maria Westbroek leads a starry cast, joined by Brandon Jovanovich and Sir John Tomlinson who is celebrating 40 years of singing at Covent Garden.

Jim Naughtie presents and is joined by Russian cultural historian Rosamund Bartlett.

Katerina Ismailova - Eva-Maria Westbroek (Soprano)

Sergey - Brandon Jovanovich (Tenor)

Boris Ismailov - John Tomlinson (Bass)

Zinovy Ismailov - John Daszak (Tenor)

Sonyetka - Aigul Akhmetshina (Mezzo-Soprano)

Aksinya - Rosie Aldridge (Soprano)

Shabby Peasant - Peter Bronder (Baritone)

Priest - Wojtek Gierlach (Bass)

Police Inspector - Mikhail Svetlov (Bass)

Teacher - Thomas Atkins (Tenor)

Old Convict - Paata Burchuladze (Bass)

Female Convict - Miranda Keys (Soprano)

Steward/Sentry - Simon Shibambu (Bass)

Coachman/Second Workman - Hubert Francis (Tenor)

Porter - Jonathan Fisher (Bass)

Royal Opera House Chorus & Orchestra

Antonio Pappano (Conductor).

Shostakovich's Lady Macbeth of Mtsensk from the Royal Opera House, Covent Garden.

Shostakovich's Lady Macbeth Of Mtsensk20230225Shostakovich's opera Lady Macbeth of Mtsensk tells a tragic tale of adultery and murder as the bored and lonely heroine Katerina falls in love with one of her husband's workers, Sergei. Her treachery leads to a gruesome series of horrendous murders and ultimately to her end. Soprano Svetlana Sozdateleva leads the cast with tenor Brandon Jovanovic as Sergei, in a performance recorded at the Metropolitan Opera House in New York in October 2022.

Presented by Deborah Lew Harder with commentator Ira Siff.

Katerina Ismailova - Svetlana Sozdateleva (soprano)

Sergei - Brandon Jovanovich (tenor)

Boris Ismailov - John Relyea (bass-baritone)

Zinovy Ismailov - Nikolai Schukoff (tenor)

Aksinya - Felicia Moore (soprano)

Police Sergeant - Alexey Shishlyaev (bass-baritone)

Shabby Peasant - Rodell Rosel (tenor)

Old Convict - Alexander Tsymbalyuk (bass)

Sonyetka - Maria Barakova (mezzo-soprano)

Priest - Goran Juri? (bass)

Metropolitan Opera Chorus and Orchestra

Keri-Lynn Wilson, conductor

Read the full synopsis on the MET opera website: https://bit.ly/3ItIiQE

Shostakovich's Lady Macbeth of Mtsensk from the New York Metropolitan Opera.

Shostakovich's The Nose20161231Andrew McGregor presents a rare production of Shostakovich's early surreal opera, The Nose, from the Royal Opera House Covent Garden. Based on Gogol's short story, the plot concerns Russian civil servant Kovalov, who loses his nose and desperately tries to retrieve it as it goes on the rampage around St Petersburg in the uniform of a higher-ranking official. On the way, Kovalov meets a cast of peculiar characters in a work which is a mixture of social satire, comedy and intimate reflection. Martin Winkler sings the hapless Kovalov and John Tomlinson takes on three characters, all of whom make life harder for him. Plus director Barry Kosky talks about his colourful new production and Ingo Metzmacher discusses Shostakovich's wildly inventive score.

Platon Kuzmitch Kovalov - Martin Winkler (bass-baritone)

Ivan Iakovlevitch / Clerk / Doctor - John Tomlinson (bass)

Ossipovna / Vendor - Rosie Aldridge (mezzo-soprano)

District Inspector - Alexander Kravets (tenor)

Angry man in the cathedral - Alexander Lewis (tenor)

Ivan - Wolfgang Ablinger-Sperrhacke (bass)

Iaryshkin - Peter Bronder (tenor)

Old Countess - Susan Bickley (mezzo-soprano)

Pelageya Podtotshina - Helene Schneiderman (mezzo-soprano)

Podtotshina's daughter - Ailish Tynan (soprano)

Ensemble: Daniel Auchincloss, Paul Carey Jones, Alasdair Elliott, Alan Ewing, Hubert Francis, Sion Goronwy, Njabulo Madlala, Charbel Mattar, Samuel Sakker, Michael J. Scott, Nicholas Sharratt, David Shipley, Jeremy White, Simon Wilding, Yuriy Yurchuk

Royal Opera House Chorus

Royal Opera House Orchestra

Ingo Metzmacher (conductor).

From the Royal Opera House, Covent Garden, a performance of Shostakovich's opera The Nose.

Simon Boccanegra2019012620200418 (R3)Verdi: Simon Boccanegra

Verdi's dark drama of political intrigue is a story of simmering, long-held resentment that finally resolves into forgiveness and reconciliation. Set in 14th Century Genoa, it tells of a great sea-going hero who reluctantly accepts high office; and who late in life discovers the long-lost daughter who had disappeared years ago. It is one of Verdi's great portrayals of the father-daughter relationship, and the score often glitters with Italian light to offset the dark colours of revenge. Verdi revisited the work in the years of his maturity and transformed the white-hot melodrama into an opera full of subtlety and wisdom that foreshadows his late masterpieces. Carlos Alvarez stars in this production from the Royal Opera House, London.

Presented by Martin Handley with guest Nicholas Baragwanath

Simon Boccanegra.....Carlos Alvarez (Baritone)

Jacopo Fiesco.....Ferruccio Furlanetto (Bass)

Amelia Grimaldi.....Hirachuhi Bassenz (Soprano)

Gabriele Adorno.....Francesco Meli (Tenor)

Paolo Albiani.....Mark Rucker (Baritone)

Pietro.....Simon Shibambu (Bass)

Royal Opera House Orchestra

Royal Opera House Chorus

Henrik Nanasi (Conductor

6.30pm Prologue and Act 1

8.00pm Interval

8.25pm Acts 2 and 3

Verdi's Simon Boccanegra from the Royal Opera House, Covent Garden.

Sir John In Love, Vaughan Williams 1502006052020220514 (R3)With its sitcom-like cast of characters centred around the corpulent, ageing and impecunious knight Sir John Falstaff (whose deluded self-belief in his irresistible attractiveness to the ladies is his undoing), The Merry Wives of Windsor has obvious operatic potential. By the time RALPH VAUGHAN WILLIAMS made his attempt at Shakespeare's comedy, Otto Nicolai had made a popular German language version and, in Italian, Verdi's Falstaff had become the market leader. But nothing daunted and with a fair degree of chauvinism - he dismissed Boito's libretto for Verdi as 'medicated Shakespeare' - RVW set about composing a four-act, folk song-saturated score, setting his own faithful-to-Shakespeare libretto.

Sir John in Love premiered as 'The Fat Knight' in a 1929 student production at the Royal College of Music but didn't receive its first professional outing until 1946. Since then the number of UK opera house productions of Sir John can be counted on the fingers of one hand. So Radio 3's Vaughan Williams 150 celebrations is the perfect time for another chance to hear this 2006 archive recording made at English National Opera, with its fine ensemble cast led by baritone Andrew Shore in the title role.

Presented by Flora Willson in conversation with Kate Kennedy.

Acts 1and 2

7.40 pm

Interval

7.55 pm

Acts 3 and 4

Sir John Falstaff - Andrew Shore (baritone)

Mrs. Ford - .. Jean Rigby (mezzo-soprano)

Mr. Ford - .. Alastair Miles (bass)

Mrs. Page - .. Marie Mclaughlin (soprano)

Mr. Page - .. Russell Smythe (baritone)

Anne Page - .. Sarah Fox (soprano)

Fenton - .. Andrew Kennedy (tenor)

Mrs. Quickly - .. Sally Burgess (mezzo-soprano)

Host of Garter Inn - .. Nicholas Folwell (baritone)

Slender - .. Christopher Gillett (tenor)

Dr. Caius - Robert Tear (tenor)

Sir Hugh Evans - .. Iain Paterson (bass)

Bardolph - .. Peter Kerr (tenor)

Nym - .. Paul Napier-Burrows (bass)

Pistol - .. Graeme Danby (bass)

Rugby - .. Mark Richardson (bass)

Peter Simple - .. Richard Coxon (tenor)

Shallow - .. Stuart Kale (tenor)

English National Opera Orchestra and Chorus

Oleg Caetani (conductor)

Vaughan Williams's rarely heard, Shakespeare-inspired opera, Sir John in Love.

Acts 1& 2

Acts 3 & 4

English National Opera Orchestra & Chorus

Skin Deep20090502Presented by Tom Service.

David Sawer and Armando Iannucci's satirical opera about society's obsession with staying young and beautiful. Richard Farnes conducts and Richard Jones directs an Opera North production from the Grand Theatre in Leeds.

It is set in the clinic of cosmetic surgery genius Doktor Needlemeier, who has a dark secret - he's concocting an elixir of youth. All he needs to perfect it is a contribution from Hollywood star Luke Pollock - but when Luke leaves the clinic only half the man he was, questions are asked and Needlemeier flees to California.

Dr Needlemeier - Geoffrey Dolton (baritone)

Lania (his wife) - Janis Kelly (soprano)

Donna (his receptionist) - Heather Shipp (mezzo-soprano)

Elsa (his daughter) - Amy Freston (soprano)

Robert (a villager) - Andrew Tortise (tenor)

Luke Pollock (a Hollywood actor) - Mark Stone (bass-baritone)

Susannah Dangerfield (a reporter) - Gwendoline Christie

Patient - Gillene Herbert (soprano)

Donnalike - Sarah Blood (soprano)

Robertalike1 - Nicholas Butterfield (bass)

Robertalike 2 - Trevor Bowes (bass)

Opera North Chorus

Orchestra of Opera North

Richard Farnes (conductor).

Opera North present David Sawer's new opera from the Grand Theatre in Leeds.

Strauss 150, Capriccio2014010420141110 (R3)Richard Strauss 150

Radio 3's celebrations of the 150th anniversary of his birth, Ren退e Fleming sings the role of the Countess Madeleine in a concert performance of Strauss's last opera conducted by Andrew Davis, recorded at the Royal Opera House Covent Garden. Presented by Louise Fryer with contributions from the cast and conductor. There'll also be a Radio 3 Opera Guide on the piece which listeners can download.

Capriccio dramatises the perennial question: which is more important in opera - words or music? The composer Flamand and the poet Olivier both compete for the affection of the Countess, while the seasoned director La Roche brings a sense of reality and pragmatism to the proceedings. Strauss lavished a wealth of operatic experience on this late bloom of his indian summer, ending with a celebrated solo scene for the Countess which crowns a life-long love affair with the soprano voice.

The Countess.....Ren退e Fleming (Soprano)

Clairon.....Tanja Ariane Baumgartner (Mezzo-soprano)

Flamand.....Andrew Staples (Tenor)

Olivier.....Christian Gerhaher (Baritone)

The Count.....Boje Skovhus (Baritone)

La Roche.....Peter Rose (Bass)

Italian Singer.....Mary Plazas (Soprano)

Italian Singer.....Barry Banks (Tenor)

Royal Opera House Orchestra

Andrew Davis (Conductor)

First broadcast in January 2014.

A performance of Strauss's opera Capriccio, with Renee Fleming as the Countess.

Strauss 150: Die Agyptische Helena20141103Richard Strauss's 1927 Die 䀀gyptische Helena, replete with Straussian vocal plums and uncluttered, limpid textures has been called Strauss's 'bel canto' opera. But its plot, implausible and silly even by opera's standards, has prevented it from entering the repertoire.

The sorceress Aithra (owner of a handy Omniscient Seashell), conjures up a storm to bring Helen of Troy and her jealous husband Menelaus to her Mediterranean island. Her purpose? To effect a reconciliation between Menelaus and Helen by means of a magic Forgetfulness potion. If Menelaus can forget Helen's long infidelity with Paris (and, one presumes, the small matter of the Trojan War), then love will reign between them once more. Should be simple. But what's this? Instead of the Forgetfulness potion, a Recollection potion has been packed in the picnic hamper by mistake. Whoops. Add in some picnic-disrupting desert warriors (among whom there's a dashing prince who inevitably falls for Helen), a troupe of elves and, at last, the hoped for reconciliation between Helen and Menelaus and you know all you need.

Presented by John Shea and including a downloadable Opera Guide, exploring the background and reception of the opera.

Helena.....Gwyneth Jones (soprano)

Menelaus.....Matti Kastu (tenor)

Hermione.....Dinah Bryant (soprano)

Aithra.....Barbara Hendricks (soprano)

Altair.....Willard White (bass)

Die alles-wissende Muschel.....Birgit Finnila (mezzo-soprano)

Da-Ud.....Curtis Rayam (tenor)

The Kenneth Jewell Chorale

Detroit Symphony Orchestra

Antal Dorati (conductor).

John Shea introduces a performance of Strauss's 1927 opera Die agyptische Helena.

Strauss 150: Salome20141122R Strauss 150:

In Richard Strauss's 150th-anniversary year the Proms presented a double bill of his two great tragedies. This is another chance to hear one of them Salome. Donald Runnicles conducted his Deutsche Oper Berlin forces with soprano Nina Stemme in the title role of the troubled princess.

Richard Strauss: Salome

Herod: Burkhard Ulrich (Tenor)

Herodias: Doris Soffel (Mezzo-Soprano)

Salome: Nina Stemme (Soprano)

Jokanaan: Samuel Youn (Baritone)

Narraboth: Thomas Blondelle (Tenor)

Herodias Page: Ronnita Miller (Alto)

1st Jew: Paul Kaufmann (Tenor)

3rd Jew: J怀rg Sch怀rner (Tenor)

4th Jew: Clemens Bieber (Tenor)

5th Jew: Andrew Harris (Bass)

1st Nazarene: Noel Bouley (Bass-Baritone)

2nd Nazarene: Carlton Ford (Baritone)

1st Soldier: Marko Mimica (Bass-Baritone)

2nd Soldier: Tobias Kehrer (Bass)

Cappadocian: Seth Carico (Bass)

2nd Jew/A Slave: Gideon Poppe (Tenor)

Donald Runnicles (Conductor)

After seeing Oscar Wilde's play Salom退, Richard Strauss was overcome with the feeling that it 'cried out for music.

Wilde wrote his drama on 'the sinfulness of innocence' in French and Strauss used a German translation by Hedwig Lachmann as his libretto. First performed in Dresden in December 1905, Salome gave Richard Strauss his first international opera success.

The story is one that takes passion to its extreme and beyond. Salome is the sultry princess of ancient Judea. Her stepfather, Herod, has promised Salome half of his kingdom in exchange for a sensual dance. In return, she asks that he gives her the head of the imprisoned prophet, John the Baptist on a silver platter...

In the title role, for which Strauss famously wished for a 16-year-old princess with the voice of an Isolde, is one of the world's leading dramatic sopranos, Nina Stemme. Presented by John Shea.

There'll also be a Radio 3 Opera Guide to Salome before the music.

A performance from the 2014 Proms of Strauss's tragedy Salome. Donald Runnicles conducts.

Strauss: Ariadne Auf Naxos20181124A performance of Richard Strauss's Ariadne auf Naxos, from this year's Aix-en-Provence music festival directed by Katie Mitchell.

Lise Davidsen stars in one of Strauss's most celebrated soprano roles as the mythological Greek heroine in this opera-within-an-opera. Eric Cutler is the Tenor, later Bacchus who leads the mournful Ariadne away to a new life and Sabine Devieilhe delivers the coloratura fireworks of Zerbinetta.

A collision of grand passion and comedy, the opera sets a libretto by Strauss's long-term collaborator, the librettist, Hugo von Hofmannsthal. The opera began as part of an arrangement by Hofmannsthal of Moli耀re's Le Bourgeois Gentilhomme in 1912 but Strauss rewrote the work as we now know it for a 1916 premiere.

Presented by Kate Molleson with Sarah Lenton.

Prima Donna /Ariadne - ..Lise Davidsen (soprano)

The Tenor /Bacchus - ..Eric Cutler (tenor)

Zerbinetta - .. Sabine Devieilhe (soprano)

The Composer - .. Angela Brower (mezzo-soprano)

Harlequin - .. Huw Montague Rendall (baritone)

Brighella - .. Jonathan Abernethy (tenor)

Scaramuccio - ..Emilio Pons (tenor)

Truffaldino - .. David Shipley (bass)

Naiad - .. Beate Mordal (soprano)

Dryad - .. Andrea Hill (contralto)

Echo - .. Elena Galitskya (soprano)

Music Master - .. Josef Wagner (baritone)

Dancing Master - .. Rupert Charlesworth (tenor)

An Officer - .. Petter Moen (tenor)

A Wigmaker - .. Jean-Gabriel Saint-Martin (baritone)

The Major-Domo - .. Maik Solbach (spoken role)

A Lackey - .. Sava V退mic (bass)

Paris Opera Orchestra

Marc Albrecht (conductor)

SYNOPSIS

The Prologue

At a sumptuous home, two theatre troupes are preparing for their performances: a commedia dell'arte group, led by the comedienne Zerbinetta, and an opera company presenting a serious opera, Ariadne auf Naxos. The Major-domo announces that, to save time, both entertainments must be performed simultaneously.

The idealistic young Composer is loath to permit any changes to his opera. But when his teacher, the Music Master, points out that his pay depends on accepting the situation, and when Zerbinetta turns her charms upon him, he complies. When he fully realises to what he has agreed, he storms out.

Ariadne, who has been abandoned by Theseus, laments her lost love and yearns for death. Zerbinetta and her four companions from the commedia dell'arte troupe attempt to cheer Ariadne by singing and dancing, but without success. Zerbinetta insists that the best way to cure a broken heart is to find another love. Each of the four commedia men pursues Zerbinetta.

Naiad, Dryad and Echo announce the arrival of a stranger. Ariadne assumes it is the messenger of death, but in fact it is Bacchus, who falls instantly in love with Ariadne. As Ariadne and Bacchus celebrate their love, Zerbinetta claims that she was right all along.

A performance of Richard Strauss's Ariadne auf Naxos from Aix-en-Provence.

Strauss: Die Frau Ohne Schatten20140329Richard Strauss's opera Die Frau ohne Schatten (The Woman without a Shadow) live from London's Royal Opera House, conducted by Semyon Bychkov in a new production by Claus Guth, starring Johan Botha, Emily Magee, Michaela Schuster, Johan Reuter and Elena Pankratova.

Presented by Donald Macleod with guest, Strauss expert William Mival. Including interviews with the conductor, director and singers.

On the surface, the opera is a fairy tale about two contrasting couples and how love can only be truly fulfilled and meaningful through the birth of children. This narrow world view has possibly been the reason why some people have found the story uncongenial. For a long time is was one of the less performed of Strauss's works. However in recent productions the complex web of symbols at work in the piece have been deconstructed to reveal layers of meaning about the nature of love and human psychology.

Emperor - Johan Botha (Tenor)

Empress - Emily Magee (Soprano)

Nurse (Amme) - Michaela Schuster (Mezzo-soprano)

Barak - Johan Reuter (Baritone)

Barak's Wife - Elena Pankratova (Soprano)

One-Eyed Brother - Adrian Clarke (Baritone)

One-Armed Brother - Jeremy White (Bass)

Hunchback Brother - Hubert Francis (Tenor)

Spirit Messenger - Ashley Holland (Baritone)

Voice of a Falcon - Anush Hovhannisyan (Soprano)

Apparition of a Youth - David Butt Philip (Tenor)

Guardian of the Threshold - Dusica Bijelic (Soprano)

Voice from Above - Catherine Carby (Mezzo-soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

Conductor, Semyon Bychkov

*1800 Act 1

*1905 First interval (including artist interviews)

*1930 Act 2

*2030 Interval 2 (including artist interviews and an extended interview with tonight's conductor, Semyon Bychkov)

*2055 Act 3.

Semyon Bychkov conducts Strauss's opera Die Frau ohne Schatten in Covent Garden.

Strauss's Ariadne Auf Naxos20101113Donald Macleod is at the Wales Millennium Centre for Richard Strauss's paradoxically light-hearted confection 'Ariadne auf Naxos'. Welsh National Opera's revived production by director Neil Armfield spins a web of contradictions and contrasts, in which boisterous comedy and tragedy collide. Along the way, Strauss manipulates the characters appearing in a Viennese businessman's theatrical entertainment, to explore some fascinating themes: the spiritual versus the material world, the nature of theatre, love and death and, ultimately the power of music.

Mezzo soprano Sarah Connolly returns to the role of the gifted and much put upon young Composer. The star of the Composer's masterpiece, the Prima Donna, later Ariadne, is soprano Orla Boyan, making her debut with WNO. Also making their debuts are Ricardo Tamura in the tenor role of Bacchus and soprano Gillian Keith in the pyrotechnic role of Zerbinetta. WNO's music director, Lothar Koenigs, conducts.

Major-Domo - Eric Roberts

Music Master - Robert Poulton (baritone)

Composer - Sarah Connolly (mezzo soprano)

Bacchus - Ricardo Tamura (tenor)

Lackey - Stephen Wells (bass)

Officer - Philip Pooley (tenor)

Wig-Maker - George Newton-Fitzgerald (bass)

Zerbinetta - Gillian Keith (soprano)

Ariadne - Orla Boylan (soprano)

Dancing Master - Stephen Rooke (tenor)

Naiad - Mary-Jean O'Doherty (soprano)

Dryad - Patricia Orr (alto)

Echo - Joanne Boag (soprano)

Harlequin - Owen Webb (baritone)

Scaramuccio - Aled Hall (tenor)

Truffaldino - Julian Close (bass)

Brighella - Wynne Evans (tenor)

Orchestra of Welsh National Opera

Conductor - Lothar Koenigs.

Donald Macleod presents a Welsh National Opera production of Strauss's Ariadne auf Naxos.

Strauss's Der Rosenkavalier20080614Presented by Andrew McGregor.

In an ENO production from London's Coliseum, David McVicar directs Strauss's comedy of manners about notions of age and class, featuring soprano Janice Watson, mezzo Sarah Connolly and bass John Tomlinson, with the company's music director Edward Gardner conducting.

The story tells of the love triangle between the noble Marschallin, her young lover Octavian and Sophie, daughter of the nouveau riche Herr von Faninal. The boorish Baron Ochs has his sights set on Sophie and Octavian has to deal with him as well as his own feelings for the two women in his life.

The cast includes Janice Watson (soprano), Sarah Connolly (mezzo-soprano), John Tomlinson (bass), Sarah Tynan (soprano), Andrew Shore (bass), Madeleine Shaw (mezzo-soprano), Stuart Kale (tenor), Janice Cairns (soprano), Dwayne Jones (tenor), Nicholas Folwell (baritone), James Gower (bass).

Orchestra and Chorus of English National Opera

Edward Gardner (conductor).

Strauss's comic opera about age and class. Featuring Janice Watson and John Tomlinson.

Strauss's Der Rosenkavalier20100605The Marschallin is deeply in love with her young lover Octavian, but knows that she's getting older, and one day he'll tire of her. Her fears are realised sooner than she thought when he presents a ceremonial silver rose to Sophie, and falls instantly in love with her. Strauss's opera Der Rosenkavalier contains comedy, pathos, and some truly beautiful writing for his female characters. This production, recorded last December at the Royal Opera House, Covent Garden stars Soile Isokoski, Sophie Koch and Lucy Crowe with Kirill Petrenko conducting, and the broadcast includes interviews with cast and conductor.

From the Royal Opera House, Covent Garden, Presented by Christopher Cook

Octavian - Sophie Koch (mezzo-soprano)

Marschallin - Soile Isokoski (soprano)

Sophie - Lucy Crowe (soprano)

Baron Ochs - Peter Rose (bass)

Herr von Faninal - Thomas Allen (bass)

Valzacchi - Graham Clark (tenor)

Annina - Leah-Marian Jones (mezzo-soprano)

Marianne Leitmetzerin - Elaine McKrill (soprano)

Notary - Lynton Black (bass-baritone)

Italian Singer - Wookyung Kim (tenor)

Noble Widow - Glenys Groves (soprano)

Noble Orphans - Tamsin Coombs, Deborah Peake-Jones (sopranos),

Andrea Hazell (mezzo-soprano)

Major Domo to Marschallin .....Robert Anthony Gardiner (tenor)

Major Domo to Faninal - Steven Ebel (tenor)

Doctor - Alan Duffield (tenor)

Inkeeper - Robert Worle (tenor)

Police Commissioner - Jeremy White (bass)

Kirill Petrenko - Conductor

Royal Opera Chorus

Orchestra of the Royal Opera House.

Kirill Petrenko conducts a performance of Strauss' comedy of manners.

Strauss's Der Rosenkavalier2017011420201107 (R3)Richard Strauss's bittersweet comic opera Der Rosenkavalier marked the start of one of the great artistic partnerships between the composer and the playwright Hugo von Hofmannsthal. In this new production by Robert Carsen, soprano Ren退e Fleming stars as the Marschallin and mezzo Alice Coote her young lover Octavian. Knowing their love will end, they plot together to save Sophie von Faninal (soprano Sophie Bevan) from a loveless marriage to the philandering Baron Ochs, sung tonight by the bass Matthew Rose. The Chorus and Orchestra of the Royal Opera House are conducted by Andris Nelsons, and Donald Macleod presents and chats with his guest, writer and Viennese specialist Gavin Plumley.

First broadcast live in January 2017.

Marschallin - Ren退e Fleming (Soprano)

Octavian - Alice Coote (Mezzo-soprano)

Sophie von Faninal - Sophie Bevan (Soprano)

Baron Ochs - Matthew Rose (Bass)

Faninal - Jochen Schmeckenbecher (Baritone)

Valzacchi - Wolfgang Ablinger-Sperrhacke (Bass)

Annina - Angela Simkin (Mezzo-soprano)

Italian Singer - Giorgio Berrugi (Tenor)

Marschallin's Major Domo - Samuel Sakker (Tenor)

Faninal's Major Domo - Thomas Atkins (Tenor)

Marianne - Miranda Keys (Soprano)

Innkeeper - Alasdair Elliott (Tenor)

Police Inspector - Scott Conner (Baritone)

Notary - .Jeremy White (Bass)

Lackey / Waiter - Dominic Barrand (Bass Baritone)

Royal Opera House Chorus

Royal Opera House Orchestra

Andris Nelsons (Conductor)

Renee Fleming stars in a Royal Opera House production of Strauss's Der Rosenkavalier.

Strauss's Der Rosenkavalier20210717Premiered in 1911, Strauss's most-loved and enduring opera is set in 18th-century Vienna where the Field Marshall's wife, the Marschallin, finds solace from her unhappy marriage in love affairs with teenage boys. She persuades her current lover Octavian that he should replace her with someone younger. 16-year-old Sophie Faninal is engaged to the the elderly, lecherous and impoverished Baron Ochs. The engagement suits both Sophie's father, Faninal, who sees Sophie as a ticket to a better social sphere, and Ochs who drools with anticipation, not just at the huge dowry Sophie will bring. Octavian dresses up as a woman to seduce Ochs and thus thwart the Baron's impending nuptials. At the end it's mission accomplished as Octavian and Sophie become lovers and the Marschallin declares the opera's events as a masquerade, as we in Vienna practice ? nothing more. The whole is wrapped up in an irresistible combination of Strauss's sumptuous orchestration, wonderful melodies and his ravishing way with the female voice.

But beneath the surface froth, it's the serious and enduring themes which have made Der Rosenkavalier a classic, including ageing and loneliness, the relentless passage of time, hypocrisy, desire and love.

Tom Service introduces this new production recorded last month at Garsington Opera which used Eberhard Kloke's 2019, widely-praised transcription for middle-sized orchestra. Presented in conversation with Observer critic Fiona Maddocks and Swedish soprano Miah Persson who, famous in the part of Sophie, now takes the role of the Marschallin for the first time.

Marschallin - Miah Persson (soprano)

Octavian - Hanna Hipp (mezzo-soprano)

Sophie von Faninal - Madison Leonard (soprano)

Baron Ochs - Derrick Ballard (bass)

Faninal - Richard Burkhard (baritone)

Valzacchi - Colin Judson (tenor)

Annina - Kitty Whately (mezzo-soprano)

Italian Tenor - Oliver Johnston (tenor)

Marschallin's Major Domo - Richard Pinkstone (tenor)

Faninal's Major Domo - Glen Cunningham (tenor)

Marianne - Rebecca von Lipinski (soprano)

Innkeeper - Alexander Aldren (tenor)

Police Commissar - Julian Close (bass)

Notary - Kieran Rayner (baritone)

Garsington Opera Chorus

Philharmonia Orchestra

Jordan de Souza (conductor)

Photo credit: Johan Persson for Garsington Opera

Soprano Miah Persson stars in Garsington Opera's production of Strauss's classic opera.

Premiered in 1911, Strauss's most-loved and enduring opera is set in 18th-century Vienna where the Field Marshall's wife, the Marschallin, finds solace from her unhappy marriage in love affairs with teenage boys. She persuades her current lover Octavian that he should replace her with someone younger. 16-year-old Sophie Faninal is engaged to the elderly, lecherous and impoverished Baron Ochs. The engagement suits both Sophie's father, Faninal, who sees Sophie as a ticket to a better social sphere, and Ochs who drools with anticipation, not just at the huge dowry Sophie will bring. Octavian dresses up as a woman to seduce Ochs and thus thwart the Baron's impending nuptials. At the end it's mission accomplished as Octavian and Sophie become lovers and the Marschallin declares the opera's events as 'a masquerade, as we in Vienna practice - nothing more.' The whole is wrapped up in an irresistible combination of Strauss's sumptuous orchestration, wonderful melodies and his ravishing way with the female voice.

Tom Service introduces this new production recorded last month at Garsington Opera, which used Eberhard Kloke's 2019, widely praised transcription for middle-sized orchestra. Presented in conversation with Observer critic Fiona Maddocks and Swedish soprano Miah Persson who, famous in the part of Sophie, now takes the role of the Marschallin for the first time.

Richard Strauss: Der Rosenkavalier

Act 1

7.20 pm

Interval

Tom Service in conversation with Miah Persson and Fiona Maddocks

7.30 pm

Act 2

9.00 pm

Tom Service continues his conversation with Miah Persson and Fiona Maddocks

9.10 pm

Act 3

Strauss's Der Rosenkavalier From The Met20210313The elegant Marschallin is devoted to her younger lover, the impetous Octavian, but knows that one day his head will be turned by a younger woman and she'll have to let him go. When Octavian is appointed to deliver a silver rose to the beautiful young heiress Sophie, the inevitable happens. In this performance from 2017 Ren退e Fleming sings her signature role of the Marschallin for the final time, with El?na Garan?a and Erin Morley completing the love triangle, and Günther Groissb怀ck as the larger-than-life Baron Ochs. Sebastian Weigle conducts Strauss's intricate score which combines the Viennese waltz with comedy and some of the most sumptuous writing for the female voice.

Presented from New York by Mary Jo Heath and Ira Siff.

Marschallin - Ren退e Fleming (soprano),

Octavian - El?na Garan?a (mezzo-soprano),

Sophie - Erin Morley (soprano),

Annina - Helene Schneiderman (mezzo-soprano)

A Singer - Matthew Polenzani (tenor),

Valzacchi - Alan Oke (tenor),

Faninal - Markus Brück (baritone),

Baron Ochs - Günther Groissb怀ck (bass)

New York Metropolitan Opera Chorus and Orchestra

Sebastian Weigle (conductor)

Renee Fleming sings her signature role of the Marschallin for the final time.

Strauss's Die Frau Ohne Schatten From The Met20210515Vladimir Jurowski conducts Richard Strauss's epic fairy-tale opera at the Met in New York, starring Anne Schwanewilms, Christine Goerke, Ildik  Koml si, Johan Reuter & Torsten Kerl

Die Frau ohne Schatten - The Woman without a Shadow - is an opera that grapples with the essence of being human. Like Mozart's The Magic Flute, it explores the nature of love and human psychology through a drama of two contrasting couples - and mesmerising music. This 2013 production from the New York Metropolitan Opera, never previously heard in the UK, established American soprano Christine Goerke as a leading dramatic soprano - alongside German soprano Anne Schwanewilms in the title role as the Empress who must decide whether to sacrifice someone else's happiness to achieve her own.

Presented by Mary Jo Heath and Ira Siff.

Empress - Anne Schwanewilms (soprano)

Emperor - Torsten Kerl (tenor)

Empress's Nurse - Ildik  Koml si (mezzo-soprano)

Barak, a Dyer - Johan Reuter (bass-baritone)

Barak's wife - Christine Goerke (soprano)

Barak's One-Eyed brother - Daniel Sutin (baritone)

Barak's Hunchback brother - Allan Glassman (tenor)

Barak's One-Armed brother - Nathan Stark (bass)

Falcon - Jennifer Check (soprano)

Voice of a Young Man - Anthony Kalil (tenor)

Voice from Above - Maria Zifchak (mezzo-soprano)

Messenger of Keikobad - Richard Paul Fink (baritone)

Guardian of the Threshold - Andrey Nemzer (countertenor)

Servants - Haeran Hong, D퀀sella L

Strauss's Elektra From The New York Met20180317Today's opera from the Met is Richard Strauss's mighty take on the Greek legend of Elektra. Daughter of King Agamemnon and Queen Klyt䀀mnestra, Elektra is in mourning for her father, killed by her mother and her lover. Elektra is obsessed with the revenge she intends to take, enlisting her siblings for help. In this startlingly modern sounding work, Christine Goerke sings Elektra, driven mad by her desire for revenge, Michaela Schuster her fearsome mother, and Mikhail Petrenko and Elza van den Heever her brother and sister.

Elektra - Christine Goerke (soprano)

Chrysothemis - Elza van den Heever (soprano)

Klyt䀀mnestra - Michaela Schuster (mezzo-soprano)

Aegisth - Jay Hunter Morris (tenor)

Orest - Mikhail Petrenko (bass)

New York Metropolitan Opera Chorus and Orchestra

Yannick N退zet-S退guin.

Richard Strauss's Elektra from the Met with Christine Goerke in the title role.

Strauss's Salome20080510David McVicar's new production for The Royal Opera features Philippe Jordan conducting soprano Nadja Michael as Salome and baritone Michael Volle as Jokanaan.

In Strauss's disturbing one-act opera, based on the play by Oscar Wilde, the adolescent Salome, stepdaughter of King Herod, is attracted to Jokaanan, who rejects him. When the lustful King Herod offers her anything she desires in return for dancing in front of him, she enacts vicious revenge on Jokaanan.

The programme, which includes a discussion of the undercurrents of the opera with the conductor, director and members of the cast, is presented by Suzy Klein.

With Nadja Michael, Michaela Schuster (soprano), Daniela Sindram (mezzo-soprano), Thomas Moser, Joseph Kaiser (tenor), Michael Volle (baritone), Iain Paterson (bass), Andrew Mayor (baritone), Christian Sist (bass), Alan Ewing (bass), Adrian Thompson (tenor), Martyn Hill, Hubert Francis, Ji-Min Park (tenor), Jeremy White, Vuyani Mlinde (bass), Pumeza Matshikiza (soprano).

Orchestra of the Royal Opera House

Philippe Jordan (conductor).

Philippe Jordan conducts Strauss's disturbing opera, based on the play by Oscar Wilde.

Strauss's Salome20101016Presented by Andrew McGregor

Richard Strauss: Salome from the Royal Opera House, Covent Garden

Salome is an opera full of characters regarding each other, unable to communicate...everyone's desire is unfulfilled , but everyone is looking all the time', says David McVicar's of Richard Strauss's Salome, as his 2008 production is resurrected in all its shocking glory at the Royal Opera House, Covent Garden.

Based on a short biblical reference to a girl dancing for King Herod, and the immortal line: 'Bring me the head of John the Baptist', Oscar Wilde's play told a lurid tale of power and corruption, depravity and obsession...and Strauss set it to music without holding back in any way.

Angela Denoke stars in the title role, Irina Mishura as Herodias and Gerhard Siegel as Herod, conducted by Hartmut Haenchen.

Narraboth - Andrew Staples (tenor)

The Page - Sarah Castle (mezzo-soprano)

First Soldier - Nicolas Courjal (bass)

Second Soldier - Alan Ewing (bass)

Jokanaan - Johan Reuter (baritone)

A Cappadocian - John Cunningham (bass-baritone)

Salome - Angela Denoke (soprano)

Herod - Gerhard Siegel (tenor)

Herodias - Irina Mishura (mezzo-soprano)

First Jew - Adrian Thompson (tenor)

Second Jew - Robert Anthony Gardiner (tenor)

Third Jew - Hubert Francis (tenor)

Fourth Jew .....Steven Ebel (tenor)

Fifth Jew - Jeremy White (bass)

First Nazarene - Vuyani Mlinde (bass)

Second Nazarene - Dawid Kimberg (baritone)

Hartmut Haenchen - Conductor

Orchestra of the Royal Opera House.

Andrew McGregor presents Strauss's Salome from the Royal Opera House, Covent Garden.

Stravinsky 50, The Rake's Progress2021041020210424 (R3)When Igor Stravinsky, inspired by the 18th-century prints of William Hogarth's The Rake's Progress, approached poet W.H. Auden for a libretto, one of the greatest opera collaborations came into being. Joined by Auden's partner, Chester Kallman, the two men of words created a quirky parable in rhyme that Stravinsky fired up into some of his most striking, theatrical, and often tender music.

Tom Rakewell, egotistical and spendthrift, is lured away from the countryside and his faithful sweetheart Anne Truelove to London. He has been tricked by Nick Shadow, a Mephistophelean man, who introduces him to a new life of brothels, money-making scams, and debauchery. Where will it lead? Stravinsky's last Neo-Classical work weaves Classical pastoral, the Faust legend, fairy tale, circus, and the Bible, with hints of Mozart, Handel and Monteverdi. The Rake's Progress is Stravinsky at the height of his powers and is the perfect introduction to his genius.

This acclaimed semi-staged performance was recorded on 22rd March 1997 at the Royal Festival Hall, London.

Presented by Kate Molleson in conversation with Professor Jonathan Cross of the University of Oxford.

Anne Trulove . . . . . Joan Rodgers (soprano)

Tom Rakewell . . . . . Barry Banks (tenor)

Father Trulove - .. Philip Ens (bass)

Nick Shadow - .. William Shimell (baritone)

Mother Goose - ..Susan Bickley (mezzo)

Baba the Turk - ..Jane Henschel (contralto)

Sellem the Auctioneer: Robin Leggate (tenor)

Keeper of the Madhouse: Henry Waddington (bass)

BBC Singers

BBC Symphony Orchestra

Sir Andrew Davis (conductor)

SYNOPSIS

In the idyllic countryside, Anne Trulove and Tom Rakewell celebrate their love. Anne's father has found a job for Tom in the city, but Tom longs for an easier path to money. Nick Shadow appears with news that Tom has inherited a fortune from an unknown uncle. They must leave for London and Tom need only pay Shadow for his services after a year and a day. In the wicked city, Shadow introduces Tom to Mother Goose's brothel. Back in the country, Anne fears the worst and decides that she must rescue Tom.

Meanwhile, Tom, in his new London house, is already bored with ordinary pleasures, so Shadow suggests visiting the amazing bearded woman, Baba the Turk. When Anne arrives at Tom's house, she is horrified to find him married to the hideous Baba. When Tom tires of Baba as well, Shadow appears with one last new idea - a machine that turns stones into bread. Anne again appears to save Tom, but this time his house is for sale and his property for auction. The bankrupt Tom has disappeared with Shadow. Baba urges Anne to follow him.

A year and a day from their first meeting, Shadow brings Tom to a graveyard at night. A terrified Tom discovers he must pay not with money but with his soul. But, as Shadow is about to take hold of him, Tom hears Anne's voice in the distance and his past love is reawakened. Shadow, defeated, disappears into the ground. Tom survives, but he is now mad and is shut up in Bedlam. Anne comes there to comfort him, but there is little to be done. Her father arrives and persuades her to leave Tom to his fate.

© Boosey & Hawkes/Gerard McBurney.

Sir Andrew Davis conducts the BBC Symphony Orchestra, BBC Singers and outstanding cast.

Stravinsky, The Rake's Progress20220611Anne Trulove is to marry Tom Rakewell, but their plans are thwarted by the mysterious stranger Nick Shadow, who takes Tom under his diabolical wing. Featuring magical bread machines, and a bearded lady, things don't go to plan for Anne. Ben Bliss sings Tom, with Golda Schultz as his virtuous Anne, while Susanna M䀀lkki conducts Stravinsky's neoclassical tale of love, self-delusion and madness.

Presented by Debra Lew Harder with commentator Ira Siff.

6.30 pm

Stravinsky: The Rake's Progress

Anne Trulove - Golda Schultz (soprano)

Tom Rakewell - Ben Bliss (tenor)

Nick Shadow - Christian Van Horn (bass-baritone)

Baba the Turk - Raehann Bryce-Davis (mezzo-soprano)

Trulove - James Creswell (bass)

Metropolitan Opera Chorus and Orchestra

Conductor Susanna M䀀lkki

Read the full synopsis on the Met Opera website: https://bit.ly/3LQUUAX

Stravinsky's The Rake's Progress from the Met

Father Trulove - James Creswell (bass)

Mother Goose....Eve Gigliotti (contralto)

Sellem...Tony Stevenson (tenor)

Keeper of the Madhouse....Paul Corona (bass)

Stravinsky: The Rake's Progress20081018Robert Lepage directs a new production of Stravinsky's neoclassical opera, based on the story behind a set of engravings by the British painter and satirist William Hogarth, and featuring a libretto by the poet WH Auden.

The story centres on Tom, a young country man, and his path to ruin because of the malign influence of Nick Shadow, who appears out of nowhere, offering to help him.

Presented by Ivan Hewett.

A new production of Stravinsky's neo-classical opera, about a young man's decline.

Stravinsky's The Rake's Progress20120922Presented by Donald Macleod

Scottish Opera's new production by David McVicar of The Rake's Progress by Stravinsky is headed by the Lithuanian tenor Edgaras Montvidas in the role of The Rake - Tom Rakewell, Carolyn Sampson as the ever-faithful Anne Trulove, Leah-Marian Jones as Baba the Turk, and Steven Page as Nick Shadow, with the Chorus of Scottish Opera, chorus-master James Grossmith, and the Orchestra of Scottish Opera, leader Anthony Moffat. The performance is conducted by Sian Edwards. The libretto by W H Auden and Chester Kallman draws its inspiration from Hogarth's 18th century engravings of the same title and charts the hapless progress of Tom Rakewell and his moral decline and final descent to madness aided by Nick Shadow, who turns out to be the devil.

Trulove - Graeme Broadbent (Bass)

Anne Trulove - Carolyn Sampson (Soprano)

Tom Rakewell - Edgaras Montvidas (Tenor)

Nick Shadow - Steven Page (Bass)

Mother Goose - Karen Murray (Mezzo)

Baba the Turk - Leah-Marian Jones (Mezzo)

Sellem - Colin Judson (Tenor)

Keeper Of The Madhouse - Ross McInroy (Bass)

Scottish Opera Orchestra & Chorus

Conductor, Sian Edwards.

Stravinsky's The Rake's Progress with Edgaras Montvidas as Tom. Si\u00e2n Edwards conducts.

Street Scene, By Kurt Weill20200411Petroc Trelawny presents a performance of Opera North's highly acclaimed new production of Kurt Weill's 1946 operatic materpiece Street Scene recorded at the Leeds Grand Theatre. Petroc is joined by Kara McKechnie, professor of dramaturgy at Leeds University. During the interval we hear from Kim Kowalke, President of the Kurt Weill Foundation for Music and rare recordings of Kurt Weill himself both singing, and also speaking on American radio in the 1940's.

American Opera in two acts

Music by Kurt Weill

Book by Elmer Rice, based on his play of the same name

Lyrics by Langston Hughes and Elmer Rice.

Anna Maurrant - ..Giselle Allen

Frank Maurrant - ..Robert Hayward

Rose Maurrant - ..Gillene Butterfield

Sam Kaplan - ..Alex Banfield

Greta Fiorentino - ..Miranda Bevin

Lippo Fiorentino - ..Christopher Turner

Emma Jones - ..Claire Pascoe

George Jones - ..Richard Mosley-Evans

Mae Jones - ..Michelle Andrews

Dick Mcgann - ..Rodney Vubya

Olga Olsen - ..Amy J Payne

Carl Olsen - ..John Savournin

Henry Davis - .Byron Jackson

Harry Easter - ..Quirijn De Lang

Daniel Buchanan - ..Stuart Laing

Abraham Kaplan - ..Dean Robinson

Jennie Hildebrand - ..Laura Kelly-McInroy

Chorus and Orchestra of Opera North

James Holmes, conductor

Opera North's new production of Kurt Weill's 1946 operatic masterpiece Street Scene.

Szymanowski: Krol Roger2015051620200613 (R3)Tonight's Opera on 3 is another chance to hear Szymanowski's rarely performed masterpiece, Kr l Roger (King Roger), from the Royal Opera House in Covent Garden which was recorded live in May 2015. It stars Mariusz Kwiecien in the title role, conducted by Antonio Pappano in the production by Kasper Holten.

Szymanowski's great opera, which had its premiere in 1926, grew out of his passion for Mediterranean culture as an amalgam of different peoples and religions. It also treats some of the themes that first appeared in his lost homoerotic novel Efebos. Set in 12th-century Sicily, the opera traces the journey to enlightenment of the Christian King Roger II through his encounter with a mysterious pagan Shepherd. While Roger's court call for the Shepherd to be put to death, Roger's queen Roxana urges her husband to accept the Shepherd's creed. Roger gradually realizes that he can only maintain his integrity by neither merely upholding the law of the church, or by yielding to the wild freedom (symbolised in abandoned dances) of the Shepherd and his followers. In his final ecstatic soliloquy, Roger attains self-realization.

Andrew McGregor introduces the performance that was originally heard live in May 2015.

King Roger II of Sicily.....Mariusz Kwiecien (Baritone)

Shepherd.....Saimir Pirgu (Tenor)

Roxana.....Georgia Jarman (Soprano)

Edrisi.....Kim Begley (Tenor)

Archbishop.....Alan Ewing (Bass)

Deaconess.....Agnes Zwierko (Mezzo-soprano)

The Royal Opera Chorus

The Orchestra of the Royal Opera House

Antonio Pappano (Conductor)

Szymanowski's King Roger, from the Royal Opera House, conducted by Antonio Pappano.

Tchaikovsky: The Queen Of Spades20150704Based on a short story by Pushkin, Tchaikovsky's dark opera about obsession and greed The Queen of Spades is the final production conducted by Edward Gardner as Music Director at ENO. It tells of the young impoverished gambler Hermann as he attempts to end his run of bad luck by trying to discover the old Countess's secret of winning at cards, and at the same time attempting to win her granddaughter's hand in marriage. Willing to risk everything, Hermann ends up gambling with love and life and losing at both.

The cast is led by Peter Hoare, with soprano Giselle Allen as the granddaughter Lisa who Hermann mercilessly tricks and uses) and renowned mezzo-soprano Felicity Palmer as the Countess who seals Hermann's fate. Following on from previous acclaimed collaborations, David Alden directs this new production with Edward Gardner conducting the Orchestra and Chorus of English National Opera in this richly sonorous score. Sara Mohr-Pietsch presents and chats to Russian literature specialist Rosamund Bartlett.

Hermann - Peter Hoare (Tenor)

Lisa - Giselle Allen (Soprano)

Countess - Felicity Palmer (Mezzo-soprano)

Prince Yeletsky - Nicholas Pallesen (Baritone)

Count Tomsky - Gregory Dahl (Baritone)

Pauline - Catherine Young (Soprano)

Tchenkalinsky - Colin Judson (Tenor)

Sourin - Wyn Pencarreg (Baritone)

Governess - Valerie Reid (Mezzo-soprano)

Mascha - Katie Bird (Soprano)

Tchaplitsky - Peter Van Hulle (Tenor)

Narumov - .Charles Johnston (Baritone)

English National Opera Chorus

English National Opera Orchestra

Edward Gardner (Conductor).

From the Coliseum in London, an ENO production of Tchaikovsky's opera The Queen of Spades.

Tchaikovsky's Eugene Onegin20111126Presented by Martin Handley

Tchaikovsky's most famous opera is based on a verse-novel by Pushkin. It tells the story of the relationship between Eugene Onegin, a young St. Petersburg man-about-town and the woman who he initially rejects and then realises that he truly loves, Tatiana. Between rejecting her and realising that he's made a terrible mistake he flirts with her sister, who is engaged to his friend, the poet Lensky. A duel ensues in which Lensky is killed. By the end of the opera Onegin is left alone and broken-hearted.

This new production from English National Opera is directed by Deborah Warner and stars the young Norwegian baritone Audun Iversen in the title role. He's joined by the South-African soprano Amanda Echalaz (who was such a huge success when she sang Tosca at ENO last hear) as Tatiana and English tenor Toby Spence as the doomed poet. ENO's Music Director Edward Gardner conducts.

Eugene Onegin.....Audun Iversen (baritone)

Tatyana.....Amanda Echalaz (soprano)

Lensky.....Toby Spence (tenor)

Prince Gremin.....Brindley Sherratt (bass)

Olga.....Claudia Huckle (mezzo-soprano)

Madame Larina.....Diana Montague (mezzo-soprano)

Filipievna.....Catherine Wyn-Rogers (mezzo soprano)

Zaretski.....David Stout (baritone)

English National Opera Orchestra and Chorus

Conductor.....Edward Gardner.

Martin Handley presents an ENO performance of Tchaikovsky's Eugene Onegin.

Tchaikovsky's Eugene Onegin20130601Launching our Royal Opera House, Covent Garden season Sara Mohr-Pietsch introduces a performance of Tchaikovsky's tragic opera based on Pushkin's verse novel. Stuck on a country estate, Tatyana shuns the local festivities, preferring to immerse herself in romantic novels. When a stranger, Onegin, arrives, she takes him on a walk and falls in love with him. Onegin spurns her interest after he receives a letter from her. Years pass and Tatyana marries another man, but when she meets Onegin some years later, he realises the mistake he made and though Tatyana admits to being in love with him still, she refuses to leave her husband.

Recorded earlier this year at the Royal Opera House, Covent Garden, this is Kasper Holten's first production for the ROH since taking over as Director of Opera. Krassimira Stoyanova and Simon Keenlyside star as the doomed lovers, and the young British conductor Robin Ticciati conducts.

Tatyana - Krassimira Stoyanova (soprano)

Eugene Onegin - Simon Keenlyside (baritone)

Madame Larina - Diana Montague (mezzo-soprano)

Filipyevna - Kathleen Wilkinson (mezzo-soprano)

Olga - Elena Maximova (mezzo-soprano)

A Peasant Singer - Elliot Goldie (tenor)

Lensky - Pavol Breslik (tenor)

Monsieur Triquet - Christoph Mortagne (tenor)

A Captain - Michel de Souza (baritone)

Zaretsky - Jihoon Kim (bass)

Prince Gremin - Peter Rose (bass)

Chorus and Orchestra of the Royal Opera House, Covent Garden

Robin Ticciati, conductor.

A performance of Tchaikovsky's Eugene Onegin from the Royal Opera House, Covent Garden.

Tchaikovsky's Eugene Onegin20220402From the New York Metropolitan Opera: James Gaffigan conducts Tchaikovsky's masterpiece, starring Igor Golovatenko in the title role with Ailyn P退rez and Piotr Becza?a. At the heart of Pushkin's story is Tatiana, who as a teenager falls for the urbane but cynical nobleman Eugene Onegin. When he cruelly rejects her, Tatiana builds her own life and marries a Prince - and when Onegin meets her again as a strong, mature woman, and realises his mistake, it's too late for both of them.

Presented by Debra Lew Harder with commentator Ira Siff.

Tatiana - Ailyn P退rez (soprano)

Eugene Onegin - Igor Golovatenko (baritone)

Olga, Tatiana's sister - Varduhi Abrahamyan (mezzo-soprano)

Lensky, her lover - Piotr Becza?a (tenor)

Prince Gremin - Ain Anger (bass)

Larina, Tatiana's mother - Elena Zaremba (mezzo-soprano)

Filippyevna, nanny - Larissa Diadkova (mezzo-soprano)

Triquet - Tony Stevenson (tenor)

Zaretsky - Richard Bernstein (bass)

Offstage voice - Marco Antonio Jord o (tenor)

Captain - Vladyslav Buialskyi (bass-baritone)

Metropolitan Opera Chorus and Orchestra

Conductor James Gaffigan

Read the full synopsis at the Met Opera website: https://bit.ly/3wLRxrm

Image: © Marty Sohl / Met Opera

From the New York Metropolitan Opera: James Gaffigan conducts Tchaikovsky's masterpiece.

Tchaikovsky's The Maid Of Orleans20171118As part of Breaking Free: a Century of Russian culture, Martin Handley introduces a performance of Tchaikovsky's the Maid of Orleans, recorded earlier this year in the Victoria Hall, Geneva with mezzo Ksenia Dudnikova in the title role and conducted by Dmitri Jurowski.

After Eugene Onegin, Tchaikovsky turned from Russian subjects and set an adaptation of Schiller's The Maid of Orleans. Written while he was in Europe, it follows more in the style of French Grand opera, notably with the inclusion of a ballet in Act 2, and was the first of Tchaikovsky's operas to be

performed outside Russia.

Martin is joined in the studio by Marina Frolova-Walker to discuss Tchaikovsky's more cosmopolitan style in this opera.

Joan of Arc - Ksenia Dudnikova (mezzo-soprano)

King Charles VII - Migran Agadzhanyan (tenor)

Agn耀s Sorel - Mary Feminear (soprano)

Dunois, a French knight - Roman Burdenko (baritone)

Lionel, a Burgundian knight - Boris Pinkhasovich (baritone)

The Archbishop - Marek Kalbus (bass)

Raymond, Joan's betrothed - Boris Stepanov (tenor)

Soldier - Aleksandar Chaveev (bass)

Thibaut d'Arc, Joan's father - Alexey Tikhomirov (bass)

Bertrand, A peasant - Alexander Milev (bass)

Lor退 - Peter Baekeun Cho (bass)

Angel, solo voice in the choir of angels - Iulia Elena Preda (soprano)

Orchestre de la Suisse Romande (orchestra)

Dmitri Jurowski (conductor).

Martin Handley introduces a performance of Tchaikovsky's the Maid of Orleans.

Tchaikovsky's The Queen Of Spades20190413Tchaikovsky's dark opera about obsession and greed, The Queen of Spades tells of the young impoverished officer Gherman as he attempts to end his run of bad luck by trying to discover the old Countess's secret of winning at cards. At the same time he becomes obsessed with the Countess's granddaughter, Lisa, and desperately tries to win her hand in marriage. Willing to risk everything, Gherman ends up gambling with love and life and losing at both.

The cast is led by the tenor Aleksandrs Antonenko as Gherman with soprano Eva-Maria Westbroek as the granddaughter Lisa. Renowned mezzo-soprano Dame Felicity Palmer captivates in the role of the Countess who seals Gherman's fate. Antonio Pappano conducts the Chorus and Orchestra of the Royal Opera House in Tchaikovsky's richly sonorous and dramatic score.

Sean Rafferty presents and in the interval chats to Russian literature specialist Rosamund Bartlett.

Gherman.....Aleksandrs Antonenko (Tenor)

Lisa.....Eva-Maria Westbroek (Soprano)

Prince Yeletsky.....Vladimir Stoyanov (Baritone)

Countess.....Felicity Palmer (Mezzo-soprano)

Count Tomsky.....John Lundgren (Baritone)

Pauline.....Anna Goryachova (Mezzo-soprano)

Chekalinsky.....Alexandre Kravets (Tenor)

Surin.....Tigran Martirossian (Baritone)

Governess.....Louise Winter (Mezzo-soprano)

Master of Ceremonies.....Harry Nicoll (Tenor)

Prilepa.....Jacquelyn Stucker (Soprano)

Chaplitsky.....Konu Kim (Tenor)

Narumov.....Michael Mofidian (Bass)

Royal Opera House Chorus

Royal Opera House Orchestra

Antonio Pappano (Conductor)

Tchaikovsky's The Queen of Spades from the Royal Opera House, Covent Garden

Tchaikovsky's The Queen Of Spades20221105In late eighteenth century St Petersburg an impoverished army officer's downward spiral, as he vainly attempts to beat the cards, results in both his own and his lover's suicide.

Pushkin's short story of avarice inspired some of Tchaikovsky's greatest music, full of psychological insight, drama and tension. Late eighteenth century St Petersburg: an impoverished army officer determines to find the secret of the cards and thus both ensure a wealthy future and guarantee his illicit lover Lisa's hand in marriage. But Hermann's addiction to gambling quickly becomes an uncontrollable and all-consuming obsession. He's convinced that Lisa's grandmother, an elderly countess, knows the mysterious winning combination of cards - but she dies of fright as he threatens her with a pistol. It's not long before Lisa and then Hermann himself are both dead by their own hands.

Presented by Andrew McGregor in conversation with Russian music and literature expert PHILIP BULLOCK.

Tchaikovsky: The Queen of Spades

Hermann - Arsen Soghomonyan (tenor)

Count Tomski - Vladislav Sulimsky (baritone)

Prince Yeletsky - Boris Pinkhasovich (baritone)

Countess - Doris Soffel (contralto)

Lisa - Elena Stikhina (soprano)

Pauline - Aigul Akhmetshina (mezzo-soprano)

Chaplitsky .....: Christophe Poncet de Solages (tenor)

Governess - Margarita Nekrasova (contralto)

Surin - Anatoli Sivko (baritone)

Chekalinsky - Evgeny Akimov (tenor)

Narumov - Mark Kurmanbayev (bass)

Slovak Philharmonic Chorus

Cantus Juvenum Karlsruhe Youth Choir

Berlin Philharmonic Orchestra

Kirill Petrenko (conductor)

Concert performance given on 24 April 2022 at the Philharmonie, Berlin.

Kirill Petrenko and the Berlin Philharmonic with Tchaikovsky's drama of self-destruction.

Tchaikovsky's The Tsarina's Slippers20091205Presented by Martin Handley.

Rarely heard, Tchaikovsky's only comic opera, his Christmas story The Tsarina's Slippers (Cherevichki), is performed for the first time at London's Royal Opera House in a new production by director Francesca Zambello and choreographer Alastair Marriott.

Inspired by one of Nikolai Gogol's most famous short tales, Christmas Eve, the opera is a mix of village comedy and fairy-tale fantasy. The beautiful Oxana will only marry her besotted blacksmith Vakula if he finds the Tsarina's little leather slippers for her. The desperate Vakula finally uses the Devil to help him fulfil his beloved's wish. There is much devilry, mistaken identity, hiding of lovers and drunken villagers along the way.

Written in 1885, the opera is a revision of one Tchaikovsky had written ten years earlier, Vakula the Smith, with which he had won a competition set by the Russian Music Society. But his first attempt at setting this story never won the public's favour and, in 1885, he took up the score again, made revisions and changed the title to Cherevichki. The music ranges from popular dances and Christmas carols to deeply moving lyrical scenes such as Vakula's despairing monologue in Act 3.

Solokha (a witch) - Larissa Diadkova (mezzo-soprano)

The Devil - Maxim Mikhailov (bass)

Chub (an elderly Cossack) - Vladimir Matorin (bass)

Panas (Chub's friend) - John Upperton (tenor)

Oxana - Olga Guryakova (soprano)

Vakula - Vsevolod Grivnov (tenor)

Pan Golova (The Mayor) - Alexander Vassiliev (baritone)

The Schoolmaster - Vyacheslav Voynarovskiy (tenor)

Wood Goblin - Changhan Lim (baritone)

Echo - Andrew Macnair (tenor)

His Highness - Sergei Leiferkus (bass)

Master of Ceremonies - Jeremy White (bass)

Royal Opera Chorus

Orchestra of the Royal Opera House

Alexander Polianichko (conductor).

Martin Handley presents a rare performance of Tchaikovsky's only comic opera.

Terence Blanchard's Champion20230527Ryan Speedo Green stars as boxer Emile Griffith in operatic tragedy at the New York Met - the second opera by Grammy Award-winning composer Terence Blanchard to be staged there. Griffith took up boxing while working in a hat factory and rose to become world champion in three weight divisions, but in a welterweight title fight in 1962 he killed his homophobic arch-rival Benny 'Kid' Paret in the ring. Eric Owens co-stars as Griffith's older self, haunted by the ghosts of his past, alongside Latonia Moore as his estranged mother and Eric Greene as Paret.

Presented by Debra Lew Harder with commentator Ira Siff.

Young Emile Griffith - Ryan Speedo Green (bass-baritone)

Elderly Emile Griffith - Eric Owens (bass-baritone)

Emelda Griffith - Latonia Moore (soprano)

Benny 'Kid' Paret - Eric Greene (baritone)

Kathy Hagen - Stephanie Blythe (mezzo-soprano)

Howie Albert - Paul Groves (tenor)

Metropolitan Opera Chorus and Orchestra

Conductor Yannick N退zet-S退guin

Ryan Speedo Green stars as boxer Emile Griffith in operatic tragedy at the New York Met.

This production contains some very strong language that some listeners may find offensive.

Little Emile Griffith - Ethan Joseph (treble)

Luis Rodrigo Griffith - Chauncey Packer (tenor)

Sadie Donastorg Griffith - Brittany Renee (soprano)

Cousin Blanche - Krysty Swann (mezzo-soprano)

Lucia Paret - Helena Brown (soprano)

Paret's manager - Tshombe Selby (tenor)

Ring Announcer - Lee Wilkof (actor)

Man in the Bar - Edward Nelson (baritone)

The Excursions Of Mr Broucek20221008David Pountney directs Janacek's surreal comic opera recorded at Grange Park Opera, West Horsley, this summer. Peter Hoare sings the title role of world-weary Mr Broucek, who tries to escape his humdrum life through a glass of beer or several, complete with a trip to the moon and the 15th century, where he is required to help liberate Prague. This production was acclaimed for the vitality of the singing and the fabulously imaginative and colourful sets and costumes.

MR BROU?EK, property owner...Peter Hoare

MALINKA Sakristကn's daughter / ETHEREA / KUNKA...Fflur Wyn

MAZAL, a painter / BOUNZINCEK / PETRIK / SVATOPLUK...Mark Le Brocq

W܀RFL, a bartender / PAYCEK / COUNCILLOR...Andrew Shore

The Flying Dutchman From The Met20230610A storm drives Daland's ship several miles away from his home. As his crew rest, a ghostly ship draws up next to his, captained by 'a Dutchman'. His fate is to dock every seven years in order to look for a wife who, if faithful, will redeem him from his plight. Will Daland's daughter Senta be the woman he needs? Wagner's dramatic opera stars baritone Tomasz Konieczny as the accursed Dutchman, and soprano Elza van den Heever as the woman who's determined to save his soul.

Presented from the Met by Debra Lew Harder and Ira Siff.

Wagner The Flying Dutchman

The Dutchman....Tomasz Konieczny (baritone)

Senta....Elza can den Heever (soprano)

Daland....Dmitry Bellosselskiy (bass)

Erik....Eric Cutler (tenor)

Helmsman....Richard Trey Smagur (tenor)

Chorus and Orchestra of the Metropolitan Opera

Thomas Guggeis (conductor)

Wagner's dramatic The Flying Dutchman stars Tomasz Konieczny and Elza van den Heever.

Mary....Eve Gigliotti (alto)

The Force Of Destiny20231021Verdi's The Force of Destiny from the Royal Opera House, Covent Garden.

Leonora and Don Alvaro's secret elopement goes horribly wrong when Leonora's father accidentally gets killed by Alvaro. Separated in the confusion, the lovers instead seek refuge in spirituality and solitude, but Leonora's brother hasn't forgotten and is determined to get revenge. Will fate bring them all together again? Verdi's epic opera combines love, war, religion and fate, and is sung by a stellar cast including Sondra Radvanovsky, Brian Jagde and Etienne Dupuis, conducted by Mark Elder.

Andrew McGregor presents, and is joined in the box by Professor Roger Parker.

Verdi: The Force of Destiny - opera in 4 acts

Donna Leonora - Sondra Radvanovsky (soprano)

Don Alvaro - Brian Jagde (tenor)

Don Carlo di Vargas - Etienne Dupuis (baritone)

Padre Guardiano - Evgeny Stavinsky (bass)

Preziosilla - Vasilisa Berzhanskaya (mezzo-soprano)

Fra Melitone - Rodion Pogossov (baritone)

Mastro Trabuco - Carlo Bosi (tenor)

Marquis of Calatrava - James Creswell (bass)

Curra - Chanae Curtis (soprano)

Alcalde - Thomas D Hopkinson (bass)

Royal Opera Chorus

Orchestra of the Royal Opera House

Mark Elder (conductor)

Read the full synopsis on the Royal Opera House website: https://bit.ly/3S7kOas

The Greek Passion20191109Flora Willson and Nigel Simeone are at the Leeds Grand Theatre to introduce Opera North's production of Martinu's opera The Greek Passion given in its rarely heard original version. It is a tale of prejudice and moral conviction set in a small Greek village as the villagers prepare to present their annual staging of Christ's Passion. The impact that the passion play has on the performers leads them to question attitudes to a group of refugees who have sought asylum in the neighbourhood, which in turn brings the village in conflict with its church elders.

Martinu composed the opera at the end of his life for London, but perhaps for political reasons the opera was never presented. He later recreated another version for Vienna, but Opera North, in a co-production with Den Norske Opera, have returned to the original and created a startling and topical telling, directed by Christopher Alden, which has garnered enthusiastic reviews. Sung in English, this is an chance to hear a vibrant and colourful work, full of folk inspired elements and impassioned drama.

CAST

MANOLIOS ........ Nicky Spence (tenor)

KATERINA ......Magdalena Molendowska (soprano)

YANNAKOS ......Paul Nilon (tenor)

PANAIT......Jeffrey Lloyd-Roberts (tenor)

PRIEST GRIGORIS......Stephen Gadd (baritone)

PRIEST FOTIS......John Savournin (bass-baritone)

KOSTANDIS......Richard Mosley-Evans (baritone)

LENIO......Lorna James (soprano)

CAPTAIN......Steven Page (baritone)

ARCHON......Jonathan Best (bass-baritone)

MICHELIS......Alexander Robin Baker (tenor)

NIKOLIO.......Alex Banfield (tenor)

SCHOOLMASTER......Ivan Sharpe (tenor)

FATHER LADAS......Jeremy Peaker (baritone)

Opera North Chorus

Opera North Orchestra conducted by Garry Walker.

Opera North's production of Martinu's late opera

The Magic Flute Presented, By Donald Macleod20190330Opera North's acclaimed new production of Mozart's magical masterpiece performed at the Grand Theatre in Leeds. This late Mozartean adventure into the worlds of fantasy and magic is much more than its wonderful, crowd-pleasing tunes.

Pamina.....Vuvu Mpofu (Soprano)

Tamino.....Kang Wang (Tenor)

Queen of the Night.....Samantha Hay (Soprano)

Sarastro.....John Savournin (Bass)

Papageno.....Gavan Ring (Baritone)

Papagena.....Amy Freston (Soprano)

First Lady.....Lorna James (Soprano)

Second lady.....Helen Evora (Mezzo-soprano)

Third Lady.....Amy J Payne (Mezzo-soprano)

Monostatos.....John Findon (Tenor)

Speaker.....Dean Robinson (Bass)

First Armed Man.....Stuart Laing (Tenor)

Second Armed Man.....Richard Mosley-Evans (Baritone)

First Priest.....Ivan Sharpe (Tenor)

Second Priest.....Paul Gibson (Baritone)

Three Boys... Lucy Sherman, Ben Hayes, Matilda Hazell

Opera North Orchestra

Opera North Chorus

Robert Howarth (Conductor)

In the interval Donald Macleod talks to Professor Cliff Eisen of King's College London, one of the world's leading Mozart experts.

Mozart's magical masterpiece sung in English at Leeds Grand Theatre by Opera North.

The Queen Of Spades20111029From the Grand Theatre in Leeds, Christopher Cook introduces Opera North's new period production of Tchaikovsky's tragic tale of obsession and greed - The Queen of Spades. The young gambler Hermann attempts to end his run of bad luck by trying to discover the old Countess' secret of the cards and winning the hand of her granddaughter Lisa in marriage. Willing to risk everything, he ends up gambling with love and life and losing at both.

This English language version of Tchaikovsky's final Pushkin Opera is directed by Neil Bartlett and translated by him and Martin Pickard, with Dame Josephine Barstow as the Countess, Orla Boylan as Lisa and Jeffrey Lloyd-Roberts as Herman. The Orchestra of Opera North is conducted by Richard Farnes

Lisa - Orla Boylan (Soprano)

Countess - Josephine Barstow (Soprano)

Herman - Jeffrey Lloyd-Roberts (Tenor)

Count Tomsky - Jonathan Summers (Baritone)

Prince Yeletsky - William Dazeley (Baritone)

Pauline - Alexandra Sherman (Mezzo-Soprano)

Governess - Fiona Kimm (Mezzo-Soprano)

Chekalinsky - Daniel Norman (Tenor)

Sourin - Julian Tovey (Baritone)

Masha - Gillene Herbert (Soprano)

Tchaplitsky - David Llewellyn (Tenor)

Narumov - Dean Robinson (Bass)

Master of Ceremonies - Paul Rendall (Tenor)

Chloe - Miranda Bevin (Soprano)

Orchestra of Opera North conducted by Richard Farnes

Translation - Neil Bartlett.

Tchaikovsky's opera The Queen of Spades performed by Opera North in Leeds Grand Theatre.

The Queen Of Spades20221105In late 18th-century St Petersburg, an impoverished army officer's downward spiral, as he vainly attempts to beat the cards, results in both his own and his lover's suicide.

Pushkin's short story of avarice inspired some of Tchaikovsky's greatest music, full of psychological insight, drama and tension. Late 18th-century St Petersburg: an impoverished army officer determines to find the secret of the cards and thus both ensure a wealthy future and guarantee his illicit lover Lisa's hand in marriage. But Herman's addiction to gambling quickly becomes an uncontrollable and all-consuming obsession. Convinced that Lisa's grandmother, an elderly countess, knows the mysterious winning combination of cards, she dies of fright as he threatens her with a pistol. It's not long before Lisa and then Herman himself are both dead by their own hands.

Tchaikovsky: The Queen of Spades, Op.68

Hermann: Arsen Soghomonyan, tenor

Count Tomski: Vladislav Sulimsky, baritone

Prince Yeletki: Boris Pinkhasovich, baritone

Countess: Doris Soffel, contralto

Lisa: Elena Bezgodkova, soprano

Polina: Aigul Akhmetshina, mezzosoprano

Chapilitski: Christophe Poncet de Solages, tenor

Governess: Margarita Nekrasova, contralto

Surin: Anatoli Sivko, baritone

Chekalinsky: Jevgenij Akimov,

Narumov: Mark Kurmanbayev, bass

Slovakian Philharmonic Choir

Cantus Juvenum Karlsruhe Youth Choir

Berlin Philharmonic Orchestra

Kirill Petrenko, conductor

Concert given on 24.04.2022, at the Philharmonie, Berlin.

Kirill Petrenko and the Berlin Philharmonic with Tchaikovsky's drama of self-destruction.

The Rise And Fall Of The City Of Mahagonny20080920A concert performance of Kurt Weill and Berthold Brecht's anti-capitalist masterpiece, The Rise and Fall of the City of Mahagonny given by the Royal Scottish National Orchestra conducted by HK Gruber. Recorded at the Usher Hall on August 8th at the opening concert of the Edinburgh International Festival. Introduced by Donald McLeod who also talks to the conductor about the context of the piece and Weill and Brecht's influence on subsequent operatic developments.

CAST

Leokadja Begbick: Susan Bickley (mezzo soprano)

Fatty: Jeffrey Lloyd-Roberts (tenor)

Trinity Moses: Alan Opie (baritone)

Jenny: Giselle Allen (soprano)

Jimmy Mahoney: Anthony Dean Griffey (tenor)

Jack Smith, Toby Higgins: Peter Hoare (tenor)

Bill: Stephan Loges( baritone)

Joe: Brindley Sherratt (bass)

Hannah Gordon - Narrator

Ladies of the Royal Scottish Academy of Music and Drama

Edinburgh Festival Chorus

Christopher Bell - chorus master

HK Gruber - conductor

SYNOPSIS

ACT I

A battered truck breaks down; its passengers are Leokadja Begbick, Fatty and Trinity Moses, three fugitives from justice who are charged with slave-trading and fraud. Realizing that it will be easier to extract gold from men than from the rivers they find themselves in, they decide to found a city of pleasure: it will be called Mahagonny, a spiderweb to attract men to have fun (as there is nothing else dependable in life). News of Mahagonny spreads; it attracts Jenny Smith, a prostitute, and her friends (the ‘sharks'). Singing the Alabama Song, they set out in pursuit of whisky, dollars and pretty boys. Fatty and Moses go to the big industrial cities to recruit the disillusioned to join them in their city of gold. Four Alaskan lumberjacks (Jim Mahoney and his friends Jack, Bill and Joe), who have shared hard times and made their fortunes, look forward to the pleasures of Mahagonny. Begbick introduces herself and tries to interest them in her girls. Haggling ensues, and Jim chooses Jenny; they get to know one another. Mahagonny suffers a financial recession: people are leaving in droves and crime is high; the price of whisky is falling. Begbick suggests going back to ‘civilization' but she is still a hunted woman. Jim also wants to leave but is dissuaded by his friends. In front of the Hotel Rich Man, the men of Mahagonny are smoking and drinking and listening to a pianist playing ‘The Maiden's Prayer'. Jim says that Mahagonny has become too peaceful and dull. As if in answer to his complaint, the city is threatened by a hurricane. Jim compares the savagery of Nature with the greater destructiveness of Man. He protests that there are too many regulations in the city and that society should be based on permissiveness: ‘In this world you must make your own bed'.

ACT II

The hurricane miraculously bypasses Mahagonny. Jim's theory must be right: every man for himself. They will devote themselves to the four pleasures of life: eating, lechery, fighting and drinking. At groaning tables, the men gorge and Jack eats himself to death. Then Begbick presides over the Mandalay Brothel and the men queue for Jenny and the other prostitutes. Jim bets all his money on Joe in a boxing match between Joe and Trinity Moses, but Joe is killed. To drown his sorrows, Jim buys rounds of drinks for everyone, but their drunken games damage Begbick's furnishings. When Begbick demands payment for that and for the drinks, Jim turns to Jenny for a loan; she throws his own selfish philosophy back at him and refuses. Jim is led off to prison.

ACT III

Jim dreads the dawning of the next day. In the court room Moses sells tickets for the forthcoming trials. He is prosecutor, Fatty the defence lawyer and Begbick the judge. The first defendant, Toby Higgins, is acquitted of murder, having handed over money to the court. Jim is summoned and led in by Billy, from whom he tries to borrow money so that he too can bribe his way off the charges. Billy refuses. Jim is accused of violating Jenny, being an accessory to the murder of Joe, inciting the crowd on the night of the hurricane by singing illegal songs, and failing to pay Begbick for drinks and criminal damage. This last charge is deemed the most serious and he is sentenced to death. As Jim is led off to await execution, everyone dreams of another city, sunny Benares, only to learn that it has been destroyed by an earthquake. Now, they wonder, where else might they go? Jim says goodbye to Jenny, who declares herself his widow. He tells the people of Mahagonny to live life to the full as there is no afterlife. They describe a visit by God to Mahagonny; God cannot condemn the inhabitants to Hell as they are there already. Jim is executed. While the city burns, there are demonstrations and conflicts between groups of protesters. Jim's possessions are paraded like sacred relics as the various processions merge, the marchers proclaiming ‘Nothing will help him or us or you now!'.

©Alison Leighton

HK Gruber conducts the RSNO in Weill and Brecht's anti-capitalist political satire.

The Royal Opera House Christmas Concert20201226From the Royal Opera House, Covent Garden, in London, a Christmas Concert recorded earlier this week with highlights from Rossini's Cenerentola, Puccini's La Boheme, Mozart's The Magic Flute and Humperdinck's Hansel and Gretel, plus Vaughan Williams's Fantasia on Christmas. Mark Wigglesworth conducts a starry cast of soloists including the soprano Jennifer Davis, the mezzo-soprano Hanna Hipp, baritones Roderick Williams, Ross Ramgobin, Gyula Nagy, Germကn E. Alcကntara and Dominic Sedgwick, as well as the bass Jeremy White, all accompanied by the orchestra and chorus of the Royal Opera House.

Presented by Kate Molleson.

Rossini: La Cenerentola, Overture

Humperdinck: Hansel and Gretel, Act 2

Puccini: La Boheme, Act 2 (from Musetta's entrance)

Vaughan Williams: Fantasia on Christmas

Mozart: The Magic Flute (Excerpts)

Jennifer Davis, soprano

Hanna Hipp, mezzo-soprano

Roderick Williams, baritone

Ross Ramgobin, baritone

Gyula Nagy, baritone

Germကn E. Alcကntara, baritone

Dominic Sedgwick, baritone

Jeremy White, bass

Orchestra and Chorus of the Royal Opera House, Covent Garden

Mark Wigglesworth, conductor

Highlights from operas by Rossini, Puccini, Mozart, Humperdinck and other seasonal music.

The Silver Tassie20181110Live from the Barbican Hall, the BBC Symphony Orchestra presents Mark-Anthony Turnage's The Silver Tassie. Ryan Wigglesworth conducts an all-star British cast and the BBC Singers.

Presented by Andrew McGregor

Live from the Barbican Hall, London

Mark-Anthony Turnage: The Silver Tassie (Libretto by Amanda Holden after the play by Sean O'Casey)

Act I

Act II

8.05 Interval

8.25

Act III

Act IV

Harry - Ashley Riches (baritone)

Susie - Sally Matthews (soprano)

Croucher..... Brindley Sherratt (bass)

Mrs Foran..... Claire Booth (soprano)

Teddy - Marcus Farnsworth (baritone)

Barney - Alexander Robin Baker (baritone)

Jessie..... Louise Alder (soprano)

Mrs Heegan .....Susan Bickley (mezzo-soprano)

Sylvester - Mark Le Brocq (tenor)

Dr Maxwell/Staff Officer - Anthony Gregory (tenor)

Corporal - Benedict Nelson (baritone)

Finchley Children's Music Group

Kenneth Richardson (Director)

Ryan Wigglesworth (Conductor)

Sean O'Casey's provocative 1928 play The Silver Tassie pries open the wound of the First World War and peers unblinkingly into its horrifying depths. The futility of war and its painful human cost is conveyed with even greater intensity in Mark-Anthony Turnage's beautifully crafted operatic adaptation, which explores what happens when young, football-mad Harry comes back from the war in a wheelchair.

An all-star British cast has been assembled including Susan Bickley, Sally Matthews and Louise Alder, with rising young baritone Ashley Riches as Harry, for this long-overdue revival of the opera, premiered in 2000 at ENO.

SYNOPSIS

The Silver Tassie, Turnage's second acknowledged opera, is on a much larger scale than his first, Greek. Based on the play by Sean O'Casey written in 1927, it is set at the time of the Great War (World War I) and its title, referring to a footballing trophy, comes from a Scottish song text by Robert Burns ‘Go fetch to me a pint o' wine, an' fill it in a silver tassie; that I may drink before I go, a service to my bonnie lassie'.

Harry Heegan (23) is a local hero - a soldier on leave from the Great War, and a renowned footballer. An only child, he lives with his parents (both in their 60s), having grown up close to the girl next door, Susie. In the flat above is a volatile young couple, Mrs Foran and her husband Teddy. The other main roles are Harry's glamorous girlfriend, Jessie, and his best friend, Barney. Triumphant after a footballing success and winning the cup (‘The Silver Tassie') for his team, he leaves for the front. The second act, a darkly expressionist vision of war, is cast for male voices (boys and men) only. In the second half of the opera, Harry is in a wheelchair, Teddy is blind and Jessie has deserted Harry for Barney. The final act, in which dance music plays almost continuously, brings the tragi-comedy to a poignant and moving conclusion, as Harry and Teddy set off to face the future.

Live from the Barbican Hall, the BBC SO presents Mark-Anthony Turnage's The Silver Tassie.

The Skating Rink20181006Tonight's Opera on 3 is the world premiere of David Sawer's The Skating Rink, recorded over the summer at Garsington Opera. Based on a novel by the Chilean writer Roberto Bolaကo, the opera is set in a fictional Spanish seaside town. At the centre of the action is a beautiful ice skater, Nuria, the two men for fall for her, and the ice rink secretly built for her to train in. Part love story, part murder mystery, the opera is told by a trio of narrators, and includes real ice skating. Garry Walker conducts Lauren Zolezzi as Nuria, and Grant Doyle, Sam Furness and Ben Edquist as the men who get tangled up in a relationship which ends with a death on the ice. Andrew McGregor talks to David Sawer about the process of composition, and is joined in the box by music critic Fiona Maddocks.

Enric - Grant Doyle (baritone)

Gaspar - Sam Furness (tenor)

Remo - Ben Edquist (baritone)

Carmen - Susan Bickley (mezzo)

Caridad - Claire Wild (soprano)

Nuria - Lauren Zolezzi (soprano)

Rookie - Alan Oke (tenor)

Pilar - Louise Winter (mezzo)

Karaoke singer - Steven Beard (actor-singer)

Garsington Opera Orchestra

Garry Walker (conductor)

SYNOPSIS RORY MULLARKEY

Place: A small seaside town on the Costa Brava, Spain

Time: Towards the end of the summer, early 1990s

ACT ONE: Gaspar

Gaspar, a young Mexican aspiring poet, works as a night watchman. His boss, Remo Moran, a successful Chilean businessman, orders him to evict two female vagrants, Caridad and Carmen, who have been staying there for free. Gaspar is reluctant, he is attached to Caridad, but he obeys Remo in order to keep his job. As time passes Gaspar continues to think about Caridad. He goes to look for her and finds Carmen, whom he follows through a dreamlike fiesta, until he spots her arguing with a presumed lover - Rookie. He then notices Caridad in the crowd, and follows her to the Palacio Benvingut,. Inside the mansion he discovers a secret ice rink, where a beautiful young figure skater, Nuria, is skating, watched by an older man, Enric. Gaspar sees Caridad in the shadows, holding a knife.

ACT TWO: Remo

A jump back in time, to follow events from Remo's point of view.

Remo is tasked by Enric, with removing all vagrants from his campsite. He ignores the order and devotes his energy instead to Nuria, the skater, who has recently become his girlfriend. Nuria's funding has been cut and she has nowhere to train. The couple take a romantic swim but run into Enric on the beach. Remo sees that Enric is jealous of his relationship with Nuria. Carmen and Caridad are evicted from the campsite. Nuria begins to spend less and less time with Remo. Unable to find her, he turns to drink. In a seafront bar one evening, he meets Carmen and Rookie. Carmen entertains the patrons with her singing, and hints that she has information with which she might blackmail Enric. Gaspar arrives at Remo's room and tells him he's found Nuria, at the Palacio Benvingut. Remo rushes there, discovers the skating rink, and makes a gruesome discovery: the body of Carmen, stabbed to death on the ice.

ACT THREE: Enric

From the beginning but from Enric's perspective: Pilar, the town's socialist mayor, tasks Enric with ridding the area of vagrants. Enric is obsessed with Nuria. After finding out about the loss of her funding, he has embezzled a large amount of public money and built her a secret ice rink in the Palacio Benvingut. He hopes that this grand gesture will make her fall in love with him. He goes with her to the ice rink every afternoon and watches her train. He dreams that he himself can figure skate. When Enric runs into Remo and Nuria together on the beach, his hopes of romance are dashed. Carmen and Caridad are evicted from the campsite. Nuria falls over while training. She senses Enric's jealousy and assures him her relationship with Remo is just about sex. Enric goes out onto the ice and attempts to dance for her but is startled by a noise in the shadows.

Carmen visits Enric in his office. She and Caridad stumbled upon the secret ice rink while searching for a new place to stay and Carmen now hopes to blackmail Enric in return for her silence. Enric gives Carmen some money and she goes, warning Enric she wants more. Nuria accidentally reveals the existence of the ice rink to Pilar. Enric attempts to maintain his composure by dancing with Nuria but is obliged to admit that he has embezzled funds when Pilar confronts him. Remo arrives with the police, who arrest Enric for Carmen's murder. Enric protests his innocence as he is escorted away.

CODA

Gaspar finds Caridad on the ice, clutching a bloody knife. Caridad swears she didn't murder Carmen. The pair make plans to flee to Mexico. Nuria visits Enric in prison. He has been convicted of embezzlement and sentenced to two years. Nuria promises to wait for him. Remo meets Rookie on the beach. The identity of the murderer is revealed.

The world premiere of David Sawer's The Skating Rink from Garsington Opera.

Thomas Ades's The Exterminating Angel20170527Tom Service presents Thomas Ad耀s's new opera from the Royal Opera House, Covent Garden. Based on an iconic film by Buကuel, the plot concerns a group of people who are invited to a post-opera dinner. When it's time to leave they find that they can't, despite there being nothing physical stopping them. The social niceties quickly break down as the guests begin to panic, and they have a death and a suicide pact on their hands. Will they work out how to defeat The Exterminating Angel and escape?

Thomas Ad耀s himself conducts a truly stellar line up of soloists including Anne Sofie von Otter, John Tomlinson, Thomas Allen, Christine Rice and Sally Matthews. Tom Service is joined in the box by music critic Fiona Maddocks to talk about Ad耀s's unique soundworld including Wagner tubas, ondes martenot, and a lot of percussion. Plus the composer talks about the gestation of his new work and the singers discuss the challenges of the virtuoso writing.

Leonora.....Anne Sofie von Otter (mezzo-soprano)

Blanca.....Christine Rice (mezzo-soprano)

N bile.....Charles Workman (baritone)

Luc퀀a.....Amanda Echalaz (soprano)

Raúl.....Frederic Antoun (tenor)

Doctor.....John Tomlinson (bass)

Roc.....Thomas Allen (baritone)

Francisco.....Iestyn Davies (countertenor)

Eduardo.....Ed Lyon (tenor)

Leticia.....Audrey Luna (soprano)

Silvia.....Sally Matthews (soprano)

Beatriz.....Sophie Bevan (soprano)

Lucas.....Hubert Francis (tenor)

Enrique.....Thomas Atkins (tenor)

Seကor Russell.....Sten Byriel (bass)

Colonel.....David Adam Moore (baritone)

Julio.....Morgan Moody (bass-baritone)

Pablo.....James Cleverton (baritone)

Meni.....Elizabeth Atherton (soprano)

Camila.....Anne Marie Gibbons (mezzo-soprano)

Padre Sanson.....Wyn Pencarreg (baritone)

Royal Opera House Chorus

Royal Opera House Orchestra

Thomas Ad耀s (conductor).

From the Royal Opera House, Thomas Ades conducts his opera The Exterminating Angel.

Tippett's The Midsummer Marriage20210925Tippett's great opera The Midsummer Marriage, with the LPO and Edward Gardner, live from the Royal Festival Hall, London.

Presented by Andrew McGregor

Tippett: The Midsummer Marriage: Act 1

19.35: Interval

20:00: Tippett: The Midsummer Marriage: Act 2

20.35: Interval

20.55: Tippett: The Midsummer Marriage: Act 3

Mark: Robert Murray

Jenifer: Rachel Nicholls

King Fisher: Ashley Riches

Bella: Jennifer France

Jack: Toby Spence

Sosostris: Claire Barnett-Jones

She-Ancient: Susan Bickley

He-Ancient: Joshua Bloom

London Philharmonic Choir

English National Opera Chorus

London Philharmonic Orchestra

Edward Gardner, conductor

The Midsummer Marriage is Tippett's answer to Mozart's The Magic Flute, an opera rich in symbolism and psychology, trials and transformations. Robert Murray and Rachel Nicholls are Mark and Jenifer, Jennifer France and Toby Spence, Bella and Jack, two couples tested by a series of supernatural interventions on the shortest night of the year.

With its modern myth of hope and renewal clad in deliriously beautiful music, it's an ideal way for Edward Gardner to make his debut as the LPO's Principal Conductor, as the LPO joins forces with the ENO Chorus, London Philharmonic Choir and a world-class, all-British cast for this landmark concert performance.

Live from London's Southbank Centre, Tippett's The Midsummer Marriage.

Presented by Andrew McGregor, with expert commentary by Joanna Bullivant and Oliver Soden.

SYNOPSIS:

Act 1 (Morning)

It is the dawn of midsummer day. Young people gather in a wood for the wedding of young ?royal? couple, Mark and Jenifer. Startled by strange, distant music, they hide as a group of dancers comes from the temple, led by two ?Ancients?, named for characters in Shaw's Back to Methuselah. Mark arrives, and calls for a new dance in celebration of his wedding, but to teach Mark the perils of disrupting tradition, the He-Ancient trips the attendant, Strephon (perhaps the personification of Mark's ?shadow?). Mark sings rapturously of his happiness, but when Jenifer arrives, she is dressed for a journey rather than a wedding and ascends the stone staircase to disappear from sight. Jenifer's father, King Fisher, storms on: he is a business tycoon. King Fisher is accompanied by his secretary, Bella, and is in a fury at Jenifer's elopement. Mark escapes through the gates, descending into the cave behind. The Ancients refuse to open the gates for King Fisher, who is unable to bribe the chorus to come to his aid. Bella suggests that her boyfriend, Jack, a mechanic, might force them open, but Jack's attempts are hindered by a warning from a disembodied voice. Suddenly Jenifer and Mark reappear, transformed. Each sings of their experiences, but they find themselves again in disagreement: this time, Jenifer enters the gates and Mark climbs the staircase, leaving King Fisher protesting and the chorus laughing in the sunshine.

Act 2 (Afternoon)

Strephon begins a dance but is interrupted by the chorus. Separating from the group, Bella proposes to Jack, and they sing a lullaby to their future child. Then come the first three of the opera's four Ritual Dances, each of which combines a season with an element (The Earth in Autumn, The Waters in Winter, The Air in Spring). Strephon, variously transfigured as three hunted animals (a hare, a fish, a bird) is pursued in each by a female dancer (as a hound, an otter, and a hawk). The bird's plight frightens Bella, who clings to Jack. She straightens her hair, puts on her make-up, and they run off to join the others.

Act 3 (Evening and Night)

The chorus is celebrating after a party, some rather the worse for wear. King Fisher arrives with a gun. In the hopes of finding Mark and Jenifer he has brought a clairvoyante, Madame Sosostris. Jack pretends to be Sosostris but the true clairvoyante eventually appears, more than life-size, swathed in swirling black veils. She sings of the horrible burden of her oracular powers, and describes a vision of Mark and Jenifer making love. King Fisher cannot bear to listen and destroys her crystal ball, demanding that Jack strip away Sosostris's veils. Jack refuses and he and Bella leave the opera for their life together. King Fisher steels himself to unveil Sosostris and reveals the bud of an enormous flower, which blooms, petal by petal, to show Mark and Jenifer entwined within. Almost blinded by the radiant sight, he crumples, dead, to the ground. As in legend, the death or sacrifice of the fisher king becomes part of an age-old fertility rite, and the fourth Ritual Dance (Fire in Summer) can now take place. Mark, Jenifer, and Strephon are all enclosed by the petals of the flower, which bursts into flame. The moonlight gives way to the dawn and the morning mist: it is midsummer day once again. Mark and Jenifer emerge, dressed for a wedding. All go off into the distance, leaving the stage flooded with light, and the temple and buildings revealed as nothing more than ruins.

© ROH

Live from London's Southbank Centre: Tippett's The Midsummer Marriage.

It is the dawn of midsummer day. Young people gather in a wood for the wedding of young ‘royal' couple, Mark and Jenifer. Startled by strange, distant music, they hide as a group of dancers comes from the temple, led by two ‘Ancients', named for characters in Shaw's Back to Methuselah. Mark arrives, and calls for a new dance in celebration of his wedding, but to teach Mark the perils of disrupting tradition, the He-Ancient trips the attendant, Strephon (perhaps the personification of Mark's ‘shadow'). Mark sings rapturously of his happiness, but when Jenifer arrives, she is dressed for a journey rather than a wedding and ascends the stone staircase to disappear from sight. Jenifer's father, King Fisher, storms on: he is a business tycoon. King Fisher is accompanied by his secretary, Bella, and is in a fury at Jenifer's elopement. Mark escapes through the gates, descending into the cave behind. The Ancients refuse to open the gates for King Fisher, who is unable to bribe the chorus to come to his aid. Bella suggests that her boyfriend, Jack, a mechanic, might force them open, but Jack's attempts are hindered by a warning from a disembodied voice. Suddenly Jenifer and Mark reappear, transformed. Each sings of their experiences, but they find themselves again in disagreement: this time, Jenifer enters the gates and Mark climbs the staircase, leaving King Fisher protesting and the chorus laughing in the sunshine.

Tosca From The Met20180127Tonight's opera from the Met is Puccini's verismo opera Tosca, which tells the tale of the love between Tosca and Cavaradossi pitted against the plotting of the evil chief of police, Baron Scarpia. A top cast includes Sonya Yoncheva as Tosca and Vittorio Grigolo as her doomed lover Cavaradossi. Emmanuel Villaume conducts.

Tosca - Sonya Yoncheva (soprano)

Cavaradossi - Vittorio Grigolo (tenor)

Scarpia - Željko Lu?i? (baritone)

Sacristan - Patrick Carfizzi (bass-baritone)

Angelotti - Christian Zaremba (bass)

Spoletta - Brenton Ryan (tenor)

Sciarrone - Christopher Job (bass-baritone)

A Jailer - Richard Bernstein (bass)

A Shepherd Boy - Davida Dayle (soprano)

Metropolitan Opera Chorus and Orchestra

Emmanuel Villaume (conductor).

Tonight's opera from the Met is Puccini's Tosca with Sonya Yoncheva and Vittorio Grigolo.

Tosca From The Met20190406Tonight's opera from the Met is Puccini's verismo opera Tosca, which tells the tale of the love between Tosca and Cavaradossi pitted against the plotting of the evil chief of police, Baron Scarpia. A top cast includes Jennifer Rowley as Tosca and Joseph Calleja as her doomed lover Cavaradossi. Carlo Rizzi conducts.

Presented by Mary Jo Heath, in conversation with Ira Siff.

Tosca......Jennifer Rowley (Soprano)

Cavaradossi.....Joseph Calleja (Tenor)

Scarpia.....Wolfgang Koch (Baritone)

Sacristan.....Philip Cokorinos (Tenor)

Spoletta.....Tony Stevenson (Tenor)

Sciarrone.....Bradley Garvin (Bass)

Cesare Angelotti.....Oren Gradus (Bass)

Jailer.....Paul Corona (Bass)

Shepherd Boy.....Davida Dayle (Soprano)

New York Metropolitan Opera Chorus

New York Metropolitan Opera Orchestra

Carlo Rizzi (Conductor)

Tosca, from the Metropolitan Opera House, New York.

Turnage's Anna Nicole20110402Mark Anthony Turnage's Anna Nicole

From the Royal Opera House, Covent Garden

Presented by Suzy Klein

Written in partnership with librettist Richard Thomas, the creator of Jerry Springer: the Opera, Turnage's critically acclaimed new opera takes a close look at the life of Anna Nicole Smith, the Playboy bunny who married an octogenarian billionaire, only to discover that 'there's no such thing as a free ranch'.

Anna Nicole - Eva-Maria Westbroek (Soprano)

Old Man Marshall - Alan Oke (Tenor)

The Lawyer Stern - Gerald Finley (Bass)

Virgie - Susan Bickley (Mezzo soprano)

Cousin Shelley - LorÀ(c) Lixenberg (Mezzo soprano)

Larry King - Peter Hoare (Tenor)

Aunt Kay - Rebecca de Pont Davies (Soprano)

Blossom - Allison Cook (Mezzo soprano)

Doctor - Andrew Rees (Baritone)

Billy - Grant Doyle (Baritone)

Daddy Hogan - Jeremy White (Bass)

John Parricelli (Guitarist)

John Paul Jones (Bass Guitarist)

Peter Erskine (Drummer)

Orchestra and Chorus of the Royal Opera House,

Conductor - Antonio Pappano.

From the Royal Opera House, Suzy Klein presents the world premiere of Anna Nicole.

Turnage's Greek20140217Mark-Anthony Turnage's Greek, in Michael McCarthy's award-winning production for Music Theatre Wales, recorded at the Linbury Studio Theatre at the Royal Opera House, Covent Garden.

First performed in 1988, Greek was Turnage's first opera and it confirmed him as a major voice on the British contemporary music scene. With Turnage's typically muscular fusion of classical and jazz influences, and a hard-hitting libretto adapted from Steven Berkoff's verse play of the same name, the opera is a version of the Oedipus story, relocated to the East End of London. Oedipus, the tragic hero who kills his father and marries his mother, becomes Eddy, a young man who tries to escape his fate.

It's presented by Sara Mohr-Pietsch, who talks to Mark-Anthony Turnage in between the two acts.

Eddy - Marcus Farnsworth (Baritone)

Eddy's Mum/Waitress/Sphinx - Sally Silver (Soprano)

Eddy's Sister/Waitress who becomes Eddy's Wife/Sphinx - Louise Winter (Mezzo-soprano)

Eddy's Dad/Cafe Manager/Chief of Police - Gwion Thomas (Baritone)

The Music Theatre Wales Ensemble

Michael Rafferty (conductor).

Mark-Anthony Turnage's Greek in Music Theatre Wales' production from the Royal Opera House

Un Ballo In Maschera20180512Donald Macleod presents a broadcast from Leeds Grand Theatre of Verdi's 3-act masterpiece 'Un Ballo in Maschera' (A Masked Ball) in Tim Albery's new production for Opera North. He's joined by the expert in 19th century opera Dr Flora Willson, Lecturer in Music at King's College London.

The opera is based, somewhat loosely, on the real life assassination of King Gustav III of Sweden in 1792. To beat the censors Verdi had to agree to transposing the action from Stockholm to Boston. This production, however, follows the modern trend to bring Un Ballo in Maschera back to Europe once again. King Gustavo is in love with the wife of his friend and advisor, Count Anckarstrom. Ulrica, the fortune-teller, informs the King that the next person to shake hands with him will be the person who will betray and kill him. When subsequently Anckarstrom walks in and shakes his hand King Gustav pours scorn on the prophesy since he knows his friend would not murder him. So he thinks.

The cast is led by the brilliant Mexican tenor Rafael Rojas.

King Gustavus - Rafael Rojas (tenor)

Count Anckarstroem - Phillip Rhodes (baritone)

Amelia - Adrienn Miksch (soprano)

Ulrika Arvidson - Patricia Bardon (mezzo-soprano)

Oscar - Tereza Gevorgyan (soprano)

Count Ribbing - Dean Robinson (bass)

Count Horn - John Savournin (bass)

Christian - Richard Mosley-Evans (bass)

Opera North Orchestra & Chorus

Richard Farnes (Conductor).

Opera North's new production of Verdi's A Masked Ball from Leeds Grand Theatre.

Vaughan Williams's The Pilgrim's Progress2012112420221015 (R3)Presented by Andrew McGregor in conversation with Oliver Soden.

John Bunyan's allegory The Pilgrim's Progress was first read to Vaughan Williams when he was a child in the 1870s, and the gripping story and vivid imagery stayed with him throughout the rest of his life culminating in his opera which he finished in 1951, seventy years later.

Vaughan Williams's own religious views were complex - as the son of an Anglican vicar and a relative of CHARLES DARWIN they probably couldn't be anything else. When he was an undergraduate he professed to being an atheist but always maintained a spiritual side even if he wasn't a practising Christian. He wrote a Mass and took on the job of editing the English Hymnal and included his own hymn tune 'York' in the opening bars of the Pilgrim's Progress. Vaughan Williams wrote his own libretto and in his hands Bunyan's tale becomes universal - Christian becomes Pilgrim and all references to Christ are missing from what the composer said was a 'morality' rather than an opera, in doing so Bunyan's Christian story becomes something much more universal.

Bunyan's tale is a dream of a quest with Bunyan himself as the dreamer and the pilgrim his alter ego who overcomes trials and tribulations on the real and symbolic journey from his home in the 'City of Destruction' to the 'Celestial City'. Along the way he receives guidance from the Evangelist, meets objections from his four neighbours Obstinate, Pliable, Mistrust and Timorous, is given succour at the House Beautiful before fighting and defeating the fiend Apollyon. He is imprisoned after false evidence is presented against him when he refuses to be seduced by the flesh and material delights of Vanity Fair. Escaping he continues on his way, Mr and Mrs By-Ends refuse to join him as they will only continue when the path is easy, Pilgrim pushes on aided by 'The Shepherds of the Delectable Mountains' who point him straight at the gates of the Celestial City where Christian finds eternal salvation.

Yoshi Oida's acclaimed production for English National Opera was set in Bunyan's prison - with baritone Roland Wood playing the roles of both Pilgrim and John Bunyan and Bunyan's fellow prisoners taking on all the other parts from the serene spiritual guides of the House Beautiful through to the gaudy pleasure seekers of Vanity Fair.

Pilgrim/John Bunyan - Roland Wood (baritone)

Evangelist/Watchful/First Shepherd - Benedict Nelson (baritone)

Obstinate/Herald/Lord Hate-Good - George von Bergen (baritone)

Interpreter/Usher/Mr By-Ends/Second Shepherd - Timothy Robinson (tenor)

Timorous/Lord Lechery/Messenger - Colin Judson (tenor)

Pliable/Superstition/Celestial Voice 1 - Alexander Sprague (tenor)

Mistrust/Apollyon/Envy/Third Shepherd - Mark Richardson (bass-baritone)

First Shining One/Madam Wanton/Voice of a Bird/Celestial Voice 3 - Eleanor Dennis (soprano)

2nd Shining One/ Branch-Bearer/ Malice - .Aoife O'Sullivan (soprano)

Third Shining One/Cup-bearer/Pickthank/Woodcutter's Boy - Kitty Whately (mezzo-soprano)

Madam Bubble/Mrs By-Ends/Celestial Voice 2 - Ann Murray (mezzo-soprano)

Chorus and Orchestra of English National Opera

MARTYN BRABBINS, conductor

Vaughan Williams at 150: The Pilgrim's Progress, recorded at the ENO in 2012.

Verdi 200, Nabucco20130608Verdi 200:

BBC Radio 3's Verdi 200 Season continues with Nabucco, starring Placido Domingo singing the title role for the very first time anywhere in the world and Liudmyla Monastryska in the dazzling role of Abigaille, in a new production by Daniele Abbado recorded last month at the Royal Opera House, Covent Garden. Domingo sings yet another baritone role as he takes on Nebuchadnezzar, King of the Babylonians, in the biblical story which so much resounded in the hearts of Italians at the time. The fight of the Hebrews against oppression and exile took a different twist in a tale of love and patriotism, represented in the celebrated chorus 'Va Pensiero', one of Verdi's most famous pieces. Nicola Luisotti conducts the chorus and orchestra of the Royal Opera House.

Presented by Martin Handley.

Nabucco.....Placido Domingo (baritone)

Abigaille.....Liudmyla Monastryka (soprano)

Zaccaria.....Vitalij Kowaljow (bass)

Fenena.....Marianna Pizzolato (mezzo-soprano)

Ismaele.....Andrea Care (tenor)

Anna.....Dusica Bijelic (soprano)

Abdallo.....David Butt Philip (tenor)

High Priest of Baal.....Robert Lloyd (bass)

Chorus and orchestra of the Royal Opera House, Covent Garden

Nicola Luisotti, conductor.

Placido Domingo stars in a performance of Verdi's Nabucco, given at the Royal Opera House.

Verdi 200: Don Carlo20131007Part of Radio 3's Verdi 200 celebrations, Andrew McGregor presents a performance of Verdi's opera Don Carlo recorded at the Royal Opera House conducted by Antonio Pappano, starring Jonas Kaufmann and Anja Harteros

Don Carlos - Jonas Kaufmann (tenor)

Elisabeth - Anja Harteros (soprano)

Princess Eboli - B退atrice Uria-Monzon (mezzo-soprano)

Rodrigo - Mariusz Kwiecien (baritone)

Philippe II - Ferruccio Furlanetto (bass)

Grand Inquisitor - Eric Halfvarson (bass)

Charles V - Robert Lloyd (bass)

Count of Lerma - Pablo Bemsch (tenor)

Tebaldo - Dusica Bijelic (soprano)

Royal Opera Chorus

Orchestra of the Royal Opera House

This historical drama is based on Friedrich von Schiller's play 'Don Carlos, Infant of Spain' and is performed here in the five-act Italian version. Don Carlo, Prince of Asturias - sung by tenor Jonas Kaufmann, is the Spanish heir to the throne but in order to secure a peace treaty he has to see his betrothed lady, Elisabeth de Valois, soprano Anja Harteros, marry his own father, King Philip II. The opera is full of dramatic elements in addition to this love triangle, including the sacrifice of a deep friendship, mistaken identities, and a huge struggle between church and state. The power of Verdi's music is spell-binding and is perhaps at its most intense during the famous confrontation in Act IV between the King - sung here by bass Ferruccio Furlanetto - and the Grand Inquisitor, the bass Eric Halfvarson. Antonio Pappano conducts a marvellous cast, with the Chorus and Orchestra of the Royal Opera House, in a performance one critic called 'an evening of pure vocal pleasure.'.

A performance of Verdi's opera Don Carlo as part of Radio 3's Verdi 200 celebrations.

Verdi 200: Don Carlos20131125Verdi 200:

John Shea presents the 1886 five act French version of Don Carlos with Placido Domingo in the title role and Katia Ricciarelli as Elisabeth. With background from Flora Willson.

Don Carlos in its complete form is Verdi's longest opera. It was written for the Paris Opera whose resources were considerable with long rehearsals, opportunities for large scale production and a large chorus and orchestra. Not to mention the financial rewards for the composer. Initially Verdi was uninterested in the subject and it was 15 years before he changed his mind when he was asked to compose a large scale opera for Napoleon III's Universal Exhibition in 1867. The opportunity to create a success in a city where Meyerbeer was the king of opera was a great enticement.

The libretto was based on the play by Schiller but Verdi the theatrical genius knew it needed more and asked his librettists Mery and du Locle to compose a duet between Carlos and Rodrigo and between the King and the Grand Inquisitor. For spectacle there was the Act 3 auto da fe scene with its executions.

At the centre of the story are three sets of relationships: between Elisabeth who wants to marry Carlos but ends up with his father the King, between Eboli the former mistress of Philip but now in love with Carlos and the friednship between Carlos and Posa who is also loved and admired by the King.

Elisabeth de Valois - Katia Ricciarelli (Soprano)

La Princesse Eboli - Lucia Valentini Terrani (Mezzo-soprano)

Don Carlos - Placido Domingo (Tenor)

Rodrigue Marquis de Posa - Leo Nucci (Baritone)

Philippe II Roi d'Espagne - Ruggero Raimondi (Bass)

Le Grand Inquisiteur - Nicolai Ghiaurov (Bass)

A Monk - Nikita Storoyev (Bass)

Thibault - Ann Murray (Mezzo-soprano)

Le Comte de Lerme - Tibere Raffalli (Tenor)

The Royal Herald - Antonio Savastano (Tenor)

Voice from High - Arleen Auger (Soprano)

La Scala Chorus

La Scala Orchestra

Conductor Claudio Abbado.

Verdi 200: Claudio Abbado conducts the original French version of Don Carlos.

Verdi 200: Il Trovatore20131012Verdi 200: Il Trovatore recorded at the Bavarian State Opera in Munich earlier this year with Jonas Kaufmann making his debut in the role of Manrico and Anja Harteros as Leonora. The production was by Olivier Py and drew a lot of criticism for its modern approach.

Jonas Kaufmann one of the world's leading tenors continues to expand his repertoire into some of the heavier Italian roles with Manrico, the troubadour of the opera's title. He's joined once again by one of his regular collaborators, the German soprano Anja Harteros, as Leonora, the subject of his affection.

Il Trovatore was one of Verdi's most successful operas even during his lifetime. In the three years following its premiere in 1853 it received more than 200 productions worldwide. And today it remains one of the most popular operas in the repertoire. He wrote it during a period which also saw the composition of Rigoletto and La Traviata, so by the time Verdi was forty he was at the height of his powers.

The story is sometimes parodied for the melodramatic and seemingly outrageous nature of some of the plot. Salvatore Cammarano wrote the libretto but died before its completion so Verdi found a new collaborator in the Neapolitan poet Leone Bardare.

Manrico is an enemy of the Count di Luna, a nobleman and soldier. They are also both in love with Leonora a noblewoman who returns Manrico's love. A gypsy, Azucena, is also the Count's enemy as his father killed her mother. She wants to avenge her mother's death so years before has abducted one of the Count's sons. This is Manrico who thinks that Azucena is his mother, though he learns she is not during the opera.

Manrico and Azucena are eventually imprisoned by the Count and Leonora offers to give herself to him to secure their release. However she takes poison and dies in Manrico's arms. When Di Luna finds her dead he orders Manrico's execution and he's taken away. Only then does Azucena tell Di Luna that Manrico was actually his brother.

Manrico.....Jonas Kaufmann (tenor)

Leonora.....Anja Harteros (soprano)

Count di Luna.....Alexey Markov (baritone)

Azucena.....Elena Manistina (mezzo-soprano)

Ferrando.....Kwangchul Youn (bass)

Inez.....Golda Schultz (soprano)

Ruiz.....Francesco Petrozzi

A Gypsy....Rafal Pawnuk

A Messenger.....Joshua Stewart

Bavarian State Opera Chorus

Bavarian State Opera Orchestra

Conducted by Paolo Carignani.

A performance of Il trovatore, one of Verdi's most popular operas. With Jonas Kaufmann.

Verdi, Aida From The Met20190504Verdi's tale of love and betrayal set in Ancient Egypt. Radames is in love with Aida, the slave of Princess Amneris, and believes that victory in war will enable him to free and marry her. But he hasn't counted on Amneris's feelings for him...

In this production from the Met, Anna Netrebko sings her first Aida with the company, with Anita Rachvelishvili as Amneris, and Aleksandrs Antonenko as Radames. Nicola Luisotti conducts.

Presented from the Met by Mary Jo Heath and Ira Siff.

Aida.....Anna Netrebko (Soprano)

Amneris.....Anita Rachvelishvili (Mezzo-soprano)

Radames.....Aleksandrs Antonenko (Tenor)

Amonasro.....Quinn Kelsey (Baritone)

Ramfis.....Dmitry Belosselskiy (Bass)

The King of Egypt.....Ryan Speedo Green (Bass)

New York Metropolitan Opera Chorus

New York Metropolitan Opera Orchestra

Nicola Luisotti (Conductor)

~Opera On 3 from the Metropolitan Opera House, New York.

Verdi: Ernani20080329Roberto Abbado conducts Verdi's opera that was based on Victor Hugo's tragic play.
Verdi's Aida20100626Lust and violence, war and doomed love: Aida is the story of the slave girl who finds that her father and her lover are on opposite sides in a confrontation between nations. It's one of the greatest love stories in opera, played out against a background of battles and heroic idealism. In this new production from Covent Garden, Micaela Carosi stars as Aida, Marcelo
Verdi's Aida20221029Tonight's Opera is a performance of Verdi's dramatic masterpiece Aida recorded at the Royal Opera House, Covent Garden, earlier this month.

Verdi's grand opera is a large-scale political drama, covering big operatic themes of power struggles, toxic jealousies, and the pain of forbidden love.

The star cast is led by Elena Stikhina as Aida, the Ethiopian princess taken captive by the Egyptians, and Italian tenor Francesco Meli as Radames, the Egyptian military leader, both of whom wrestle with an agonising choice between their loyalty to home and their feelings for each other.

Georgia Mann is joined in the box at the Royal Opera House by Verdi expert, Dr Flora Willson, and they chat about the challenges and impact of the opera through Verdi's monumental score.

Aida: Elena Stikhina

Radames: Francesco Meli

Amneris: Agnieszka Rehlis

Amonasro: Ludovic T退zier

Ramfis: Soloman Howard

King of Egypt: In Sung Sim

Messenger: Andr退s Presno

High Priestess: Francesca Chiejina

Chorus and Orchestra of the Royal Opera House

Antonio Pappano, conductor

Read the full synopsis on the Royal Opera House website: https://bit.ly/3eKdDUn

Verdi's Aida from the Royal Opera House, Covent Garden, with Elena Stikhina in lead role.

Verdi's Aida From La Scala In Milan20210102An exclusive chance to hear a new version of Verdi's famous opera, Aida. Buried deep in a locked trunk at Verdi's family villa, this new version of the third act was discovered and made public in 2019 and performed for the first time at the Teatro alla Scala in October 2020.

Soprano Saioa Hernကndez stars as the Ethiopian slave Aida, with mezzo-soprano Anita Rachvelishvili as her rival, the Princess Amneris. Tenor Francesco Meli is Radam耀s, the military commander and Riccardo Chailly conducts the La Scala Orchestra and Chorus. A dramatic and emotional tale of love, betrayal and war this is not to be missed.

Presented by Martin Handley, with guest Flora Willson

The King of Egypt.....Roberto Tagliavini (Bass)

Amneris.....Anita Rachvelishvili (Mezzo-soprano)

Aida.....Saioa Hernကndez (Soprano)

Radam耀s.....Francesco Meli (Tenor)

Ramfis.....Jongmin Park (Bass)

Amonasro.....Amartuvshin Enkhbat (Baritone)

a Messenger.....Francesco Pittari (Tenor horn)

the High Priestess.....Chiara Isotton (Soprano)

La Scala Chorus

Riccardo Chailly (Conductor)

Verdi's Aida from La Scala in Milan, with Saioa Hern\u00e1ndez in the title role.

Verdi's Aida From Salzburg Festival 201720171202From this year's Salzburg Festival, Verdi's Aida with the soprano Anna Netrebko in the title role as the Ethiopian slave and the tenor Francesco Meli as her doomed lover Radames, the Egyptian officer forced to choose between her or his fatherland in this tragic tale set in a timeless Ancient Egypt. Maestro Riccardo Muti conducts the Vienna Philharmonic Orchestra and the Vienna State Opera Chorus. Presented by James Naughtie, accompanied by opera expert Flora Willson.

King of Egypt - Roberto Tagliavini (bass)

Amneris, his daughter - Ekaterina Semenchuk (mezzo-soprano)

Aida, an Ethiopian slave - Anna Netrebko (soprano)

Radames, Captain of the Guards - Francesco Meli (tenor)

Ramfis, Chief Priest - Dmitry Belosselskiy (bass)

Amonasro, King of Ethiopia, Aida's father - Luca Salsi (baritone)

High Priestess - Benedetta Torre (mezzo-soprano)

A Messenger - Bror Magnus Tødenes (tenor)

Riccardo Muti, conductor.

Riccardo Muti conducts Verdi's Aida from 2017's Salzburg Festival with Anna Netrebko.

Verdi's Attila20140602From San Francisco Opera a production recorded in 2012 of Verdi's Attila, a historic drama inspired by the mythic and barbarian King of the Huns. As he invades Italy threatening the power of the Roman Empire Attila falls in love with a prisoner, the fair Odabella, with tragic consequences in this tale of betrayal and revenge. Bass Ferruccio Furlanetto leads a stellar cast in the title role, portraying the Hun as an ambitious but tormented character; Odabella, the merciless avenger, is soprano Lucrecia Garcia. Maestro Nicola Luisotti conducts the San Francisco Opera Orchestra and Chorus. Presented by John Shea.

Attila... Ferruccio Furlanetto (bass)

Odabella... Lucrecia Garcia (soprano)

Foresto... Diego Torre (tenor)

Ezio... Quinn Kelsey (baritone)

Uldino... Nathaniel Peake (tenor)

Pope Leo I... Samuel Ramey (bass)

San Francisco Opera Chorus

Nicola Luisotti (conductor).

From San Francisco Opera, Verdi's Attila with Ferruccio Furlanetto in the title role.

Verdi's Don Carlo20080628A production from the Royal Opera House, Covent Garden of Verdi's tragic love story set 16th-century Spain, directed by Nicholas Hytner and conducted by Antonio Pappano, with tenor Rolando Villazon and Marina Poplavskaya in the central roles.

Don Carlos, heir the Spanish thone and the French Elisabeth de Valois are in love, and remain so even after she is forced to marry his father, King Philip II. However, when Princess Eboli, who is in love with Don Carlos finds out, she informs the King, who engineers a grim fate for him.

Presented by Christopher Cook.

With Rolando Villazon (tenor), Marina Poplavskaya, Paula Murrihy (soprano), Dmitri Tiliakos (baritone), Ferrucio Furlanetto (bass), Sonia Ganassi (mezzo-soprano), Eric Halfvarson, Robert Lloyd (bass), Jacques Imbrailo (baritone), Krzysztof Szumanski (bass-baritone), Kostas Smoriginas (bass-baritone), Daniel Grice (bass-baritone), Darren Jeffrey (bass), Vuyani Mlinde (bass), Nikola Matisic (tenor), Anita Watson (soprano).

The Royal Opera Chorus

The Orchestra of the Royal Opera House

Antonio Pappano (conductor).

Nicholas Hytner directs Rolando Villazon and Marina Poplavskaya in Verdi's love story.

Verdi's Don Carlo20091017From the Royal Opera House, Covent Garden. Presented by Donald Macleod.

Listen on demand with surtitles - see below for details.

Semyon Bychkov conducts the first revival of Nicholas Hytner's Royal Opera production of Verdi's grandest opera, first heard in 2008.

When Don Carlo of Spain surreptitiously contrives to meet his fiancee Elizabeth of France in the forest of Fontainebleau, he is enraptured, and the pair are thrilled at the idea of spending their lives together. But it is not to be - as part of a new peace treaty, Elizabeth is suddenly forced to marry Carlo's father, the severe old Spanish King, Philip II. Carlo is devastated, and searches for a new role as liberator of Flanders.

The title role is taken by one of today's most admired tenors, Jonas Kaufmann, with Marina Poplavskaya as Elizabeth of Valois, and Ferruccio Furlanetto as Philip II of Spain. Around this tragic central triangle is a wider confrontation between authoritarian religion, represented by John Tomlinson's Grand Inquisitor, and political liberation, represented by Carlo's closest friend, the Marquis of Posa, sung by Simon Keenlyside.

Verdi: Don Carlo

Don Carlos - Jonas Kaufmann (tenor)

Rodrigo, Marquis of Posa - Simon Keenlyside (baritone)

Elizabeth of Valois - Marina Poplavskaya (soprano)

Philip II - Ferruccio Furlanetto (bass)

Princess Eboli - Marianne Cornetti (mezzo-soprano)

Grand Inquisitor - John Tomlinson (bass)

Count of Lerma - Robert Anthony Gardiner (tenor)

Carlos V - Robert Lloyd (bass)

Flemish Deputies - Daniel Grice, Dawid Kimberg, Changhan Lim, David Stout, John Cunningham (baritones), with Lukas Jokobski (bass)

Voice from Heaven - Eri Nakamura (soprano)

Royal Opera Chorus

Orchestra of the Royal Opera House

Semyon Bychkov (conductor).

The first revival of Nicholas Hytner's Royal Opera production of Verdi's grandest opera.

Verdi's Don Carlo20170617Verdi's dramatic opera 'Don Carlo', starring tenor Bryan Hymel as the Spanish prince. This performance, recorded at the Royal Opera House, is introduced by James Naughtie, who is joined by Verdi specialist Flora Willson.

Don Carlos - Bryan Hymel (tenor)

Tebaldo - Angela Simkin (mezzo-soprano)

Elizabeth of Valois - Kristin Lewis (soprano)

Count of Lerma - David Junghoon Kim (tenor)

Countess of Aremberg - Rosalind Waters (soprano)

Carlos V - Andrea Mastroni (bass)

Rodrigo - Christoph Pohl (baritone)

Philip II - Ildar Abdrazakov (bass)

Princess Eboli - Ekaterina Semenchuk (mezzo-soprano)

Voice from Heaven - Francesca Chiejina (soprano)

Grand Inquisitor - Paata Burchuladze (bass)

Royal Opera House Chorus

Royal Opera House Orchestra

Bertrand de Billy (Conductor)

This historical drama is based on Schiller's play 'Don Carlos, Prince Royal of Spain' and is performed here in Verdi's five-act Italian version. Don Carlos - sung by tenor Bryan Hymel - is the Spanish heir to the throne, but in order to secure a peace treaty he has to see his betrothed lady, Elisabeth de Valois (soprano Kristin Lewis) marry his own father, King Philip II. The opera is full of drama in addition to this love triangle, including the sacrifice of Don Carlo's deep friendship with Rodrigo, mistaken identities, and a huge struggle between church and state. The power of Verdi's music is spell-binding and is perhaps at its most intense during the famous confrontation in Act IV between the King - sung here by bass Ildar Abdrazakov - and the Grand Inquisitor (the bass Paata Burchuladze). Bertrand de Billy conducts the Chorus and Orchestra of the Royal Opera House.

From the Royal Opera House, Covent Garden, a performance of Verdi's Don Carlo.

Verdi's Don Carlo20230916Verdi's Don Carlo, recorded at the Royal Opera House, London, starring Soprano Lise Davidsen, tenor Brian Jagde and bass John Relyea, conducted by Bertrand de Billy.

Don Carlos, the Infante of Spain falls in love with his betrothed, Elizabeth of Valois but last-minute diplomatic considerations mean she has to marry his father Philip II instead. This sets in motion a historical melodrama in which the themes of love, loyalty, jealousy and betrayal are entwined with the fight to free the Netherlands from Spanish rule. In the character of the tortured and lonely Philip II we have one of Verdi's great bass roles; and in his confrontation with the Grand Inquisitor the power struggle between church and state is depicted with chilling menace. Verdi returned to the opera at various stages of his career, and while it doesn't have the formal perfection of his later operas like Otello and Falstaff, it contains some of his most thrilling and passionate music.

Andrew McGregor presents in conversation with opera expert Sarah Lenton.

Don Carlos - Brian Jagde (tenor)

Elizabeth of Valois - Lise Davidsen (soprano)

Rodrigo, Marquis of Posa - Luca Micheletti (baritone)

King Philip II - John Relyea (bass)

Princess Eboli - Yulia Matochkina (mezzo-soprano)

Grand Inquisitor - Taras Shtonda (bass)

Carlos V - Alexander K怀peczi (bass)

Tebaldo - Ella Taylor (soprano)

Chorus and Orchestra of the Royal Opera House

Bertrand de Billy (conductor)

*1835 Act 1

*2005 First interval

*2020 Acts 2 and 3

*2055 Second interval

*2110 Acts 4 and 5

Verdi's Don Carlo, recorded at the Royal Opera House, London.

Verdi's Don Carlo from the Royal Opera House, London, starring soprano Lise Davidsen, tenor Brian Jagde and bass John Relyea, conducted by Bertrand de Billy.

Don Carlos, the Infante of Spain, falls in love with his betrothed, Elizabeth of Valois, but last-minute diplomatic considerations mean she has to marry his father Philip II instead. This sets in motion a historical melodrama in which the themes of love, loyalty, jealousy and betrayal are entwined with the fight to free the Netherlands from Spanish rule. In the character of the tortured and lonely Philip II we have one of Verdi's greatest bass roles; and in his confrontation with the Grand Inquisitor the power struggle between church and state is depicted with chilling menace. Verdi returned to the opera at various stages of his career, and while it doesn't have the formal perfection of his later operas like Otello and Falstaff, it contains some of his most thrilling and passionate music.

Royal Opera Chorus

Read the full synopsis on the Royal Opera House website: bit.ly/3Ridrwz

Verdi's Don Carlo from the Royal Opera House, London, starring soprano Lise Davidsen.

Verdi's Don Carlos20220326From the New York Metropolitan Opera: the original 1867 five-act French version of Verdi's epic opera of doomed love among royalty, set against the backdrop of the Spanish Inquisition.

Patrick Furrer leads a world-beating cast of opera's leading lights, including tenor Matthew Polenzani in the title role, soprano Sonya Yoncheva as ɀlisabeth de Valois, and mezzo-soprano Jamie Barton as Eboli. Bass-baritones Eric Owens and John Relyea are the King of Spain Philippe II and the Grand Inquisitor, and baritone Etienne Dupuis rounds out the all-star principal cast as Rodrigue.

Verdi's longest and most ambitious opera offers a profound look at the intersection of the personal and the political spheres. The opera features a number of complex one-on-one confrontations, and the chorus, when it appears, is imposing, most notably in the central auto-da-f退. The grandeur of the score telescopes in Acts 4 and 5 to the individuals, with magnificent and melodically rich solo scenes.

Presented by Debra Lew Harder with commentator Ira Siff.

Verdi: Don Carlos

ɀlisabeth de Valois - Sonya Yoncheva (soprano)

Eboli - Jamie Barton (mezzo-soprano)

Don Carlos - Matthew Polenzani (tenor)

Rodrigue - Etienne Dupuis (baritone)

Phillippe II - Eric Owens (bass-baritone)

Grand Inquisitor - John Relyea (bass-baritone)

Thibault - Meigui Zhang (soprano)

Count of Lerma - Joo Won Kang (baritone)

Monk - Matthew Rose (bass)

Royal Herald - Eric Ferring (tenor)

Flemish Deputies - Vladyslav Buialskyi, Jeongcheol Cha, Paul Corona, Christopher Job, Samson Setu (bass-baritones), Msimelelo Mbali (bass)

Voice from Heaven - Amanda Woodbury (soprano)

Orchestra and Chorus of the Metropolitan Opera House

Patrick Furrer (conductor)

Read the full synopsis at the Met Opera website: https://bit.ly/37QZAIR

Image: © Ken Howard / Met Opera

From the New York Metropolitan Opera: Verdi's Don Carlos conducted by Patrick Furrer.

Yannick N退zet-S退guin leads a world-beating cast of opera's leading lights, including tenor Matthew Polenzani in the title role, soprano Sonya Yoncheva as ɀlisabeth de Valois, and mezzo-soprano Jamie Barton as Eboli. Bass-baritones Eric Owens and John Relyea are the King of Spain Philippe II and the Grand Inquisitor, and baritone Etienne Dupuis rounds out the all-star principal cast as Rodrigue.

Yannick N退zet-S退guin (conductor)

From the New York Metropolitan Opera: Verdi's Don Carlos conducted by Yannick Nezet-Seguin

Verdi's Falstaff20080524Peter Stein directs a revival of his celebrated production of Verdi's comic opera, in a performance given by Welsh National Opera at the Wales Millennium Centre last March.

Sir John Falstaff has plans to seduce the wife of a rich local merchant, but Alice and her husband have each made their own arrangements to trick the roguish knight. Who will have the final laugh?

Presented by Donald Macleod.

With Bryn Terfel (baritone), Anthony Mee (tenor), Neil Jenkins (tenor), Julian Close (bass), Janice Watson (soprano), Clare Ormshaw (soprano), Imelda Drumm (mezzo-soprano), Anne-Marie Owens (mezzo-soprano), Christopher Purves (baritone), Rhys Meirion (tenor).

Chorus and Orchestra of Welsh National Opera

Carlo Rizzi (conductor).

Peter Stein directs bass-baritone Bryn Terfel as Falstaff in Verdi's comic opera.

Verdi's Falstaff20120630Sir John Falstaff is fat and greedy, lecherous and ridiculous. And short of cash. He tries to kill two birds with one stone when he pursues two wealthy women, setting in motion a train of events which inevitably lead to his comeuppance. Verdi's late, great Shakespeare-based opera is a comic tour de force, overflowing with energy and a seemingly infinite succession of musical ideas. Robert Carsen's new production for Covent Garden, updates the action to 1950s Windsor and features an ensemble cast lead by one of the great Falstaffs of our day, Ambrogio Maestri. Presented by Ivan Hewett in conversation with Alexandra Wilson.

Falstaff.....Ambrogio Maestri (Baritone)

Mrs Alice Ford.....Ana Maria Martinez (Soprano)

Nannetta.....Amanda Forsythe (Soprano)

Mrs Meg Page.....Kai Ruutel (Mezzo-Soprano)

Mistress Quickly.....Marie-Nicole Lemieux (Contralto)

Fenton.....Joel Prieto (Tenor)

Ford.....Dalibor Jenis (Baritone)

Dr Caius.....Carlo Bosi (Tenor)

Bardolph.....Alasdair Elliott (Tenor)

Pistol.....Lukas Jakobski (Bass)

Chorus and Orchestra of the Royal Opera House

conductor, Daniele Gatti.

Daniele Gatti conducts a production of Verdi's Falstaff, with Ambrogio Maestri.

Verdi's Falstaff2018092220201212 (R3)Verdi's final opera, Falstaff, in a performance from the Royal Opera House, Covent Garden, starring Bryn Terfel.

After a string of successful operatic tragedies and melodramas, Verdi took his final leave of the stage with a quicksilver comedy that casts a wise but wry glance at the foibles of human nature. Falstaff, the fat knight, is full of vanity and self-deceit; but his attempts to seduce the merry wives of Windsor are carried out with such self-aggrandising swagger, confidence and sheer verve that he sweeps all before him. In ripe old age, Verdi achieved an Indian summer in which the flow of melody and novel orchestration complemented every twist and turn of Shakespeare's riotous plot.

Presented by Sean Rafferty in conversation with Verdi expert Dr Flora Willson.

Sir John Falstaff - Bryn Terfel (bass-baritone)

Alice Ford - Ana Mar퀀a Martinez (soprano)

Ford - Simon Keenlyside (baritone)

Nannetta - Anna Prohaska (soprano)

Fenton - Fr退d退ric Antoun (tenor)

Mistress Quickly - Marie-Nicole Lemieux (contralto)

Meg Page - Marie McLaughlin (mezzo-soprano)

Dr Caius - Peter Hoare (tenor)

Bardolph - Michael Colvin (tenor)

Pistol - Craig Colclough (bass-baritone)

Royal Opera Chorus

Orchestra of the Royal Opera House

Nicola Luisotti (conductor)

* 7.10 pm Act 2

* 7.55 pm Interval

* 8.15 pm Act3

SYNOPSIS

Act I

Dr Caius bursts into Sir John Falstaff's room in the Garter Inn, accusing him of unseemly behaviour the previous night. He further accuses Falstaff's two henchmen, Bardolph and Pistol, of having robbed him while he was drunk. Unable to obtain reparations, Dr Caius leaves in a fury.

Falstaff informs Bardolph and Pistol that in order to repair his finances he plans to seduce Alice Ford and Meg Page, both wives of prosperous Windsor citizens.

Alice Ford and Meg Page laugh over the identical love letters they have received from Sir John Falstaff.

Ford arrives and learns of Falstaff's plan to seduce his wife. He immediately becomes jealous. While Alice and Meg plan how to take revenge on their importunate suitor, Ford decides to disguise himself in order to pay a visit to Falstaff.

Act II

Feigning penitence, Bardolph and Pistol rejoin Falstaff's service. They show in Mistress Quickly, who informs Falstaff that both Alice and Meg are madly in love with him.

Bardolph now announces that a ‘Mister Brook' (Ford in disguise) wishes to speak to Falstaff. ‘Brook' offers him wine and money if he will seduce Alice Ford, Falstaff agrees to the plan, telling his surprised new friend that he already has a rendezvous with Alice that very afternoon.

As Falstaff leaves to prepare himself, Ford gives way to jealous rage.

Mistress Quickly, Alice and Meg are preparing for Falstaff's visit. Falstaff arrives and begins his seduction of Alice, nostalgically boasting of his aristocratic youth as page to the Duke of Norfolk. But just at that point Mistress Quickly suddenly returns in a panic to inform Alice that Ford really is on his way, and in a jealous temper.

The terrified Falstaff seeks a hiding place, eventually ending up in a large laundry basket. Fenton and Nannetta also hide. Hearing the sound of kissing, Ford is convinced that he has found his wife and her lover Falstaff together, but is furious to discover Nannetta and Fenton instead. To general hilarity, Falstaff is thrown into the River Thames.

Act III

A wet and bruised Falstaff laments the wickedness of the world, Mistress Quickly persuades him that Alice was innocent of the unfortunate incident at Ford's house. In a letter, which Quickly gives to Falstaff, Alice asks the knight to appear at midnight, disguised as the Black Huntsman.

Ford, Nannetta, Meg and Alice prepare the second part of their plot: Ford secretly promises Caius that he will marry Nannetta that evening. Mistress Quickly overhears them -

As Fenton and Nannetta are reunited, Alice explains her plan to trick Ford into marrying them. On the stroke of midnight, Alice appears. She declares her love for Falstaff, but suddenly runs away, saying that she hears spirits approaching.

Nannetta, disguised as the Queen of the Fairies, summons her followers who attack the terrified Falstaff, pinching and poking him until he promises to give up his dissolute ways. In the midst of the assault Falstaff suddenly recognises Bardolph, and realizes that he has been tricked. Falstaff accepts that he has been made a figure of fun.

Dr Caius now comes forward with a figure in white. When the brides remove their veils, it is revealed that Ford has just married Fenton to Nannetta, and Dr Caius to Bardolph! With everyone now laughing at his expense, Ford has no choice but to forgive the lovers, and bless their marriage. Before sitting down to a wedding supper with Sir John Falstaff, the entire company agrees that the whole world may be nothing but a jest filled with jesters, but he who laughs last, laughs best!

Robert Carsen

Verdi's opera Falstaff from the Royal Opera House, Covent Garden, starring Bryn Terfel.

Verdi's Falstaff20230401Verdi's glorious Shakespearean comedy from the New York Met, conducted by Daniele Rustioni. Michael Volle sings the title role as the roguish Knight Falstaff - his first Verdi role at the Met. The brilliant cast for Robert Carsen's production features Ailyn P退rez, Marie-Nicole Lemieux and Jennifer Johnson Cano as the trio of clever women whose gleeful tormenting of Falstaff delivers his comeuppance.

Presented by Debra Lew Harder with commentator Ira Siff.

Sir John Falstaff - Michael Volle (baritone)

Ford - Christopher Maltman (baritone)

Alice Ford - Ailyn P退rez (soprano)

Nanetta - Hera Hyesang Park (soprano)

Mistress Quickly - Marie-Nicole Lemieux (contralto)

Met Page - Jennifer Johnson Cano (mezzo-soprano)

Fenton - Bogdan Volkov (tenor)

Dr Caius - Carlo Bosi (tenor)

Bardolfo - Chauncey Packer (tenor)

Pistola - Richard Bernstein (bass)

Metropolitan Opera Chorus and Orchestra

Conductor Daniele Rustioni

Verdi's Shakespearean comedy from the New York Met, conducted by Daniele Rustioni.

Verdi's I Due Foscari20160611Donald Macleod presents Verdi's I due Foscari recorded at the Royal Opera House, Covent Garden. Placido Domingo stars as Francesco Foscari, Doge of Venice, and Francesco Meli is his son in this dark tale of secrecy, corruption and murder. Verdi's sixth opera, it has often been neglected compared to some of his later works. The Doge's son, Jacopo Foscari has been jailed and is due to be sentenced. The Doge has the final power of authority and he has to choose between his feelings as a father and his duty of office, but underneath lies a deeper feud between the Foscari and Loredano families.

Antonio Pappano conducts this production recorded in October 2014. With accompanying cast interviews and commentary from Verdi expert, Roger Parker.

Verdi: I due Foscari

Francesco Foscari - Plကcido Domingo (baritone)

Jacopo Foscari - Francesco Meli (tenor)

Lucrezia Contarini - Maria Agresta (soprano)

Jacopo Loredano - Maurizio Muraro (bass)

Barbarigo - Samuel Sakker (tenor)

Fante - Lee Hickenbottom (tenor)

Pisana - Rachel Kelly (mezzo-soprano)

Servant of the Doge - Dominic Barrand (bass)

The Chorus of the Royal Opera House, Covent Garden

The Orchestra of the Royal Opera House, Covent Garden

Antonio Pappano (conductor).

A performance of Verdi's I due Foscari from the Royal Opera House. With Placido Domingo.

Verdi's Il Trovatore20161022Verdi's Il Trovatore from the Royal Opera House, Covent Garden, conducted by Gianandrea Noseda with star tenor Francesco Meli as Manrico and Lianna Haroutounian as Leonora.

Il Trovatore was one of the great trio of operas Verdi wrote within a couple of years in the 1850s, along with Rigoletto and La Traviata. It was one of Verdi's most popular operas in his lifetime and remains so today, with the Anvil Chorus one of the best known moments of the opera's 'gypsy' music.

The melodramatic plot involves a love triangle between Leonora, who loves Manrico, and the Count di Luna, Manrico's sworn enemy and, unbeknown to him, his long-lost brother who also loves Leonora. The story is complicated further by Manrico's mother, Azucena, whose desire for revenge costs the lives of the the lovers Leonora and Manrico.

The story demands a cast of four fine voices to take the lead roles, and this performance has just that: the soprano Lianna Haroutounian sings the role of Leonora, with mezzo-soprano Ekaterina Semenchuk as the gypsy Azucena, tenor Francesco Meli as her supposed son Manrico, and the baritone Zeljko Lucic as the Count di Luna. The Chorus and Orchestra of Covent Garden is conducted by Verdi specialist Gianandrea Noseda in the recent production by David Bosch.

Martin Handley introduces the performance, recorded earlier this summer.

Count di Luna - Zeljko Lucic (Baritone)

Leonora - Lianna Haroutounian (Soprano)

Azucena - Ekaterina Semenchuk (Mezzo-soprano)

Manrico - Francesco Meli (Tenor)

Ferrando - Maurizio Muraro (Bass)

Ines - Jennifer Davis (Soprano)

Ruiz - David Junghoon Kim (Tenor)

Royal Opera House Chorus

Royal Opera House Orchestra

Gianandrea Noseda (Conductor).

From the Royal Opera House, Covent Garden, Gianandrea Noseda conducts Verdi's Il Trovatore

Verdi's Il Trovatore20230701Georgia Mann presents Verdi's epic melodrama from the Royal Opera House, Covent Garden, with Riccardo Massi as the 'troubadour' of the title and Jamie Barton as his mother Azucena. The opera's story, set in the 15th century, is driven by the power of superstition inherent to that era, and this new production by Adele Thomas takes visual inspiration from the fantastical paintings of Hieronymus Bosch. While at the same time, as guest commentator Sarah Hibberd points out, Il Trovatore is a classic of the over-the-top 19th-century genre of melodrama. Not to mention that it's packed with some of the best opera tunes ever, as brothers (though they don't know it) Manrico and the Conte di Luna battle for the love of Leonora and each other's death.

Leonora - Rachel Willis-Sørensen (soprano)

Azucena - Jamie Barton (mezzo-soprano)

Manrico - Roberto Massi (tenor)

Conte di Luna - Ludovic T退zier (baritone)

Ferrando, Luna's sidekick - Roberto Tagliavini (bass)

Ines - Gabriel? Kupšyt? (mezzo-soprano)

Ruiz - Michael Gibson (tenor)

Old gypsy - John Morrissey (bass)

Messenger - Andrew O'Connor (tenor)

Royal Opera Chorus

Orchestra of the Royal Opera House

Conductor Antonio Pappano

Georgia Mann presents Verdi's epic melodrama from the Royal Opera House, Covent Garden.

Manrico - Riccardo Massi (tenor)

Verdi's La Forza Del Destino20190525Antonio Pappano conducts La forza del destino at the Royal Opera House, Covent Garden. The star-studded cast includes Anna Netrebko as Leonora, Jonas Kaufman as Don Alvaro, and Ludovic T退zier as Don Carlo di Vargas.

Verdi and his librettist and friend Francesco Maria Piave based La forza del destino (The Force of Destiny) on @ngel de Saavedra's highly dramatic play Don Alvaro, o la fuerza del sino. The story tells how the intended elopement of Leonora and Don Alvaro goes wrong when Alvaro accidentally kills Leonora's father. Both lovers escape, but only to lead separate lives as wanderers, with the father's dying curse ringing in their ears and Leonora's brother in vengeful pursuit. When the three are finally reunited, the conclusion can only be a dramatic one.

Verdi's brilliant score covers a wide range of settings and emotions, from tense confrontations to rowdy song-and-scenes in a tavern and an army camp. It also boasts some of the composer's very best tunes.

Martin Handley presents and during the interval chats to Flora Willson.

Leonora.....Anna Netrebko (soprano)

Don Alvaro.....Jonas Kaufmann (tenor)

Don Carlo di Vargas.....Ludovic T退zier (baritone)

Padre Guardiano.....Ferruccio Furlanetto (bass)

Fra Melitone.....Alessandro Corbelli (tenor)

Preziosilla.....Veronica Simeoni (soprano)

Marquis of Calatrava.....Robert Lloyd (bass)

Curra.....Roberta Alexander (soprano)

Alcalde.....Michael Mofidian (bass-baritone)

Maestro Trabuco.....Carlo Bosi (tenor)

Antonio Pappano conducts the Royal Opera Orchestra and Chorus

For a full synopsis visit the programme page.

Verdi's La forza del destino at the Royal Opera House, Covent Garden

Verdi's La Traviata20080209Based on a play by Alexandre Dumas, La traviata tells the tragic story of Violetta, the consumptive courtesan whose bid for true love finds her pitilessly rejected by the society that once rejoiced in her debauched parties.

This Royal Opera House production is led by a cast including Russian soprano Anna Netrebko, tenor Jonas Kaufman and baritone Dmitri Hvorostovsky.

Presented by Sean Rafferty from the Royal Opera House in conversation with writer and opera critic Alexandra Wilson.

Violetta Valery - Anna Netrebko (soprano)

Flora Bervoix - Monika-Evelin Liiv (mezzo-soprano)

Marquis d'Obigny - Kostas Smoriginas (bass-baritone)

Baron Douphol - Eddie Wade (baritone)

Doctor Grenvil - Mark Beesley (bass)

Gastone de Letorieres - Ji-Min Park (tenor)

Alfredo Germont - Jonas Kaufmann (tenor)

Giuseppe - Neil Gillespie (tenor)

Giorgio Germont - Dmitri Hvorostovsky (baritone)

Messenger - Charbel Mattar (bass)

Servant - Jonathan Coad (bass)

Chorus and Orchestra of the Royal Opera House

Maurizio Benini (conductor).

Anna Netrebko and Jonas Kaufman lead the cast in Verdi's tragic opera.

Verdi's La Traviata20111231Presented by Martin Handley

From the Royal Opera House, Covent Garden, Verdi's enduring favourite, La Traviata, recorded earlier this month. Adapted from Dumas' novel La Dame aux Cam退lias, it's the story of the Fallen Woman, the tragic courtesan who pays the ultimate price for taking a lover only to be forced to leave him against her wishes, as they break Parisian society's conventions. Soprano Ailyn P退rez portrays Violetta, la Traviata, in a Covent Garden debut role; Alfredo, her young, carefree lover is performed by tenor Piotr Beczala; his father, Giorgio Germont, whose family's honour is compromised by the doomed lovers, is portrayed by Simon Keenlyside - his first time in the Covent Garden stage performing a role he took recently to Japan with the ROH. This classic production of La Traviata, by Richard Eyre, provides a fascinating portrait into a pleasure-seeking, double-standards, decadent society. At the helm of the Royal Opera House Orchestra and Chorus is Patrick Lange.

Violetta Val退ry.....Ailyn P退rez (Soprano)

Alfredo Germont.....Piotr Beczala (Tenor)

Giorgio Germont.....Simon Keenlyside (Baritone)

Baron Douphol.....Eddie Wade (Baritone)

Doctor Grenvil.....Christophoros Stamboglis (Bass)

Flora Bervoix.....Hanna Hipp (Mezzo soprano)

Marquis D'Obigny.....Daniel Grice (Bass baritone)

Gastone de Letori耀res.....Ji Hyun Kim (Tenor)

Annina.....Gaynor Keeble (Mezzo soprano)

Giuseppe.....Neil Gillespie (Tenor)

Messenger.....John Bernays (Bass)

Conductor.....Patrick Lange

The Orchestra and Chorus of the Royal Opera House.

A performance of Verdi's La Traviata, given at the Royal Opera House, Covent Garden.

Verdi's La Traviata20211127Lisette Oropesa stars in Verdi's tragic masterpiece at the Royal Opera House, with Liparit Avetisyan and Christian Gerhaher. Presented by Georgia Mann.

La Traviata is so well known and loved these days that it's easy to forget how revolutionary it was: an opera telling the real-life story of a Parisian courtesan only a few years after her death. Verdi wanted it staged in contemporary dress, but that was a step too far for the operatic establishment of his day. Richard Eyre's perennial Royal Opera production is firmly set in Verdi's time, and this revival is illuminated by three star principals making their UK debuts in the roles. Cuban-American soprano Lisette Oropesa sings the courtesan Violetta Val?ry who's made her way from poverty to the highest echelons of society - but finds her life empty and fears she has a terminal illness. The young poet Alfredo Germont, sung by Armenian tenor Liparit Avetisyan, offers her the chance of true love and happiness, however short-lived. But he's underestimated the horrified opposition of his father Giorgio - German baritone Christian Gerhaher singing the role for the very first time.

Violetta Val?ry - Lisette Oropesa (soprano)

Alfredo Germont - Liparit Avetisyan (tenor)

Giorgio Germont - Christian Gerhaher (baritone)

Flora, Violetta's friend - Stephanie Wake-Edwards (mezzo-soprano)

Annina, Violetta's maid - Renata Skarelyte (mezzo-soprano)

Gastone, Vicomte de Letori?res - Egor Zhuravskii (tenor)

Doctor Grenvil - Blaise Malaba (bass)

Baron Douphol - Yuriy Yurchuk (baritone)

Marquis D'Obigny - Jeremy White (bass)

Giuseppe - Andrew Macnair (tenor)

Messenger - Dominic Barrand (bass-baritone)

Servant - Thomas Barnard (bass-baritone)

Royal Opera Chorus

Orchestra of the Royal Opera House

Conductor Antonello Manacorda

Lisette Oropesa stars in Verdi's tragic masterpiece at the Royal Opera House.

La Traviata is so well known and loved these days that it's easy to forget how revolutionary it was: an opera telling the real-life story of a Parisian courtesan only a few years after her death. Verdi wanted it staged in contemporary dress, but that was a step too far for the operatic establishment of his day. Richard Eyre's perennial Royal Opera production is firmly set in Verdi's time, and this revival is illuminated by three star principals making their UK debuts in the roles. Cuban-American soprano Lisette Oropesa sings the courtesan Violetta Val退ry who's made her way from poverty to the highest echelons of society - but finds her life empty and fears she has a terminal illness. The young poet Alfredo Germont, sung by Armenian tenor Liparit Avetisyan, offers her the chance of true love and happiness, however short-lived. But he's underestimated the horrified opposition of his father Giorgio - German baritone Christian Gerhaher singing the role for the very first time.

Violetta Val退ry - Lisette Oropesa (soprano)

Gastone, Vicomte de Letori耀res - Egor Zhuravskii (tenor)

Image: ©2021 ROH, photo by Tristam Kenton

Verdi's La Traviata20230311From the Met in New York: Verdi's La Traviata.

Angel Blue sings the title role of the 'fallen woman', the tragic courtesan Violetta, who falls in love with Alfredo, sung by tenor Dmytro Popov. Baritone Artur Ruci?ski is Germont, Alfredo's father, who condemns Violetta's racy past and persuades her to leave Alfredo, unaware of the ultimate tragic sacrifice she will make for Alfredo.

The score contains some of Verdi's most intimate and heartfelt music, conducted tonight by Nicola Luisotti.

Presented by Deborah Lew Harder with commentator Ira Siff.

Violetta Val退ry - Angel Blue, (soprano)

Alfredo Germont - Dmytro Popov, (tenor)

Giorgio Germont - Artur Ruci?ski, (baritone)

Flora Bervoix - Megan Marino, (mezzo)

Annina - Eve Gigliotti, (soprano)

Gastone - David Blalock, (tenor)

Marquis d'Obigny - Christopher Job, (bass)

Doctor Grenvil - Adam Lau, (bass)

Giuseppe - Patrick Miller, (bass)

Metropolitan Opera Chorus and Orchestra

Nicola Luisotti, conductor

Verdi's La Traviata from the New York Metropolitan Opera.

Read the full synopsis on the MET opera website: https://bit.ly/2UeyQuc

Verdi's Luisa Miller20180414Placido Domingo stars in Verdi's rarely performed opera, Luisa Miller, from the Metropolitan Opera House, New York. It's a heart-wrenching story of fatherly love, based on the bond between Miller - sung by Domingo - and his daughter, performed tonight by Sonya Yoncheva. Verdi wrote this at a midway point in his career, so the score is full of youthful energy but mixed too with his characteristic passionate melodic writing.

Sonya Yoncheva sings the title role opposite Piotr Becza?a in the first Met performances of the opera in more than ten years, and the Met Chorus and Orchestra are conducted by Bertrand de Billy.

Presented by Mary Jo Heath and commentator Ira Siff.

Luisa - Sonya Yoncheva (Soprano)

Federica - Olesya Petrova (Mezzo-Soprano)

Rodolfo - Piotr Beczala (Tenor)

Miller - Plကcido Domingo (Baritone)

Walter - Alexander Vinogradov (Bass)

Wurm - Dmitry Belosselskiy (Bass)

Metropolitan Opera Orchestra

Metropolitan Opera Chorus

Bertrand de Billy (Conductor).

Verdi's Luisa Miller from the Met, New York.

Verdi's Macbeth20080112This tragedy is one of the greatest creations of man!' the young Verdi said to his librettist when he first read Shakespeare's story of a general, persuaded by his ambitious wife to stop at nothing, even murder, to become King. It was the beginning of a life-long fascination with Shakespeare.

In this live matinee broadcast from the Metropolitan Opera in New York, the role of the manipulative Lady Macbeth is sung by Maria Guleghina, with Lado Ataneli as her weak-willed husband. The programme also includes backstage interviews with some of the artists.

Presented from New York by Margaret Juntwait.

Lady Macbeth - Maria Guleghina (soprano)

Macbeth - Lado Ataneli (baritone)

Macduff - Roberto Aronica (tenor)

Banquo - John Relyea (bass)

Malcolm - Russell Thomas (tenor)

Lady-in-Waiting - Elizabeth Blancke-Biggs (soprano)

Murderer - Keith Miller (bass)

Doctor - James Courtney (bass)

Bloody Child - Ashley Emerson (soprano)

Crowned Child - Anne-Carolyn Bird (soprano)

Servant - Richard Hobson (baritone)

Herald - Joseph Turi (bass)

Warrior - David Crawford (bass)

Orchestra and Chorus of New York Metropolitan Opera

James Levine (conductor).

James Levine conducts Verdi's adaptation of Shakespeare's famous tragedy.

Verdi's Macbeth20090919Presented by Donald Macleod.

In a performance given in the Usher Hall, Edinburgh, as part of the 2009 International Festival, David Robertson conducts the BBC Scottish Symphony Orchestra in a concert version of Verdi's dramatic setting of Shakespeare's play Macbeth.

Verdi's four-act opera was originally composed in 1847, but this performance is of the more commonly-heard 1865 version. It was the first manifestation of the composer's lifelong inspiration from the Bard. Georgian baritone Lado Ataneli sings the title role, alongside American soprano Susan Neves as his scheming wife.

Macbeth - Lado Ataneli (baritone)

Lady Macbeth - Susan Neves (soprano)

Banquo - John Relyea (bass)

Macduff - Vsevolod Grivnov (tenor)

Lady-in-Waiting - Katherine Broderick (soprano)

Malcolm - Nicholas Phan (tenor)

Doctor/Servant - Vuyani Mlinde (bass)

Murderer/Herald/Apparition - Wade Kernot (bass)

Two Apparitions - Michael Yeoman and Niall Docherty

Edinburgh Festival Chorus

David Robertson (conductor).

BBC SSO under David Robertson in a concert performance of Verdi's setting of Macbeth.

Verdi's Macbeth20110618Presented by Andrew McGregor

When witches prophesy that Macbeth will be made thane of Cawdor and eventually King of Scotland, they unleash in him a turmoil of anticipation and misery. But Lady Macbeth suffers none of her husband's uncertainty. She covets the kingship for him and is prepared to go to any length to obtain it.

Simon Keenlyside plays Macbeth and Liudmyla Monastyrska Lady Macbeth in this acclaimed revival from the Royal Opera House, Covent Garden. Antonio Pappano conducts.

Macbeth - Simon Keenlyside (baritone)

Lady Macbeth - Liudmyla Monastyrska (soprano)

Banquo - Raymond Aceto (bass)

Macduff - Dmitri Pittas (tenor)

Malcolm - Steven Ebel (tenor)

Lady-In-Waiting - Elizabeth Meister (soprano)

Orchestra and Chorus of the Royal Opera House, Covent Garden

Conductor - Antonio Pappano.

Andrew McGregor presents a performance of the celebrated revival of Verdi's Macbeth.

Verdi's Macbeth20180609Verdi began his life-long relationship with Shakespeare's works with Macbeth - considered by him to be 'one of the greatest creations of man'. The star cast is led by soprano Anna Netrebko, as Lady Macbeth, who is driven by her formidable ambition for her husband Macbeth, sung by baritone Željko Lu?i?, to become King. Verdi's score bursts with energy and drive, full of eerie silences and atmosphere, and expansive melodies. Recorded earlier this Spring, Antonio Pappano conducts the Chorus and Orchestra of the Royal Opera, Covent Garden in the revival of Phyllida Lloyd's 2002 production.

James Naughtie presents and is joined by Verdi scholar, Flora Willson.

Macbeth - Željko Lu?i? (baritone)

Banquo - Ildebrando D'Arcangelo (bass)

Lady Macbeth - Anna Netrebko (soprano)

Lady-in-waiting - Francesca Chiejina (mezzo-soprano

Servant to Macbeth - Jonathan Fisher (bass)

Duncan - John O'Toole (actor)

Malcolm - Konu Kim (tenor

Macduff - Yusif Eyvazov (tenor)

Fleance - Matteo Lorenzo (actor)

Assassin - Olle Zetterstr怀m (bass)

First apparition - John Morrissey (bass)

Second apparition - Gaius Davey Bartlett (treble)

Third apparition - Edward Hyde (treble)

Herald - Jonathan Coad (bass)

Doctor - Simon Shibambu (bass)

Chorus & Orchestra of the Royal Opera House

Antonio Pappano (Conductor).

Verdi's Macbeth from the Royal Opera House, Covent Garden, with star soprano Anna Netrebko

Verdi's Macbeth20211218Dark forces are at work. Prophecy unhinges and torments, and the milk of human kindness curdles as a merciless fate gives no quarter to those in thrall to ambition.

Macbeth is one of Verdi's most dramatic and atmospheric scores, testament to his profound understanding of Shakespeare. In this acclaimed production by Phyllida Lloyd the title role is taken by one of Britain's most celebrated singer-actors, baritone Simon Keenlyside. Together with the extraordinary Naples-born coloratura soprano Anna Pirozzi as Lady Macbeth, they make a blood-soaked couple whose invitation to stay at their castle is best avoided. Indeed do 'Things bad begun make strong themselves by ill.

Recorded last month and presented by Martin Handley in conversation with Bristol University's Sarah Hibberd, expert in 19th-century Italian musical culture. Also including contributions from conductor Daniele Rustioni and Simon Keenlyside.

Verdi: Macbeth

Macbeth.....Simon Keenlyside (baritone)

Banquo.....Günther Groissb怀ck (bass)

Lady Macbeth.....Anna Pirozzi (soprano)

Lady-in-waiting.....April Koyejo-Audiger (mezzo-soprano)

Servant to Macbeth.....John Bernays (bass)

Macduff.....David Junghoon Kim (tenor)

Malcolm.....Egor Zhuravskii (tenor)

Assassin.....Olle Zetterstr怀m (bass)

First apparition.....John Morrissey (bass)

Second apparition.....Jimmy Frow (treble)

Third apparition.....Alfie Davis (treble)

Herald.....Jonathan Fisher (bass)

Doctor.....Blaise Malaba (bass)

Royal Opera Chorus

Orchestra of the Royal Opera House

Daniele Rustioni (conductor)

Simon Keenlyside stars as the anti-hero in Verdi's take on the great Shakespeare tragedy.

Dark forces are at work. Prophesy unhinges and torments, and the milk of human kindness curdles as a merciless fate gives no quarter to those in thrall to ambition.

Recorded last month and presented by Martin Handley in conversation with Bristol University's Sarah Hibberd, expert in nineteenth-century Italian musical culture.

Acts 1 and 2

7.55 pm

Interval

8.15 pm

Acts 3 and 4

Image: © ROH 2021 / Clive Barda

SYNOPSIS

Act 1

In a raging thunderstorm, three groups of witches appear and describe their evil deeds.

Macbeth and Banquo, two generals in King Duncan's army, approach.

The witches greet Macbeth as Thane of Glamis, Thane of Cawdor

and King of Scotland; they hail Banquo as the father of future kings.

Lady Macbeth reads a letter from her husband telling her of his victory in battle and of

the witches' prophecy. She resolves to help him fulfil it.

Macbeth arrives at the castle ahead of Duncan and husband and wife quickly agree to murder

their King. As Macbeth waits, a vision of a dagger appears to him.

He ignores the omen but, having committed the murder, is then

filled with doubt and remorse. His wife accuses him of cowardice. She snatches the dagger and smears the king's sleeping guards with blood

in order to incriminate them. It is nearly dawn, and Macduff and Banquo arrive at the castle.

Macduff discovers the murder and the household vow vengeance on the unknown assassin.

ACT 2

Macbeth is now King of Scotland and Duncan's son Malcolm, blamed for his father's

death, has fled to England. Fearing the witches' prophecy that Banquo would be the

father of kings, Macbeth and his wife now plot to kill him and his son.

Banquo is murdered but Fleance escapes. As Macbeth

comments publicly on his friend's absence, the ghost of Banquo appears to him. Lady

Macbeth tries to calm her husband. But when Banquo's ghost appears for a second time,

Lady Macbeth is unable to disguise her husband's ravings. Macbeth decides to visit the witches again.

Act III

On a stormy night the witches brew their magic potions. Macbeth

arrives and asks them to prophesy his destiny. In response they conjure up three apparitions

who, in turn, tell him to beware Macduff, that he need fear ‘none born of woman' and that

he will be invincible until Birnam Wood marches on his castle. The witches then summon

apparitions of kings, whom Macbeth recognizes as Banquo and his descendants. Macbeth faints and the

witches dance round him, then disappear. Macbeth recovers; Lady Macbeth enters and he tells her what he has seen.

They resolve to exterminate all their enemies.

Act IV

Refugees lament the suffering of their oppressed homeland and its wretched people.

Macduff is distraught at the murder of his wife and his children. Malcolm arrives, leading a

troop of English soldiers, and urges Macduff to find comfort in exacting revenge. Together, Malcolm and Macduff

rally the refugees, urging them to join forces in attacking Macbeth. A doctor and lady-in-waiting

listen as Lady Macbeth, who has taken to sleepwalking, describes and relives the atrocities she and her husband have committed.

Macbeth awaits the advancing troops and hardly reacts when news is brought of his wife's death.

When soldiers announce that Birnam Wood is on the move - English soldiers carrying

branches are advancing - he recalls the third apparition's prophecy. In the ensuing battle,

Macbeth and Macduff are brought face to face. The other two prophecies are now

fulfilled: Macduff reveals that he was not born naturally but surgically removed from his mother's

womb; in the ensuing fight Macbeth is killed. To the sound of a hymn of victory. Malcolm is proclaimed King.

Acts 1 & 2

Acts 3 & 4

Verdi's Nabucco20240106From the Metropolitan Opera in New York: Verdi's Nabucco, starring George Gagnidze in the title role of the King of Babylon and Liudmyla Monastyrska as his scheming daughter. Daniele Callegari conducts Verdi's early masterpiece, a stirring biblical story of persecution, exile and war.

Presented by Debra Lew Harder with commentator Ira Siff.

Verdi: Nabucco

Abigaille - Liudmyla Monastyrska (soprano)

Fenena - Maria Barakova (mezzo-soprano)

Ismaele - SeokJong Baek (tenor)

Nabucco - George Gagnidze (baritone)

Zaccaria - Dmitry Belosselskiy (bass)

Metropolitan Opera Chorus and Orchestra

Conductor Daniele Callegari

From the Metropolitan Opera in New York: Verdi's Nabucco, starring George Gagnidze.

Verdi's Otello20080301Giuseppe Verdi's adaptation of Shakespeare's play is widely regarded as the composer's crowning operatic achievement.

South African tenor Johan Botha interprets the role of the tragic hero Otello, and Renee Fleming returns to one of her most celebrated roles as the doomed Desdemona. Semyon Bychkov conducts a production by Elijah Moshinsky.

Presented from New York by Margaret Juntwait.

Desdemona - Renee Fleming (soprano)

Otello - Johan Botha (tenor)

Iago - Carlo Guelfi (baritone)

Emilia - Wendy White (mezzo-soprano)

Cassio - Garrett Sorenson (tenor)

Roderigo - Ronald Naldi (tenor)

Montano - Charles Taylor (baritone)

Lodovico - Kristinn Sigmundsson (bass)

Herald - David Won (baritone)

Chorus and Orchestra of New York Metropolitan Opera

Semyon Bychkov (conductor).

Johan Botha and Renee Fleming star in Verdi's version of the Shakespeare play.

Verdi's Otello20121020Tonight's Opera on 3 is Verdi's great late Shakesperean opera Otello, in a critically acclaimed production recorded at the Royal Opera House in July. The young Latvian tenor Aleksanders Antonenko takes the hugely demanding role of Otello, the respected black general whose downfall is his jealousy. Lucio Gallo sings the manipulative Iago who is determined to destroy his nemesis, and Anja Harteros Otello's loyal but doomed wife. Verdi expect Roger Parker joins Martin Handley in the box to discuss the music and history of this unusual and often problematic opera, and there are also contributions from cast members, and conductor Antonio Pappano.

Presented by Martin Handley.

Otello.....Aleksandrs Antonenko (Tenor)

Desdemona .....Anja Harteros (Soprano)

Iago.....Lucio Gallo (Baritone)

Cassio.....Antonio Poli (Tenor)

Emilia.....Hanna Hipp (Mezzo-Soprano)

Roderigo.....Ji-Hyun Kim (Tenor)

Montano.....Jihoon Kim (Bass Baritone)

Lodovico.....Brindley Sherratt (Bass)

Royal Opera House Orchestra

Royal Opera House Chorus

Conductor, Antonio Pappano.

A performance of Verdi's opera Otello, given at the Royal Opera House, Covent Garden.

Verdi's Otello20140927Verdi's Otello, live from English National Opera, conducted by Edward Gardner, with Stuart Skelton in the title role.

Presented by Martin Handley

Otello.....Stuart Skelton (Tenor)

Desdemona.....Leah Crocetto (Soprano)

Iago.....Jonathan Summers (Baritone)

Cassio.....Allan Clayton (Tenor)

Roderigo.....Peter Van Hulle (Tenor)

Lodovico.....Barnaby Rea (Baritone)

Montano.....Charles Johnston (Baritone)

Emilia.....Pamela Helen Stephen (Mezzo-soprano)

English National Opera Chorus

English National Opera Orchestra

Edward Gardner (Conductor)

Verdi's late opera, based on Shakespeare's great tragedy of deception and betrayal, sees the love between the Moorish general Otello and his new wife Desdemona poisoned and eventually destroyed by the manipulative Iago.

This new production celebrates the 450th anniversary of Shakespeare's birth and is directed by David Alden, who returns to the London Coliseum following his recent triumphant production of Peter Grimes. He is reunited with Grimes collaborators ENO Music Director Edward Gardner and tenor Stuart Skelton, who sings Otello for the first time.

Live from English national Opera, Verdi's Otello, with Stuart Skelton in the title role.

Verdi's Otello20210703Verdi's Otello from the New York Met, starring Aleksandrs Antonenko and Sonya Yoncheva as the Moorish general Otello and his wife Desdemona, with ?eljko Lu?i? as the jealous Iago who destroys them both. Seen by many as the greatest of all Italian tragic operas, Otello is based on Shakespeare's great play of deception and betrayal, and includes some of Verdi's most intense and dramatic music, with huge importance given to the role of the orchestra - conducted by Yannick N?zet-S?guin in this performance from October 2015.

Desdemona - Sonya Yoncheva (soprano)

Otello - Aleksandrs Antonenko (tenor)

Cassio - Dimitri Pittas (tenor)

Iago - ?eljko Lu?i? (baritone)

Lodovico - Günther Groissb?ck (Lodovico)

The Chorus and Orchestra of the Metropolitan Opera, New York

Yannick N?zet-S?guin (conductor)

Verdi's Otello from the New York Met, starring Aleksandrs Antonenko and Sonya Yoncheva as the Moorish general Otello and his wife Desdemona, with Željko Lu?i? as the jealous Iago who destroys them both. Seen by many as the greatest of all Italian tragic operas, Otello is based on Shakespeare's great play of deception and betrayal, and includes some of Verdi's most intense and dramatic music, with huge importance given to the role of the orchestra - conducted by Yannick N退zet-S退guin in this performance from October 2015.

Iago - Željko Lu?i? (baritone)

Lodovico - Günther Groissb怀ck (bass)

Yannick N退zet-S退guin (conductor)

Verdi's Otello: Kaufmann At 502017102120190713 (R3)In celebration of Jonas Kaufmann's 50th, another chance to hear him sing the title role of Verdi's Otello from the Royal Opera House, recorded in 2017

Verdi's great Shakespearean tragedy of revenge, this gripping drama about the human psyche pushed to the limits by jealousy stars Jonas Kaufmann as the great general brought low by the evil schemes of his ensign Iago, sung by Marco Vratogna. Maria Agresta is Otellos's innocent and falsely accused wife, Desdemona, in Keith Warner's new production which emphasises the claustrophobia of this all-too-human tragedy. The Chorus and Orchestra of the Royal Opera House, Covent Garden are conducted by Antonio Pappano. James Naughtie presents this performance, recorded in July 2017 and his guest in the box is Flora Willson.

Otello - Jonas Kaufmann (tenor)

Desdemona - Maria Agresta (soprano)

Iago - Marco Vratogna (baritone)

Cassio - Fr退d退ric Antoun (tenor)

Roderigo - Thomas Atkins (tenor)

Emilia - Kai Rüütel (mezzo-soprano)

Montano - Simon Shibambu (bass)

Lodovico - In Sung Sim (bass)

Herald - Thomas Barnard (bass-baritone)

Royal Opera House Chorus and Orchestra

Antonio Pappano (conductor).

Verdi's Otello from the Royal Opera House with Jonas Kaufmann in the title role

Verdi's Rigoletto20101002Christopher Cook is at the Wales Millennium Centre for the much-anticipated debut of baritone Simon Keenlyside in the title role of Verdi's famously controversial tragedy. Welsh National Opera's revived production brings together director James McDonald and designer Robert Innes Hopkins to transport Verdi's Mantua to the Washington of the Kennedy era. It's a chance for the famously physical Keenleyside to recreate his court jester Rigoletto role as presidential aide, swimming in a pool of corruption, bullying and grotesque indulgence. Also featured are the American soprano Sarah Coburn making her UK debut, and a return to WNO by a much loved Welsh singer, tenor Gwyn Hughes Jones, in the role of the philandering and murderous Duke.

Also in the presenter's box is Welsh bass and close friend of Simon Keenlyside, Gwynne Howell, who made his operatic debut in Verdi's opera. And before the final act there's a chance to explore the magical process of bringing the Oval Office into the opera house, as Christopher Cook meets the skilled draftsmen, carpenters and painters who convert a designer's vision into on-stage reality.

More information about the production, including photographs, a synopsis and an interview with designer Robert Innes Hopkins are available below.

Rigoletto - Simon Keenlyside (baritone)

The Duke - Gwyn Hughes Jones (tenor)

Gilda - Sarah Coburn (soprano)

Monterone - Michael Druiett (baritone)

Sparafucile - David Soar (bass)

Maddalena - Leah-Marian Jones (mezzo-soprano)

Chorus and Orchestra of Welsh National Opera

Pablo Heras-Casado - Conductor.

Baritone Simon Keenlyside makes his debut in WNO's revived production of Verdi's tragedy.

Verdi's Rigoletto20120609Presented by Louise Fryer

Verdi's tragic and provocative tale of the cynical court jester who, against his better nature, wreaks havoc with the lives of others. But then the tables are turned and he's doomed to bring about the death of the one person he holds most dear - his daughter Gilda. In this revival of David McVicar's production for the Royal Opera House, Covent Garden, conducted by Sir John Eliot Gardiner, Dimitri Platanias is the hunchback jester, Ekaterina Siurina his daughter Gilda, and Vittorio Grigolo the handsome, amoral Duke who poses as a penniless student to gain Gilda's love.

Duke Of Mantua.....Vittorio Grigolo (Tenor)

Rigoletto.....Dimitri Platanias (Baritone)

Gilda.....Ekaterina Siurina (Soprano)

Maddalena.....Christine Rice (Mezzo-Soprano)

Sparafucile.....Matthew Rose (Bass)

Giovanna.....Elizabeth Sikora (Mezzo-Soprano)

Monterone.....Gianfranco Montresor (Baritone)

Marullo.....Zheng Zhou (Baritone)

Borsa.....Pablo Bemsch (Tenor)

Count Ceprano.....Jihoon Kim (Bass Baritone)

Countess Ceprano.....Susana Gaspar (Soprano)

Usher.....Nigel Cliffe (Tenor)

Page.....Andrea Hazell (Mezzo-Soprano)

Orchestra and Chorus of the Royal Opera

Conductor.....John Eliot Gardiner.

John Eliot Gardiner conducts a performance of Verdi's Rigoletto. With Dimitri Platanias.

Verdi's Rigoletto20211009Rigoletto is the Duke of Mantua's hunchbacked jester who revels in mocking and humiliating the courtiers by encouraging the Duke to have his way with their wives and daughters. But in the end it is his own daughter Gilda who is raped by the Duke, and in his quest for vengeance it is Rigoletto himself who unwittingly commissions her murder.

Verdi's compelling masterpiece of ineluctable fate and the futility of retribution is full of profound psychological insights and some of his greatest music including the Duke of Mantua's jaunty, ever-popular aria 'La donna 耀 mobile' which, as he sings of the inconstancy of women, is a grotesque moment of blackly humorous dramatic irony.

Recorded last month, this new production from the Royal Opera House, Covent Garden, is introduced by Tom Service in conversation with Flora Willson and includes comments from director Oliver Mears, Antonio Pappano (conducting Rigoletto for the first time at the ROH) and members of the cast.

Verdi: Rigoletto

Act 1

7.40 pm

Interval

7.55 pm

Acts 2 & 3

Rigoletto.......Carlos @lvarez (baritone)

Duke of Mantua.......Liparit Avetisyan (tenor)

Gilda.......Lisette Oropesa (soprano)

Sparafucile.......Brindley Sherratt (bass)

Maddalena.......Ramona Zaharia (mezzo-soprano)

Count Monterone.......Eric Greene (baritone)

Giovanna.......Kseniia Nikolaieva (mezzo-soprano)

Marullo.......Dominic Sedgwick (baritone)

Matteo Borsa.......Egor Zhuravskii (tenor)

Count Ceprano.......Blaise Malaba (bass)

Chorus and Orchestra of the Royal Opera House

Antonio Pappano (conductor)

Photo: ©2021 ROH/Ellie Kurttz

SYNOPSIS

Act I

The Duke of Mantua hosts a magnificent party, during which his jester, Rigoletto, cruelly mocks the assembled courtiers, the husbands and fathers of the many women his master has seduced. One of them, Monterone, curses Rigoletto. The jester fears for the safety of his own daughter, Gilda, whom he has hoped to protect from the predations of men by keeping her existence and her home a secret.

A terrified Rigoletto hurries home to check on his daughter but the Duke who has seen her in church (the only place outside her house that Rigoletto has allowed her to go) has followed her home. After Rigoletto leaves, the Duke and Gilda meet and he pretends to be a poor student and professes his love for her, which Gilda returns.

The courtiers think that Gilda is Rigoletto's secret mistress, and plot to kidnap her in revenge for the jester's cruelty. When Rigoletto discovers the group near his home, they claim to be kidnapping a courtier's wife to take to the Duke, and Rigoletto holds a ladder to help whilst wearing a mask to cover his eyes. Removing it he realises the betrayal, and remembers the curse.

Act II

The next morning Rigoletto returns to the court distraught, desperately looking for his daughter and begging for her return. Gilda bursts in crying and tells Rigoletto how she had been handed over by her kidnappers to the Duke. Rigoletto swears they will get revenge on the Duke and then leave Mantua, despite Gilda's pleas for mercy.

Act III

Rigoletto and Gilda follow the Duke to a tavern where Gilda is devastated to see him repeat his professions of undying love, this time for Maddalena, sister of the assassin Sparafucile. Rigoletto disguises Gilda as a man and tells her to go to Verona, where he will meet her later.

Rigoletto pays Sparafucile for the Duke's murder. Maddalena protests, but Sparafucile insists the Duke will die unless another victim is found before midnight.

The disguised Gilda overhears the conversation and decides to sacrifice herself instead of the Duke. She knocks on the tavern door and is stabbed by Sparafucile. Rigoletto appears and Sparafucile hands him a sack containing what Rigoletto assumes is the Duke's body. Rigoletto opens it and instead discovers his own daughter. Gilda dies in his arms and he realises that the curse has been fulfilled.

Carlos \u00c1lvarez stars in Verdi's great tragedy from the Royal Opera House, Covent Garden

Verdi's compelling masterpiece of ineluctable fate and the futility of retribution is full of profound psychological insights and some of his greatest music including the Duke of Mantua's jaunty, ever-popular aria 'La donna ? mobile' which, as he sings of the inconstancy of women, is a grotesque moment of blackly humorous dramatic irony.

Acts 2 and 3

8.00 pm

Carlos \u00c1lvarez stars in Verdi's great tragedy from the Royal Opera House, Covent Garden.

Verdi's Rigoletto20221217From the New York Met: Luca Salsi stars as the hunchbacked jester whose implacable quest for vengeance brings only personal tragedy to himself and to his daughter.

Presented by Debra Lew Harder with commentator Ira Siff.

Rigoletto is the Duke of Mantua's hunchbacked jester who revels in mocking and humiliating the courtiers by encouraging the Duke to have his way with their wives and daughters. But in the end it is his own daughter Gilda who is raped by the Duke, and in his quest for vengeance it is Rigoletto himself who unwittingly commissions her murder.

Verdi's compelling masterpiece of ineluctable fate and the futility of retribution is full of profound psychological insights and some of his greatest music including the Duke of Mantua's jaunty, ever-popular aria 'La donna 耀 mobile' which, as he sings of the inconstancy of women, is a grotesque moment of blackly humorous dramatic irony.

Rigoletto - Luca Salsi (baritone)

Gilda - Lisette Oropesa (soprano)

Duke of Mantua - Stephen Costello (tenor)

Sparafucile - John Relyea (bass)

Maddalena - Aigul Akhmetshina (contralto)

Metropolitan Opera Chorus and Orchestra

Conductor Speranza Scappucci

From the New York Met: Luca Salsi stars in Verdi's great tragedy Rigoletto.

Verdi's The Force Of Destiny20151226Verdi's The Force of Destiny, recorded last month at the London Coliseum. Mark Wigglesworth conducts the ENO orchestra and chorus, as well as a superb cast lead by the soprano Tamara Wilson in a critically acclaimed performance as Donna Leonora, and the tenor Gwyn Hughes Jones as her lover Don Alvaro. Don Carlo di Vargas is sung by the baritone Anthony Michaels-Moore. Drawing from deep personal references, Calixto Bieito directs this new production at the English National Opera staging this tale of love and revenge - with the main characters incapable of escaping their doomed fate - in the middle of the Spanish Civil War. Presented by Donald Macleod.

Donna Leonora..... Tamara Wilson (soprano)

Don Alvaro..... Gwyn Hughes Jones (tenor)

Don Carlo di Vargas..... Anthony Michaels-Moore (baritone)

Padre Guardiano..... James Creswell (bass)

Fra Melitone..... Andrew Shore (baritone)

Preziosilla..... Rinat Shaham (mezzo-soprano)

Marquis of Calatrava..... Matthew Best (bass)

Curra..... Clare Presland (mezzo-soprano)

Trabuco..... Adrian Dwyer (tenor)

Alcalde..... Nicholas Folwell (baritone)

The Orchestra and Chorus of the English National Opera

Mark Wigglesworth (conductor).

Donald Macleod presents an ENO production of Verdi's opera The Force of Destiny.

Verdi's Un Ballo In Maschera20080105A cautionary tale about the perils of mixing love and politics, Verdi's opera is a masterpiece of musical variety. The story, based on the assassination of the Swedish King Gustavus III, unfolds with gripping dramatic intensity, and Piero Faggioni's production features a stellar international cast.

Including the Met Opera Quiz, hosted by mezzo-soprano Alice Coote, and backstage interviews with some of the artists.

Presented from the Metropolitan Opera House, New York by Margaret Juntwait.

Amelia - Mich耀le Crider (soprano)

Oscar - Ofelia Sala (soprano)

Ulrica - Stephanie Blythe (mezzo-soprano)

Riccardo - Salvatore Licitra (tenor)

Renato - Dmitri Hvorostovsky (baritone)

Silvano - Jeff Mattsey (baritone)

Sam - Hao Jiang Tian (bass)

Tom - Andrew Gangestad (bass)

Judge - Mark Schowalter (tenor)

Servant - Charles Anthony (tenor)

Chorus and Orchestra of New York Metropolitan Opera

Gianandrea Noseda (conductor).

Gianandrea Noseda conducts Verdi's tale about the perils of mixing love and politics.

Verdi's Un Ballo In Maschera20150110Verdi's 'Un Ballo in Maschera'from Covent Garden, a drama loosely based on the real events leading to the assassination of King Gustav III of Sweden. Verdi masterfully develops this story at various levels: against the backdrop of a political conspiracy, he tells of the personal tragedy of a ruler in love with his best friend's wife. Daniel Oren conducts a starry cast lead by Joseph Calleja as Riccardo, Liudmyla Monastyrska as Amelia and Dmitri Hvorostovsky as her husband, Riccardo's friend and advisor Renato.

Riccardo.....Joseph Calleja (Tenor)

Amelia.....Liudmyla Monastyrska (Soprano)

Renato.....Dmitri Hvorostovsky (Baritone)

Ulrica.....Marianne Cornetti (Mezzo-soprano)

Oscar.....Serena Gamberoni (Soprano)

Samuel.....Anatoli Sivko (Bass Baritone)

Tom.....James Platt (Bass)

Silvano.....Samuel Dale Johnson (Baritone)

Minister of Justice.....Samuel Sakker (Tenor)

Royal Opera House Orchestra

Royal Opera House Chorus

Daniel Oren (Conductor).

From the Royal Opera House, Covent Garden, Verdi's opera Un ballo in maschera.

Verdi's Un Ballo In Maschera20190615It's murder on the dance floor in Verdi's darkly comic tale of love, betrayal and revenge, recorded last February at Wales Millennium Centre in Cardiff. Loosely based on a fictional account of the death, at a masked ball of the King of Sweden in 1792, Welsh National Opera's Artistic Director David Pountney's new production playfully references the King's theatrical links with its blacks and reds and Gothic references.

Centring around a love triangle, Verdi's music portrays a very human drama. Making his role debut as Riccardo, tenor Gwyn Hughes Jones is secretly in love with his best friend's wife, Amelia, sung by soprano Mary Elizabeth Williams. When they're discovered at what appears to be a secret tryst, a prophecy is set in motion with tragic consequences.

Presented by Andrew McGregor with opera expert Sarah Lenton.

Riccardo ....... Gwyn Hughes Jones (tenor)

Amelia - Mary Elizabeth Williams (soprano)

Renato - Roland Wood (baritone)

Oscar - Julie Martin du Theil (soprano)

Ulrica - Sara Fulgoni (contralto)

Judge - Gareth Dafydd Morris (tenor)

Silvano - Jason Howard (baritone)

Servant of Amelia - Andrew Irwin (tenor)

Samuel - Jihoon Kim (bass)

Tom - Tristan Hambleton (bass baritone)

Politicians, conspirators, guests at the ball - Chorus of Welsh National Opera

Orchestra of Welsh National Opera

Carlo Rizzi (conductor)

Image (c) WNO 2019. Photographer: Bill Cooper

Welsh National Opera's new production of Verdi's Un ballo in maschera.

Verdi's Un Ballo In Maschera20240224From the New York Metropolitan Opera: Verdi's tragedy culminating in a masked ball, conducted by Carlo Rizzi and starring Charles Castronovo and Angela Meade. In this drama loosely based on real events leading to the assassination of King Gustav III of Sweden, Verdi masterfully develops the story of the personal tragedy of a ruler in love with his best friend's wife.

Presented by Deborah Lew Harder with commentator Ira Siff.

Gustavo, King of Sweden - Charles Castronovo (tenor)

Count Anckarström - Quinn Kelsey (baritone)

Amelia, wife of Anckarström - Angela Meade (soprano)

Oscar - Liv Redpath (soprano)

Ulrica - Olesya Petrova (mezzo-soprano)

Cristiano - Jeongcheol Cha (bass)

Count Ribbing - Kevin Short (bass)

Count Horn - Christopher Job (bass)

Judge - Thomas J. Capobianco (tenor)

Amelia's servant - Tony Stevenson (tenor)

Metropolitan Opera Chorus and Orchestra

Carlo Rizzi, conductor

From the New York Metropolitan Opera: Verdi's tragedy culminating in a masked ball.

Vivaldi's Bajazet20220226Sean Rafferty presents the first opera by Vivaldi ever performed at the Royal Opera House in London, a co-production with Irish National Opera featuring the Irish Baroque Orchestra and their artistic director Peter Whelan, with stage direction by Adele Thomas. The brutal conqueror Tamerlano has crushed the Ottoman Emperor Bajazet and imprisoned him in his own palace. But now Tamerlano has fallen for Bajazet's traumatised daughter Asteria - to the horror of both Asteria's admirer, the Greek Prince Andronico, and Tamerlano's intended bride Irene, Princess of Trebizond.

Bajazet - Gianluca Margheri (bass-baritone)

Tamerlano - Francesco Giusti (countertenor)

Asteria - Niamh O'sullivan (mezzo-soprano)

Andronico - Eric Jurenas (countertenor)

Irene - Claire Booth (soprano)

Idaspe - Aoife Miskelly (soprano)

Conductor Peter Whelan

Image: © ROH

Sean Rafferty presents the first opera by Vivaldi ever performed at the Royal Opera House.

Vivaldi's Orlando Furioso20070922Presented by Donald Macleod. On his triumphant return to Venice in 1727 as a composer and impresario, Vivaldi presented his 'heroico-magical drama', which tells the story of Orlando on the island of the sorceress Alcina, as a model for what opera should be. Corsican conductor Jean-Christophe Spinosi re-assembles many of the stellar cast from his recent recording in this concert performance given at the 2007 Edinburgh International Festival.

Orlando - Sonia Prina (contralto)

Alcina - Jennifer Larmore (mezzo-soprano)

Angelica - Veronica Cangemi (soprano)

Ruggiero - Philippe Jaroussky (countertenor)

Astolfo - Christian Senn (baritone)

Bradamante - Barbara Di Castri (contralto)

Medoro - Daniela Pini (mezzo-soprano)

Scottish Chamber Orchestra and Chorus

Jean-Christophe Spinosi (conductor).

The Scottish CO and Chorus tell the story of Orlando on the island of the sorceress Alcina

Wagner 200, Lohengrin20130526Wagner 200: Donald Macleod and theatre historian Sarah Lenton introduce Wagner's epic fairytale Lohengrin, live from the Wales Millennium Centre in a new production by Antony McDonald for Welsh National Opera. Described as the composer's 'Romantic opera', Lohengrin transports us to the tenth century where themes of chivalry, love and redemption collide. In the first interval there'll be a Radio 3 Music Guide to the opera, available also as a free download.

3.00 - Act 1

4.00 - Interval

Nicholas Baragwanath explores the issues of longing and distance which fill the work, with contributions from singer Petra Lang and conductor Semyon Bychkov.

Plus there's a journey backstage with the costume department of WNO where slick teamwork and planning are required to reclothe panting opera stars in a matter of minutes

4.30 - Act 2

6.00 - Interval

Could Wagner ever have been a great symphonist? Composer Matthew King is convinced he could have been, so much so that he's attempting to create a work based on a handful of late sketches. Donald Macleod meets him to discover whether the fragments might be clues to a Wagnerian revolution in symphonic music.

6.30 - Act 3

Lohengrin - Peter Wedd (tenor)

Elsa - Emma Bell (soprano)

Ortrud - Susan Bickley (mezzo-soprano)

Friedrich von Telramund - Claudio Otelli (baritone)

Heinrich - Matthew Best (bass)

Chorus and Orchestra of Welsh National Opera

Lothar Koenigs (conductor).

Donald Macleod presents a Welsh National Opera production of Wagner's Lohengrin.

Wagner 200, Rienzi20130706Wagner 200. John Shea presents the final Opera on 3 of the season, a BBC archive recording from 1976 of Wagner's third opera Rienzi, the Last of the Tribunes in the 1842 version with additional music orchestrated from sketches.

Rienzi is a grand opera in 5 acts owing a great deal to the examples of the genre by Meyerbeer and Hal退vy. The original performance material for Rienzi was destroyed during the Dresden bombings of 1945 as was the score which was apparently given to Hitler as a present and lost in the destruction of his bunker in Berlin. Consequently performances since then, which have been few and far between, have been reconstructions. In the mid 1970s Edward Downes and others worked on the most complete version ever heard which was later published in the Wagner Edition. Wagner scholar John Deathridge tells John Shea about the preparation of the material for this studio recording and there's also a Radio 3 Opera Guide about Rienzi which can be downloaded for free after the broadcast.

Rienzi is set in Rome in the middle ages and the central figure is Cola di Rienzi, who leads the populace against the power for the nobles.

Wagner based it on the novel by the English writer Henry Bulwer-Lytton published in 1835. He completed it in 1840 and it was first performed in Dresden in 1842 when despite its length it was a considerable success and led to Wagner becoming Kapellmeister at the Dresden Opera the following year. However because of its scale Wagner subsequently made cuts and throughout the 19th century it was often performed in Germany and other parts of Europe and even reached America. Wagner later disowned the work and like his two earlier operas it has never been staged at the Bayreuth Festival, the Wagner festival still run by his descendants.

Rienzi.....John Mitchinson (tenor)

Irene.....Lois McDonall (soprano)

Stefano Colonna.....Michael Langdon (bass)

Adriano.....Lorna Haywood (soprano)

Paolo Orsini.....Raimund Herincx (baritone)

Raimondo.....David Ward (bass)

Baroncelli.....Adrian De Peter (tenor)

Cecco del Vecchio.....Paul Herald (bass)

Messenger of Peace.....Elizabeth Gale (soprano)

Herald.....Brian Cookson (tenor)

BBC Northern Symphony Orchestra

BBC Northern Singers

Conducted by Edward Downes.

John Shea presents an archive recording from 1976 of Wagner's third opera Rienzi.

Wagner 200: Die Feen20131028As part of Wagner 200 celebrations, Martin Handley introduces Wagner's rarely heard Opera Die Feen in a recording conducted by Sir Edward Downes, featuring John Mitchinson and April Cantelo.

Arindal ... John Mitchinson (Tenor)

Ada ... April Cantelo (Soprano)

Lora ... Lorna Haywood (Soprano)

Morald ... Tom McDonnell (Baritone)

Gunther ... Richard Greager (Tenor)

Gernot ... Paul Hudson (Bass)

Drolla ... Teresa Cahill (Soprano)

Zermina ... Elizabeth Gale (Soprano)

Farzana ... Della Jones (Mezzo-soprano)

Harald/ Groma/Fairy King ... Don Garrard (Bass)

Messenger ... Jolyon Dodgson (Baritone)

BBC Northern Singers

BBC Northern Orchestra

Edward Downes (Conductor)

Die Feen was Wagner's first completed opera, a 3-act Romantic opera written when Wagner was 20 to his own libretto. The work received its first performance five years after Wagner's death, and wasn't staged in Britain until 1969. The models for Wagner's work were Weber and Marschner with whose work he had become familiar working as chorus master at Wurzburg. The plot involves Ada, half fairy, half mortal, who has fallen in love with Arindal, King of Tramond, and she agrees to marry him on the one condition that he does not ask her identity. Their union is blissfully happy until of course curiosity gets the better of Arindal and he asks who she is, resulting of course in Ada's disappearance. Ada reappears in Act 2 and sets Arindal various tasks, all of which he fails, and he is driven insane. The fairy tale does have a happy ending though, as the Fairy King grants Arindal immortality so he and Ada can live together in fairyland. Martin Handley introduces a recording of the opera from 1974 starring John Mitchinson as Arindal and April Cantelo as Ada, conducted by Sir Edward Downes.

Martin Handley introduces a performance of Wagner's rarely-heard opera Die Feen.

Wagner 200: Die Meistersinger Von Nurnberg20130914Wagner's comedy Die Meistersinger von Nürnberg was performed at this summer's Salzburg Festival in a new production by Stefan Herheim. Jonathan Swain launches a new series of Opera on 3 and continues Radio 3's Wagner 200 celebrations with this recording of the production.

Eva - Anna Gabler (soprano)

Magdalene - Monika Bohinec (mezzo-soprano)

Hans Sachs - Michael Volle (bass-baritone)

Walther von Stolzing - Roberto Sacc

Wagner, G\u00f6tterd\u00e4mmerung From The Edinburgh International Festival20190921Destiny unfolds towards the conclusion of Wagner's epic four-opera tale of power, corruption and the ultimate destruction of the Valhalla and the Gods. Sir Andrew Davis conducts the RSNO in the epic finale of the Ring Cycle, G怀tterdammerung in a special production from the Usher Hall during this summer's Edinburgh International Festival. Presented by Jim Naughtie

Brünnhilde.....Christine Goerke (soprano)

Siegfried.....Burkhard Fritz (tenor)

Gunther.....Josef Wagner (bass-baritone)

Gutrune.....Amber Wagner (soprano)

Hagen.....Ain Anger (bass)

Alberich.....Samuel Youn (bass-baritone)

Second Norn, Waltraute.....Karen Cargill (mezzo-soprano)

First Norn.....Ronnita Miller (mezzo-soprano)

Third Norn.....Erin Wall (soprano)

Woglinde.....Danae Kontora (soprano)

Wellgunde.....Catriona Morison (mezzo-soprano)

Flosshilde.....Claudia Huckle (contralto)

Royal Scottish National Orchestra

RCS Voices

Sir Andrew Davis (conductor)

Timothy Dean (chorus director)

Eric Weimer, (assistant conductor)

Presenter: Jim Naughtie

Producer: Lindsay Pell

Sir Andrew Davis conducts the RSNO's epic finale of the Ring Cycle from the EIF

Wagner: Tristan Und Isolde At The Royal Opera House2014122920200627 (R3)The most audacious and original work of my life' Wagner said of his epic opera Tristan and Isolde. The opera is based on the Celtic legend of Tristan and Iseult, an ill-fated love triangle. The eponymous couple meet onboard Tristan's ship as he brings Isolde from Ireland to Cornwall to marry his uncle, King Marke, sung by bass John Tomlinson. Isolde offers Tristan a deathly potion unaware that Isolde's maid Brangane, mezzo-soprano Sarah Connolly, has switched this to a love potion and the two fall fatefully for each other. They continue to meet even after Isolde's marriage to King Marke, who is too broken-hearted to show his anger at Tristan's betrayal. Knowing their love cannot survive in this world, Tristan allows himself to be wounded by one of Marke's courtiers, and dies in Isolde's arms. In her liebestod, Isolde sings of the love that can only be fulfilled in death with Tristan.

The star cast is led by soprano Nina Stemme as Isolde, and tenor Stephen Gould as Tristan. Antonio Pappano conducts the Orchestra and Chorus of the Royal Opera House, Covent Garden.

Tonight's Opera on 3 is another chance to hear this stunning performance which was recorded and first broadcast in 2014. It's presented by Christopher Cook who's joined by Wagner specialist Sarah Lenton.

Tristan.....Stephen Gould (Tenor)

Isolde.....Nina Stemme (Soprano)

King Marke.....John Tomlinson (Bass)

Kurwenal.....Iain Paterson (Bass)

Brangane.....Sarah Connolly (Mezzo-soprano)

Melot.....Neal Cooper (Tenor)

Sailor.....Ed Lyon (Tenor )

Shepherd.....Graham Clark (Tenor)

Steersman.....Yuriy Yurchuk (Bass-baritone)

Royal Opera House Orchestra

Royal Opera House Chorus

Antonio Pappano (Conductor)

Wagner's Tristan and Isolde from the Royal Opera House, Covent Garden.

Wagner's Das Liebesverbot20160618Andrew McGregor introduces a performance of Wagner's early comic opera, Das Liebesverbot, or 'The Ban on Love', based on Shakespeare's Measure for Measure, from the Teatro Real, Madrid. Baritone Christopher Maltman sings the role of Friedrich, the viceroy of Sicily, whose ban on all public displays of affection causes uproar in the city of Palermo. Ivor Bolton conducts the Chorus and Orchestra of the Teatro Real, Madrid.

Friedrich - Christopher Maltman (baritone)

Luzio - Peter Lodahl (tenor)

Claudio - Ilker Arcayürek (tenor)

Antonio - David Alegret (tenor)

Angelo - David Jerusalem (baritone)

Isabella - Manuela Uhl (soprano)

Mariana - Mar퀀a Mir  (soprano)

Brighella - Ante Jerkunica (baritone)

Danieli - Isaac Galကn (baritone)

Dorella - Mar퀀a Hinojosa (soprano)

Ponzio Pilato - Francisco Vas (tenor)

The Chorus of the Teatro Real, Madrid

The Orchestra of the Teatro Real, Madrid

Ivor Bolton (conductor).

Wagner's early comic opera Das Liebesverbot from the Teatro Real in Madrid.

Wagner's Das Rheingold20231007Wagner's Das Rheingold from the Royal Opera House, London, conducted by Antonio Pappano and starring Christopher Maltman and Christopher Purves.

Das Rheingold is the first of the four music dramas which make up Wagner's epic Ring cycle. It's a story of gods and dwarves, giants and Rhinemaidens. Out of these tales from Norse Mythology Wagner forges a drama which explores themes of love and its renunciation, nature and its despoliation and the curse of ultimate power -symbolised by the ring fashioned from gold plundered by the dwarf Alberich from the depths of the Rhine. In this first drama we follow the escapades of Wotan, chief of the gods, in company with the trickster, Loge as they descend into Nibelheim in search of the gold, the tarnhelm of invisibility and the ring of power. This new production by Barrie Kosky inaugurates a new Ring cycle at the Royal Opera House which will unfold over the coming years.

Presented by Georgia Mann.

Wotan - Christopher Maltman (baritone)

Alberich - Christopher Purves (baritone)

Loge - Sean Panikkar (tenor)

Fricka - Marina Prudenskaya (mezzo-soprano)

Freia - Kiandra Howarth (soprano)

Erda - Wiebke Lehmkuhl (contralto)

Donner - Kostas Smoriginas (bass-baritone)

Froh - Rodrick Dixon (tenor)

Mime - Brenton Ryan (tenor)

Fasolt - Insung Sim (bass)

Fafner - Soloman Howard (bass)

Woglinse - Katharina Konradi (soprano)

Wellgunde - Niamh O'Sullivan (mezzo-soprano)

Flosshilde - Marvic Monreal (mezzo-soprano)

Orchestra of the Royal Opera House

Antonio Pappano (conductor)

Wagner's Das Rheingold from the Royal Opera House, London, conducted by Antonio Pappano.

Das Rheingold is the first of the four music dramas which make up Wagner's epic Ring cycle. It's a story of gods and dwarves, giants and Rhinemaidens. Out of these tales from Norse mythology Wagner forges a drama which explores themes of love and its renunciation, nature and its despoliation and the curse of ultimate power - symbolised by the ring fashioned from gold plundered by the dwarf Alberich from the depths of the Rhine. In this first drama we follow the escapades of Wotan, chief of the gods, in company with the trickster, Loge as they descend into Nibelheim in search of the gold, the tarnhelm of invisibility and the ring of power. This new production by Barrie Kosky inaugurates a new Ring cycle at the Royal Opera House which will unfold over the coming years.

Read the full synopsis on the Royal Opera House website: https://bit.ly/3MbQWpV

Wagner's Der Fliegende Hollander20111112Tonight's Opera on 3 is a production of Wagner's Der Fliegende Holl䀀nder recorded at the Royal Opera House, Covent Garden. Egils Silins sings the legendary Dutchman, cursed to sail his ghostly ship for eternity and only allowed ashore every seven years. The only way to break the curse is to find a woman who will be faithful to him until death. Anje Kampe sings Senta, who believes she is that woman, despite having promised herself to somebody else. Jeffrey Tate conducts a revival of Tim Albery's 2009 production.

Presented by Louise Fryer

Daland - Stephen Milling (Bass)

Senta - Anja Kampe (Soprano)

Erik - Endrik Wottrich (Tenor)

Steersman - John Tessier (Tenor)

The Dutchman..... Egils Silins (Bass)

Conductor - Jeffrey Tate

Royal Opera House Orchestra and Chorus.

Louise Fryer presents a performance of Wagner's celebrated opera Der Fliegende Hollander.

Wagner's Der Fliegende Hollander20150223Wagner's Der fliegende Holl䀀nder from the Royal Opera House, Covent Garden, starring Egils Silins and soprano Adrianne Pieczonka as Senta, conducted by Andris Nelsons.

The Dutchman.....Egils Silins (Bass-baritone)

Senta.....Adrianne Pieczonka (Soprano)

Erik.....Michael Konig (Tenor)

Daland.....Peter Rose (Bass)

Steersman.....Ed Lyon (Tenor)

Mary.....Catherine Wyn-Rogers (Mezzo-soprano)

Royal Opera House Orchestra

Royal Opera House Chorus

Andris Nelsons (Conductor)

Der fliegende Holl䀀nder, The Flying Dutchman, sung by Latvian bass-baritone Egils Silins, has been condemned for eternity to sail his ship, and only once every seven years is allowed to come ashore to seek redemption by a faithful woman. The raging storm has driven The Dutchman to a Norwegian harbour where he moors beside Daland, sung by bass Peter Rose. Daland is impressed by the Dutchman's wealth and offers him shelter, and is no less impressed by the Dutchman's interest in his daughter, Senta, the role sung by soprano Adrianne Pieczonka. The Dutchman hopes he has found his redemption in Senta, who is looking for a change to her mundane life, and she eagerly accepts the Dutchman's declaration of love and his proposal. But he wrongly thinks she is unfaithful, so returns to his ship and sets sail without her.

Tim Albery's production for the Royal Opera, nominated for an Olivier award, probes the dark psychology of the persecuted and unfulfilled sailor, a character with whom Wagner identified. The cast is led by by Latvian bass-baritone Egils Silins and soprano Adrianne Pieczonka, known for her interpretations of Wagner. Donald Macleod introduces the performance and excerpts from interviews with some of the cast. The Orchestra and Chorus of the Royal Opera House, Covent Garden, are conducted by Andris Nelsons.

From the Royal Opera House, Covent Garden, Wagner's dark opera Der fliegende Hollander.

Wagner's Die Meistersinger Von N\u00fcrnberg20170610Sir Antonio Pappano conducts Wagner's epic comedy. Walther wants to marry Eva, but is only allowed do so if he wins the song contest held by the local guild of mastersingers. His self-taught method of song-writing breaks all the complicated rules, but fortunately the wise Hans Sachs is on hand to offer advice on both song-writing and love.

Bryn Terfel sings the central role of Hans Sachs. Gwyn Hughes Jones is Walther, and Rachel Willis Sorensen is Eva.

Presented by Martin Handley with commentary by Barbara Eichner.

Wagner: Die Meistersinger von Nürnberg

Walther von Stolzing - Gwyn Hughes Jones (tenor)

Eva - Rachel Willis Sorensen (soprano)

Magdalene - Hanna Hipp (mezzo-soprano)

David - Allan Clayton (tenor)

Veit Pogner - Stephen Milling (bass)

Sixtus Beckmesser - Johannes-Martin Kranzle (baritone)

Hans Sachs - Bryn Terfel (bass-baritone)

Kunz Vogelgesang - Andrew Tortise (tenor)

Konrad Nachtigal - Gyula Nagy (baritone)

Fritz Kothner. - Sebastian Holecek (baritone)

Hermann Ortel .....John Cunningham (bass-baritone)

Balthasar Zorn - Alasdair Elliott (tenor)

Augustin Moser - David Junghoon Kim (tenor)

Ulrich Eisslinger - Samuel Sakker (tenor)

Hans Foltz - Brian Bannatyne-Scott (bass)

Hans Schwarz - Jeremy White (bass)

Nightwatchman - David Shipley (bass)

Chorus of the Royal Opera House

Orchestra of the Royal Opera House

Antonio Pappano (conductor).

Wagner's epic comedy Die Meistersinger von N\u00fcrnberg, from Covent Garden.

Wagner's Die Meistersinger Von N\u00fcrnberg20220115Celebrating BERNARD HAITINK, who conducts this classic Royal Opera performance of the 1993 production by GRAHAM VICK starring John Tomlinson as the cobbler-poet Hans Sachs. G怀sta Winbergh sings the young iconoclast Walther, Thomas Allen is the prissy Nuremberg town clerk Beckmesser, and Nancy Gustafson is Eva Pogner, the young woman caught between them all.

The great Dutch conductor BERNARD HAITINK, who died last October at the age of 92. This production of Wagner's comic masterpiece was one of Haitink's greatest artistic triumphs as Music Director of the Royal Opera House, Covent Garden - perfect for Opera on 3's contribution to Radio 3's exploration of his legacy.

GRAHAM VICK's acclaimed production, brand new in 1993, featured sunny designs inspired by the paintings of Breughel and Dürer, and a cast at the top of their game, as John Tomlinson's Sachs tries to save Eva from the threat of marriage to the dreaded Beckmesser - but will he give her up to the man she loves, or does he want her for himself?

Hans Sachs - John Tomlinson (bass)

Eva - Nancy Gustafson (soprano)

Walther von Stolzing - Gosta Winbergh (tenor)

Sixtus Beckmesser - Thomas Allen (baritone)

Magdalene, Eva's nurse - Anne Howells (mezzo-soprano)

David, Sachs's apprentice - Deon van Der Walt (tenor)

Mastersingers:

Veit Pogner, Eva's father - Gwynne Howell (bass)

Kunz Vogelgesang - Alasdair Elliot (tenor)

Konrad Nachtigall - David Ellis (bass)

Fritz Kothner - Roderick Earle (bass)

Balthasar Zorn - Ian Thompson (tenor)

Ulrich Eisslinger - Paul Crook (tenor)

Augustin Moser - Christopher Gillett (tenor)

Hermann Ortel - Michael Pearce (bass)

Hans Schwarz - Alan Ewing (bass)

Hans Foltz - Clive Bayley (bass)

Nightwatchman - Mark Beesley (bass)

Royal Opera Chorus

Orchestra of the Royal Opera House

Celebrating BERNARD HAITINK, who conducts this classic Royal Opera performance.

Celebrating Bernard Haitink, who conducts this classic Royal Opera performance of the 1993 production by Graham Vick, which stars John Tomlinson as the cobbler-poet Hans Sachs. G怀sta Winbergh sings the young iconoclast Walther, Thomas Allen is the prissy Nuremberg town clerk Beckmesser, and Nancy Gustafson is Eva Pogner, the young woman caught between them all.

Presented by Donald Macleod, in conversation with John Tomlinson.

Wagner's Die Meistersinger Von Nurnberg20120101Wagner's Die Meistersinger Von Nürnberg

Presented by Martin Handley

Wagner's Die Meistersinger Von Nürnberg with Wolfgang Koch (Hans Sachs), Simon O'Neill (Walter von Stolzing) and Emma Bell (Eva). Antonio Pappano conducts live from the Royal Opera.

Seizing his opportunity after mass, Walther, a young knight from Franconia asks Eva Pogner if she happens to be engaged. Eva, who has fallen in love with Walther at first sight, tells him that her father has arranged to give her hand in marriage to the winner of the guild's song contest on the next day. Walther plans to qualify as a mastersinger during the guild meeting, traditionally held in the church after mass, and thus earn a place in the song contest despite his utter ignorance of the master-guild's rules and conventions. But this is easier said than done...

Hans Sachs...Wolfgang Koch (Baritone)

Walter von Stolzing...Simon O'Neill (Tenor)

Eva...Emma Bell (Soprano)

Sixtus Beckmesser...Peter Coleman-Wright (Baritone)

Veit Pogner...John Tomlinson (Bass)

David...Toby Spence (Tenor)

Magdalene...Heather Shipp (Mezzo soprano)

Kunz Vogelgesang...Colin Judson (Tenor)

Konrad Nachtigall...Nicholas Folwell (Baritone)

Fritz Kothner...Donald Maxwell (Baritone)

Hermann Ortel...Jihoon Kim (Baritone)

Balthazar Zorn...Martyn Hill (Tenor)

Augustin Moser...Pablo Bemsch (Tenor)

Eisslinger...Andrew Rees (Baritone)

Hans Foltz...Jeremy White (Bass)

Hans Schwarz..Richard Wiegold (Bass)

Nightwatchman...Robert Lloyd (Bass)

Conductor...Antonio Pappano

Royal Opera Chorus

Orchestra of the Royal Opera House.

Martin Handley presents a performance of Wagner's opera Die Meistersinger von Nurnberg.

Wagner's Die Walkure20080202Lisa Gasteen, Deborah Voigt and Clifton Forbis head the cast in a live performance from New York Metropolitan Opera of part two of Wagner's epic Ring Cycle.

Siegmund and Sieglinde are brother and sister - but by the time they discover this, they have already fallen in love. Their father Wotan, the arrogant leader of the Gods, is forced to disown them by his wife Fricka, but Wotan's daughter Brunnhilde defies him and helps the lovers.

Presented from New York by Margaret Juntwait.

Brunnhilde - Lisa Gasteen (soprano)

Sieglinde - Deborah Voigt (soprano)

Fricka - Michelle DeYoung (mezzo-soprano)

Siegmund - Clifton Forbis (tenor)

Wotan - James Morris (bass)

Hunding, Sieglinde's husband - Mikhail Petrenko (bass)

Helmwige - Claudia Waite (soprano)

Gerhilde - Kellie Cae Hogan (soprano)

Ortlinde - Wendy Bryn Harmer (soprano)

Siegrune - Leann Sandel-Pantaleo (mezzo-soprano)

Waltraute - Laura Wlasak Nolen (mezzo-soprano)

Grimgerde - Edyta Kulczak (mezzo-soprano)

Rossweisse - Mary Phillips (mezzo-soprano)

Schwertleite - Jane Bunnell (mezzo-soprano)

Chorus and Orchestra of the New York Metropolitan Opera

Lorin Maazel (conductor).

Lisa Gasteen and Deborah Voigt head the cast in part two of Wagner's epic Ring Cycle.

Wagner's Liebesverbot20130921Das Liebesverbot

or 'The Ban on Love

Wagner's early comic opera, based on Shakespeare's Measure for Measure. Sir Edward Downes conducts a top-flight cast in a performance recorded in Manchester in 1976.

Friedrich - Raimund Herincx (baritone)

Luzio - Alexander Young (tenor)

Claudio - Ian Caley (tenor)

Antonio - Neil Jenkins (tenor)

Angelo - William Elvin (baritone)

Isabella - April Cantelo (soprano)

Mariana - Ilse Wolf (soprano)

Brighella - Lawrence Richard (baritone)

Danieli - Leslie Fyson (bass)

Dorella - Elizabeth Gale (soprano)

Pontio Pilato - David Lennox (tenor)

BBC Northern Singers

BBC Northern Symphony Orchestra

Conducted by Edward Downes.

Edward Downes conducts Wagner's early comic opera Liebesverbot.

Wagner's Lohengrin20101009Tonight's Opera on 3 is a performance from this season's Bayreuth Festival of Wagner's Lohengrin. Jonas Kaufmann makes his Bayreuth debut as the mysterious knight who arrives by swan, and refuses to reveal his identity. And Annette Dasch is the woman who falls in love and marries him, even though she is never to ask him his name. As the opening opera in the first season run by Wagner's two granddaughters, Observer critic Fiona Maddocks reveals what it was like to be at the first night of this controversial production.

Presented by Andrew McGregor.

Lohengrin - Jonas Kaufmann (tenor)

King Henry - Georg Zeppenfeld (bass)

Elsa - Annette Dasch (soprano)

Telramund - Hans-Joachim Ketelsen (baritone)

Ortrud - Evelyn Herlitzius (mezzo-soprano)

The Herald - Samuel Youn (bass)

1st Nobleman - Stefan Heibach (tenor)

2nd Nobleman - Willem van der Heyden (tenor)

3rd Nobleman - Rainer Zaun (bass)

4th Nobleman - Christian Tschelebiew (bass)

Andris Nelsons - Conductor

Bayreuth Festival Chorus

Bayreuth Festival Orchestra.

A performance given at the 2010 Bayreuth Festival of Wagner's controversial Lohengrin.

Wagner's Lohengrin20230318Wagner's Lohengrin, with a stellar cast led by tenor Piotr Becza?a in the title role and the soprano Tamara Wilson as Elsa von Brabant.

Based on a German medieval romance, the noble and pure knight Lohengrin is sent to defend and protect Elsa, and as the couple fall madly in love, a dark conspiracy based on treason and jealousy threatens to undermine them, with tragic consequences. Wagner named Lohengrin a 'Romantic opera', and significantly he developed on it his first attempts to write a through-composed music drama, innovating the genre and changing it for ever.

Presented by Debra Lew Harder, in conversation with Ira Siff.

Lohengrin - Piotr Becza?a (tenor)

Elsa von Brabant - Tamara Wilson (soprano)

Ortrud - Christine Goerke (soprano)

Friedrich von Telramund - Evgeny Nikitin (baritone)

Heinrich I - Gu?nther Groissbo?ck is King Heinrich (bass)

Herald - Brian Mulligan (bass-baritone)

Chorus & Orchestra of the Metrapolitan Opera House

Yannick Ne??zet-Se??guin (conductor).

From the Met, Yannick Ne\u0301zet-Se\u0301guin conducts Wagner's Lohengrin.

Based on a German medieval romance, the noble and pure knight Lohengrin is sent to defend and protect Elsa, and as the couple fall madly in love, a dark conspiracy based on treason and jealousy threatens to undermine them, with tragic consequences. Wagner named Lohengrin a 'Romantic opera', and significantly he developed on it his first attempts to write a through-composed music drama, innovating the genre and changing it forever.

Chorus and Orchestra of the Metrapolitan Opera House

Yannick Ne?zet-Se?guin (conductor).

Wagner's Lohengrin At The Royal Opera House20180707Wagner's Lohengrin, recorded earlier this month at the Royal Opera House in London, with a stellar cast lead by tenor Klaus Florian Vogt in the title role and the soprano Jennifer Davis as Elsa von Brabant. Based on a German medieval romance, the noble and pure knight Lohengrin is sent to defend and protect Elsa, and as the couple fall madly in love, a dark conspiracy based on treason and jealousy threatens to undermine them, with tragic consequences. Wagner named Lohengrin a 'Romantic opera', and significantly he developed on it his first attempts to write a through-composed music drama, innovating the genre and changing it for ever. Latvian maestro Andris Nelsons conducts the Royal Opera House orchestra and chorus.

Presented by Martin Handley with contributions from Dr Barbara Eichner, Senior Lecturer of Music at Oxford Brookes University.

Lohengrin - Klaus Florian Vogt (tenor)

Elsa von Brabant - Jennifer Davis (soprano)

Ortrud - Christine Goerke (soprano)

Friedrich von Telramund - Thomas J. Mayer (baritone)

Heinrich I - Georg Zeppenfeld (bass)

Herald - Kostas Smoriginas (bass-baritone)

First Noble of Brabant - Konu Kim (tenor)

Second Noble of Brabant - Thomas Atkins (tenor)

Third Noble of Brabant - Gyula Nagy (baritone)

Fourth Noble of Brabant - Simon Shibambu (bass)

Royal Opera Chorus & Orchestra

Andris Nelsons (conductor).

Wagner's Lohengrin, conducted by Andris Nelsons, at the Royal Opera House in London.

Wagner's Parsifal20080119Martin Handley presents a recording of the recent production of Wagner's final opera from the Royal Opera House, Covent Garden. It marks the return to the theatre's podium of former music director Bernard Haitink, with a cast of leading Wagner interpreters from home and abroad.

Parsifal, the 'pure fool made wise by suffering', encounters the knights of the holy grail led by the wounded ruler Amfortas and veteran knight Gurnemanz. He meets the mysterious wild woman Kundry and the evil magician Klingsor. He grows in maturity and is eventually revealed as the redeemer whose task is to take on the role of the new lord of the grail.

Gurnemanz - John Tomlinson (bass)

First Knight - Nikola Matisic (tenor)

Second Knight - Krzysztof Szumanski (bass)

First Esquire - Harriet Williams (mezzo-soprano)

Second Esquire - Rebecca de Pont Davies (soprano)

Third Esquire - Ji-Min Park (tenor)

Fourth Esquire - Haoyin Xue (tenor)

Kundry - Petra Lang (mezzo-soprano)

Amfortas - Falk Struckmann (bass)

Parsifal - Christopher Ventris (tenor)

Titurel - Gwynne Howell (bass)

Voice from above - Pumeza Matshikiza (soprano)

Klingsor - Willard White (bass)

Flowermaidens...... Elizabeth Cragg, Anita Watson, Kichani Jayasinghe, Malin Christensson, Ana James, Pumeza Matshikiza (sopranos)

Children's Chorus from Trinity School, Croydon

Chorus and Orchestra of the Royal Opera House, Covent Garden

Bernard Haitink (conductor).

A recording of the recent production of Wagner's final opera from the Royal Opera House.

Wagner's Parsifal20110521From the English National Opera

Presented by Donald Macleod

Mark Wigglesworth conducts ENO's highly acclaimed production of Wagner's last opera.

The knights of the Holy Grail are in disarray. Only a blameless fool, made wise through compassion, can cure Amfortas's wound and so set them on the way to recovery. Unlikely as it seems at first, Parsifal might well be that saviour.

Parsifal - Stuart Skelton (tenor)

Amfortas - Iain Paterson (bass)

Titurel - Andrew Greenan (bass)

Gurnemanz - John Tomlinson (bass)

Klingsor - Tom Fox (bass)

Kundry - Jane Dutton (mezzo soprano)

English National Opera Orchestra and Chorus

Conductor - Mark Wigglesworth.

Mark Wigglesworth conducts ENO's celebrated production of Wagner's last opera, Parsifal.

Wagner's Parsifal20131211Wagner's Parsifal, in a new production by Stephen Langridge, live from the Royal Opera House Covent Garden. With Simon O'Neill, Rene Pape, Angela Denoke and Gerald Finley conducted by Antonio Pappano. Presented by Martin Handley with guest, Wagner scholar Nicholas Baragwanath. With contributions from cast, conductor and director.

Wagner's final music drama presents a religious community in decay, whose rituals have become empty and meaningless. One of their leaders, Gurnemanz, is searching for 'a pure fool made wise through compassion.' According to a prophecy the pure fool will redeem the order and give them a new lease of life. Parsifal is the young thug who bursts in on the scene in Act one, goes through trials of sexual temptation and compassion in the middle act only to return as the redeemer of the community at the end. Combining the Christian grail legend with elements of Buddhism and the pessimistic philosophy of Schopenhauer, this artwork about religion is for many people a religious experience in itself and it was the only one of Wagner's operas written for performance in the Festspielhaus at Bayreuth.

Parsifal.....Simon O'Neill (tenor)

Kundry.....Angela Denoke (soprano)

Gurnemanz.....Rene Pape (bass)

Amfortas.....Gerald Finley (baritone)

Klingsor.....Willard W. White (bass)

Titurel.....Robert Lloyd (bass)

First Knight.....David Butt Philip (tenor)

Second Knight.....Charbel Mattar (bass)

First Esquire.....Dusica Bijelic (soprano)

Second Esquire.....Rachel Kelly (mezzo-soprano)

Third Esquire.....Sipho Fubesi (tenor)

Fourth Esquire.....Luis Gomes (tenor)

First Flowermaiden.....Celine Byrne (soprano)

Second Flowermaiden.....Kiandra Howarth (soprano)

Third Flowermaiden.....Anna Patalong (soprano)

Fourth Flowermaiden.....Anna Devin (soprano)

Fifth Flowermaiden.....Ana James (soprano)

Sixth Flowermaiden.....Justina Gringyte (mezzo-soprano)

Chorus Royal Opera Chorus

Orchestra Orchestra of the Royal Opera House

*1700 Act 1

*1850 Interval 1

*1930 Act 2

*2040 Interval 2

*2110 Act 3.

Live from the Royal Opera House, Covent Garden, a performance of Wagner's opera Parsifal.

Wagner's Parsifal20161119Wagner's Parsifal from the 2016 Bayreuth Festival, conducted by Hartmut Haenchen, with Klaus Florian Vogt as Parsifal, Elena Pankratova as Kundry and Gerd Grochowski as Klingsor.

Presented by Christopher Cook in conversation with Mark Ronan.

Parsifal - Klaus Florian Vogt (Tenor)

Amfortas - Ryan McKinny (Baritone)

Kundry - Elena Pankratova (Mezzo-soprano)

Titurel - Karl-Heinz Lehner (Bass)

Gurnemanz - Georg Zeppenfeld (Main Artist)

Klingsor - Gerd Grochowski (Bass)

First Knight - Tansel Akzeybek (Tenor)

Bayreuth Festival Orchestra

Bayreuth Festival Chorus

Hartmut Haenchen (Conductor)

Wagner's final music drama presents a religious community in decay, whose rituals have become empty and meaningless. One of their leaders, Gurnemanz, is searching for 'a pure fool made wise through compassion.' According to a prophecy, the pure fool will redeem the order and give them a new lease of life. Parsifal is the young thug who bursts in on the scene in the first act, goes through trials of sexual temptation and compassion in the middle act, only to return as the redeemer of the community at the end. Combining the Christian grail legend with elements of Buddhism and the pessimistic philosophy of Schopenhauer, this artwork about religion is for many people a religious experience in itself and it was the only one of Wagner's operas written for performance in the Festspielhaus at Bayreuth.

In this production from the 2016 Bayreuth Festival, described by one critic as “a musical triumph ?, Klaus Florian Vogt sings the wild child innocent who stumbles upon the brotherhood of the holy grail, thereby finding wisdom and saving the grail's protectors from a curse put upon them. Elena Pankratova sings Kundry, a mysterious ageless woman, Gerd Grochowski the wicked Klingsor and Georg Zeppenfeld the noble knight Gurnemanz.

A performance given at the 2016 Bayreuth Festival of Wagner's final opera, Parsifal.

Wagner's Parsifal20220702Following its highly acclaimed presentation of The Ring Cycle conducted by Richard Farnes, Opera North turns its attention to Wagner's final opera, Parsifal, his 'Buhnenweihfestspiel' or 'Festival play for the consecration of the stage', telling of a story set around the Holy Grail about compassion borne of experience. Flora Willson introduces the work from the Leeds Grand Theatre where the orchestra has been placed on the stage and the entire auditorium given over to the singers. Flora is joined by Martin Pickard for background and comment. The cast includes Toby Spence in the title role and Katerina Karn退us as Kundry and the Chorus and Orchestra of Opera North are conducted by Richard Farnes.

In 3 Acts

Toby Spence (tenor) - Parsifal

Katerina Karn退us (soprano) - Kundry

Robert Hayward (bass-baritone) - Amfortas

Derek Welton (bass-baritone) - Klingsor

Brindley Sherratt (bass) - Gurnemanz

Stephen Richardson (bass-baritone) - Titurel

Ivan Sharpe (tenor) - Grail Knight

Richard Mosley-Evans (baritone) - Grail Knight

Samantha Clarke - Flowermaiden

Kathryn Stevens - Flowermaiden

Victoria Sharp - Flowermaiden

Elin Prichard - Flowermaiden

Miranda Bevin - Flowermaiden

Helen Evora - Flowermaiden

Falire Pascoe - Esquire

Molly Barker -Esquire

Stuart Laing - Esquire

Campbell Russell -Esquire

Hazel Croft - Voice from Above

Director - SAM BROWN

Chorus of Opera North

Orchestra of Opera North conducted by Richard Farnes

Toby Spence and Katerina Karneus star in Opera North's new production of Parsifal.

Read the full synopsis on the Opera North website: https://bit.ly/3yrmr8Q

Wagner's Parsifal20231104Wagner's great final music drama in which he explores the opposing realms of lust and compassion - Sex and the Pity. Parsifal was the only work written expressly for the acoustics of his theatre in Bayreuth. The score abounds in the blended sonorities and rich harmonies of Wagner's late style. In his final masterpiece, Wagner entered the realm where drama and religion become one.

Martin Handley presents in conversation with Wagner expert Chris Walton.

Gurnemanz - Georg Zeppenfeld (bass)

Parsifal - Andreas Schager (tenor)

Kundry - Elīna GaranĀ?a (soprano)

Amfortas - Derek Welton (baritone)

Titurel - Tobias Kehrer (bass-baritone)

Klingsor - Jordan Shanahan (baritone)

Bayreuth Festival Chorus and Orchestra

Conductor Pablo Heras-Casado

Wagner's final music drama of lust, forgiveness and compassion from the Bayreuth Festival.

Wagner's final music drama of sex, lust, forgiveness and compassion in a performance from the Bayreuth Festival starring Georg Zeppenfeld, Andreas Schager and Elīna GaranĀ?a.

Kundry - El?na Garan??a (soprano)

Opera performance from around the world.

Kundry - El?na Garan?a (soprano)

Wagner's Tannh\u00e4user20211030In typical Wagnerian fashion, themes of love, death and myth combine in a music drama set in 13th-century Germany.

Stephen Gould plays Tannh?user, a medieval musician torn between passion and true love, who returns from the domain of the goddess Venus to the earthly land of Wartburg to try to win the affections of the devoutly religious Elisabeth - sung in this production by Lise Davidsen. Tannh?user's skill at a singing contest, which gets out of hand, aren't enough to win over her uncle, the local Count. So Tannhauser offers to seek forgiveness in Rome for his past transgressions - but his absolution is refused...

This performance of Tannhauser was recorded in July 2021 at the Bayreuth Festival, the annual event founded by and dedicated to Wagner. It's presented by Kate Molleson with expert commentary from music historian Barbara Eichner.

Wagner: Tannh?user

Tannh?user - Stephen Gould (tenor)

Venus - Ekaterina Gubanova (mezzo-soprano)

Elisabeth - Lise Davisden (soprano)

Count Hermann, her uncle - Günther Groissb?ck (bass)

Wolfram, Tannh?user's friend - Markus Eiche (baritone)

Biterolf, minstrel - ?lafur Kjartan Sigur

Stephen Gould plays Tannh䀀user, a medieval musician torn between passion and true love, who returns from the domain of the goddess Venus to the earthly land of Wartburg to try to win the affections of the devoutly religious Elisabeth - sung in this production by Lise Davidsen. Tannh䀀user's skill at a singing contest, which gets out of hand, aren't enough to win over her uncle, the local Count. So Tannhauser offers to seek forgiveness in Rome for his past transgressions - but his absolution is refused...

This performance of Tannhauser was recorded in July 2021 at the Bayreuth Festival, the annual event founded by and dedicated to Wagner. It's presented by Kate Molleson with expert commentary from music historian Dr Barbara Eichner.

Wagner: Tannh䀀user

Tannh䀀user - Stephen Gould (tenor)

Elisabeth - Lise Davidsen (soprano)

Count Hermann, her uncle - Günther Groissb怀ck (bass)

Wolfram, Tannh䀀user's friend - Markus Eiche (baritone)

Biterolf, minstrel - Ӏlafur Kjartan Sigur

Wagner's Tannh\u00e4user20230304Wagner's Tannh䀀user, recorded at the Royal Opera House, London, starring tenor Norbert Ernst, soprano Lise Davidsen and baritone Gerald Finley, conducted by Sebastian Weigle.

A medieval minstrel, ensnared by the chains of concupiscence and lust, awakens from a miasmic trance of sensual pleasure and desire and yearns for salvation. He re-joins the chaste community of poet-musicians in which he had previously reigned supreme. In a song competition on the theme of love and its true essence, he reveals the unrestrained hedonism of his previous life. The outraged nobles expel him and he joins a pilgrimage to Rome to seek absolution from the Pope in atonement for his sins. A heady brew of sex and religion, lust and love, sensuality and spirituality which was to obsess Wagner throughout his life is treated with bold, garish colours in this grandest of grand operas. The thrilling score calls for a whole battery of off-stage brass and singers; and the opera is packed with thumping good tunes and moments of high dramatic tension and release.

Andrew McGregor presents in conversation with opera expert Nigel Simeone

Tannh䀀user - Norbert Ernst (tenor)

Elizabeth - Lise Davidsen (soprano)

Wolfram - Gerald Finley (baritone)

Venus - Ekaterina Gubanova (mezzo-soprano)

Hermann - Mika Kares (bass)

Biterolf - Michael Kraus (baritone)

Walther - Egor Zhuravskii (tenor)

Heinrich der Schreiber - Michael Gibson (tenor)

Reinmar - Jeremy White (bass)

A young shepherd - Sarah Dufresne (soprano)

Chorus and Orchestra of the Royal Opera House

Sebastian Weigle (conductor)

*1835 Act 1

*1955 Act 2

*2120 Act 3

Read the full synopsis on the Royal Opera House website: https://bit.ly/3IzZWSZ

Wagner's Tannh\u00e4user, recorded at the Royal Opera House, London.

Wagner's Tannhauser20101225It's more than 20 years since the Royal Opera House last staged Wagner's opera telling the story of a medieval troubadour's tussle between the sensual and the spiritual. A new production, directed by Tim Albery, opened earlier this month and its cast is headed by the leading South African tenor Johan Botha in the title-role. The two women who represent the opposing poles of his attraction are Venus (sung by Michaela Schuster) and Elisabeth (sung by Eva-Maria Westbroek). There's also a rare chance to hear the leading German baritone Christian Gerhaher in an operatic role. The highly-experienced Wagnerian Semyon Bychkov conducts and Martin Handley introduces proceedings.

Hermann - Christof Fischesser (Bass)

Tannh䀀user - Johan Botha (Tenor)

Wolfram - Christian Gerhaher (Baritone)

Walter - Timothy Robinson (Tenor)

Biterolf - Clive Bayley (Bass)

Heinrich - Steven Ebel (Tenor)

Reinmar - Jeremy White (Bass)

Elisabeth - Eva-Maria Westbroek (Soprano)

Venus - Michaela Schuster (Mezzo-soprano)

Semyon Bychkov - Conductor

Orchestra and Chorus of the Royal Opera House.

Wagner's opera about a medieval troubadour's tussle between the sensual and the spiritual.

Wagner's Tannhauser2016052120171028 (R3)
20201024 (R3)
Wagner's Tannh䀀user recorded at the Royal Opera House, Covent Garden and first broadcast in 2016, in Tim Albery's acclaimed production. One of today's leading Wagnerian tenors, Peter Seiffert takes on the title role of the young troubadour knight who is torn between spiritual love and carnal desire. Wagner's opulent score melds together the worlds of the sacred and profane. Tannhauser, having been charmed by love goddess Venus, comes to his senses and returns to his mortal love, the chaste heroine Elisabeth. However, he sings of passionate rather than courtly love, which shocks her and her community. He promises to seek atonement and redemption, but the illicit attraction of Venus continues to beckon. Harmut Haenchen conducts the soloists, orchestra and chorus of the Royal Opera House, Covent Garden.

Presented by Donald Macleod, in conversation with Barbara Eichner.

Wagner: Tannh䀀user

Tannh䀀user - Peter Seiffert (tenor)

Wolfram von Eschenbach - Christian Gerhaher (baritone)

Hermann, Landgrave of Thuringia - Stephen Milling (bass)

Elisabeth, the Landgrave's niece - Emma Bell (soprano)

Venus - Sophie Koch (mezzo-soprano)

Walther von der Vogelweide - Ed Lyon (tenor)

Heinrich der Schreiber - Samuel Sakker (tenor)

Biterolf - Michael Kraus (bass)

Reinmar von Zweter - Jeremy White (bass)

Shepherd boy - Duncan Tarboton (treble)

Elisabeth's attendents - Kiera Lyness, Deborah Peake-Jones (sopranos); Louise Armit, Kate McCarney (mezzo-sopranos)

Royal Opera Chorus

Royal Opera House Orchestra

Hartmut Haenchen (conductor).

From the Royal Opera House, with tenor Peter Seiffert, conducted by Hartmut Haenchen.

Wagner's Tannhauser20240217From the Metropolitan Opera in New York: can medieval minstrel Tannhauser find redemption? Donald Runnicles conducts an all-star cast, with Andreas Schager in the title role. Thirteenth-century German knight and musician Tannhauser is torn between sexual and spiritual love, personified by the goddess Venus - with whom he's recently been shacked up - and the chaste Landgrave's niece Elisabeth. Will Elisabeth's faithful love, the loyal friendship of Wolfram and a penitent pilgrimage to Rome be enough to bring Tannhauser salvation?

Presented by Debra Lew Harder with commentator Ira Siff.

Tannhäuser - Andreas Schager (tenor)

Venus - Ekaterina Gubanova (mezzo-soprano)

Elisabeth - Elza van den Heever (soprano)

Wolfram von Eschenbach - Christian Gerhaher (baritone)

Landgrave Herrmann - Georg Zeppenfeld (bass)

Walther von der Vogelweide - Kyle van Schoonhoven (tenor)

Biterolf - Le Bu (bass-baritone)

Heinrich - Tony Stevenson (tenor)

Reinmar - Harold Wilson (bass)

Shepherd - Maureen McKay (soprano)

Metropolitan Opera Chorus and Orchestra

Conductor Donald Runnicles

From the Metropolitan Opera in New York: can medieval minstrel Tannhäuser find redemption? Donald Runnicles conducts an all-star cast, with Andreas Schager in the title role. Thirteenth-century German knight and musician Tannäauser is torn between sexual and spiritual love, personified by the goddess Venus - with whom he's recently been shacked up - and the chaste Landgrave's niece Elisabeth. Will Elisabeth's faithful love, the loyal friendship of Wolfram and a penitent pilgrimage to Rome be enough to bring Tannhäuser salvation?

From the Metropolitan Opera in New York: can medieval minstrel Tannh\u00e4user find redemption?

Wagner's Tristan And Isolde20161001By 1859, the year Wagner finished Tristan and Isolde, doomed love, sex and death were pretty much staple operatic fare. But Wagner's epic re-telling of the mediaeval tale utterly overwhlemed nineteenth-century audiences with its unprecedented emotional and erotic power. Mark Twain 'cried the night away' after seeing it; Emmanuel Chabrier was already sobbing during the prelude. In fiction the fragile heroine of Thomas Mann's 1903 novella 'Tristan' dies after the emotional and sexual arousal caused by the opera and in fact the first singer to play Tristan died six weeks after its premiere.

Taking the monumental title roles in this production, recorded live at English National Opera's Coliseum in July, are Australian tenor Stuart Skelton and US soprano Heidi Melton. They head an outstanding cast and orchestra conducted by ex-ENO Music Director Edward Gardner, back at ENO for the first time since 2015.

Donald Macleod presents and talks to members of the cast and production team, including director Daniel Kramer, and an extended interview with designer, celebrated sculptor Anish Kapoor.

6.10pm Act 1

7.30pm Interval 1, including interview with Anish Kapoor

7.50pm Act 2

9.00pm Interval 2

9.10pm Act 3

Tristan.....Stuart Skelton (Tenor)

Isolde.....Heidi Melton (Soprano)

King Marke.....Matthew Rose (Bass)

Kurwenal.....Craig Colclough (Bass Baritone)

Brangane.....Karen Cargill (Mezzo-soprano)

Melot.....Stephen Rooke (Tenor)

A young Sailor.....David Webb (Tenor)

A shepherd.....Peter Van Hulle (Tenor)

A helmsman.....Paul Sheehan (Bass Baritone)

English National Opera Orchestra

English National Opera Chorus

Edward Gardner (Conductor).

Wagner's Tristan and Isolde from English National Opera, conducted by Edward Gardner.

Wagner's Tristan And Isolde20220101SIMON RATTLE conducts Wagner's great love story starring Stuart Skelton and Nina Stemme, from the 2021 Aix-en-Provence Festival, presented by MARTIN HANDLEY. The Irish princess Isolde nursed the Cornish knight Tristan back to health after he killed her betrothed Morold. Now she's betrothed to the Cornish King Mark and is being escorted to Cornwall by none other than Tristan. Their relationship is... frosty? Or are there stronger passions bubbling underneath? Wagner: Tristan and Isolde

Tristan - Stuart Skelton (tenor)

Isolde - Nina Stemme (soprano)

King Mark - Franz-Josef Selig (bass)

Kurwenal, Tristan's servant - Josef Wagner (baritone)

Brang䀀ne, Isolde's maid - Jamie Barton (mezzo-soprano)

Melot - Dominic Sedgwick (tenor)

Young Sailor/Shepherd - Linard Vrielink (baritone)

Steersman - Ivan Thirion (baritone)

Estonian Philharmonic Chamber Choir

London Symphony Orchestra

Conductor SIMON RATTLE Image: © Jean-Louis Fernandez

SIMON RATTLE conducts Wagner's great love story starring Stuart Skelton and Nina Stemme.

Tristan ... Stuart Skelton (tenor)

Isolde ... Nina Stemme (soprano)

King Mark ... Franz-Josef Selig (bass)

Kurwenal, Tristan's servant ... Josef Wagner (baritone)

Brang䀀ne, Isolde's maid ... Jamie Barton (mezzo-soprano)

Melot ... Dominic Sedgwick (baritone)

Young Sailor/Shepherd ... Linard Vrielink (baritone)

Steersman ... Ivan Thirion (baritone)

SYNOPSIS

Act I

Tristan, Knight of Cornwall, is escorting Isolde, Princess of Ireland, to Cornwall where she is being forced to marry King Marke. When Brang䀀ne, her servant, spots the Cornish coast, Isolde is overcome by rage. She casts a spell upon the ship, summoning the sea and death to rise up and to devour all on board. Isolde demands Brang䀀ne bring Tristan before her - she will not step ashore unless he drinks a cup of atonement. Tristan evades Isolde. Brang䀀ne pushes Tristan to obey until Kurwenal, Tristan's servant, refuses on his master's behalf and brags about Tristan's slaying of Morold, Isolde's intended fianc退. Isolde tells Brang䀀ne the truth: Tristan, wounded after killing Morold, landed on her shore under the false name of Tantris. As Isolde nursed his wound with her renowned powers of healing, she quickly recognised him - the murderer of her beloved fianc退 Morold. As she raised his sword to murder him, their eyes met, and love was born. She asks Brang䀀ne to help her murder Tristan for revenge. Brang䀀ne reminds Isolde that they have her mother's magic potions with them. She could use the love draught to bind her and King Marke. But Isolde would rather a death potion for herself and Tristan. Isolde refuses to come ashore unless Tristan appears before her to drink the cup of atonement. Kurwenal agrees to summon Tristan and Brang䀀ne agrees to prepare the death drink. Tristan and Isolde finally meet face to face. Isolde demands vengeance for Morold's death. Tristan offers Isolde his sword to slay him, but she beckons Brang䀀ne to bring the drink of atonement. Tristan drinks it. Isolde drinks the potion as well. But Brang䀀ne has exchanged the death draught for a love potion. As the ship reaches Cornwall, Tristan and Isolde, believing they are about to die, declare their love for one another and embrace, just as Melot and King Marke arrive.

Act II

King Marke and his companions are away on a surprise night-time hunt. Isolde thinks only of Tristan. Brang䀀ne fears Melot has organised the hunt to trap the lovers. Isolde dismisses Brang䀀ne's warning and orders her to extinguish the light - the signal that it is safe for Tristan to come to her. Brang䀀ne tries to stop her, but Isolde puts out the light herself. Tristan arrives; he and Isolde greet each other ecstatically. Their bliss cannot be sustained by day where the presence of the court and King prohibit their love. Even night now limits their union as the rising of the sun means they must once again part. They realise their love can only be fully united in the eternal darkness of death. The hunting party has returned and Melot's trap has been sprung. King Marke confronts Tristan and asks him to account for his betrayal. Tristan is unable to explain his actions and asks Isolde to follow him into death. He accuses Melot of treachery and challenges him to fight. Tristan offers no defence and deliberately impales himself on Melot's sword.

Act III

Tristan lies unconscious. When a shepherd appears, Kurwenal asks him to play a more cheerful melody should Isolde's ship appear on the horizon. Gradually, Tristan regains consciousness. Delirious with pain, he thinks only of his reunion with Isolde and in a hallucination, Tristan sees her vessel coming towards him. Hearing the shepherd's pipe, he laments the potion which he and Isolde brewed and the madness he now lives - waiting for Isolde to arrive and escort him to death. A change in the shepherd's melody confirms that Isolde's ship has been sighted. Tristan sees Isolde and dies in her arms. The shepherd announces the arrival of a second ship: it contains King Marke, Melot, Brangaene and soldiers. Thinking they have come in pursuit of Isolde, Kurwenal charges at Melot and kills him. As King Marke looks on in horror, Kurwenal rushes into death. Having learned from Brang䀀ne about the love potion, King Marke has come to unite Isolde and Tristan and yield his own claim to her. All is dead. Isolde and Tristan transfigure through death.

Wagner's Tristan Und Isolde20080322James Levine conducts Wagner's exploration of the agony and the ecstasy of erotic love.
Wagner's Tristan Und Isolde20091031From the Royal Opera House, Covent Garden.

Covent Garden artistic director Antonio Pappano conducts a performance of Wagner's Tristan und Isolde, arguably one of the most influential and heartbreaking operas ever written. The starry cast includes two of the leading Wagnerian singers of today - Canadian tenor Ben Heppner and Swedish soprano Nina Stemme, as they take on the title roles of the tragic lovers.

Presented by Martin Handley with comments from Wagnerian John Deathridge.

Wagner: Tristan und Isolde

Tristan - Ben Heppner (tenor)

King Marke - Matti Salminen (bass)

Isolde - Nina Stemme (soprano)

Kurwenal - Michael Volle (baritone)

Brangane - Sophie Koch (mezzo-soprano)

Melot - Richard Berkeley Steele (baritone)

Sailor - Ji-Min Park (tenor)

Steersman - Dawid Kimberg (baritone)

Shepherd - Ryland Davies (tenor)

Royal Opera Chorus

Orchestra of the Royal Opera House

Antonio Pappano (conductor).

Antonio Pappano conducts tenor Ben Heppner and soprano Nina Stemme as the tragic lovers.

Wagner's Tristan Und Isolde20151017From the Bayreuth Festival '15, recorded in July at the Festspielhaus, Wagner's Tristan und Isolde, with Stephen Gould and Evelyn Herlitzius as the doomed lovers seeking redemption in death. Christian Thielemann conducts a critically-acclaimed account of this highly influential opera, in a new production directed by Wagner's great-granddaughter, the Festival Director Katharina Wagner, marking the 150th anniversary of its premiere. Presented by Gavin Plumley.

Tristan - Stephen Gould (tenor)

Isolde - Evelyn Herlitzius (soprano)

King Mark - Georg Zeppenfeld (bass)

Kurwenal - Iain Paterson (baritone)

Melot - Raimund Nolte (tenor)

Brang䀀ne - Christa Mayer (mezzo-soprano)

Young Sailor/Shepherd - Tansel Akzeybek (tenor)

Steersman - Kay Stiefermann (baritone)

Bayreuth Festival Chorus

Bayreuth Festival Orchestra

Christian Thielemann, conductor.

Christian Thielemann conducts Wagner's Tristan und Isolde at the 2015 Bayreuth Festival.

Weinberg's The Passenger20111015Presented by Andrew McGregor

Although Mieczyslaw Weinberg finished his opera The Passenger in 1968, it was banned in the USSR and never performed in the composer's lifetime.

Only last year did it receive a full staging, when David Pountney directed it at last year's Bregenz Festival, 14 years after Weinberg's death.

A chance encounter between two women travelling at sea - one a former Auschwitz guard, the other ('The Passenger') a former prisoner - triggers memories which plunge them into a moral battle between guilt and denial, retribution and absolution.

Recorded at the 2010 Bregenz Festival.

Martha, The Passenger - Elena Kelessidi

Lisa - Michelle Breedt

Walter - Roberto Sacca

Tadeusz - Artur Rucinski

Katja - Svetlana Doneva

Krzystina - Angelica Voje

Vlasta - Elzbieta Wr blewska

Hannah - Agnieszka Rehlis

Yvette - Talia Or

Old woman prisoner - Helen Field

Bronka - Liuba Sokolova

1st SS-officer - Tobias H䀀chler

2nd SS-officer - Wilfried Staber

3rd SS-officer - David Danholt

Steward - Richard Angas

Boss - Heide Capovilla

Chorus of the Prague Philharmonic;

Vienna Symphony Orchestra;

Conductor, Teodor Currentzis.

Andrew McGregor presents a performance of Mieczyslaw Weinberg's opera The Passenger.

Weinberg's The Portrait20110528The Jewish composer Moisey (Mieczyslaw) Weinberg was born in Poland, but fled from the Nazis to Russia where he became a close friend of Shostakovich. However, today his music is much less well known than that of his contemporaries. His 3-act opera The Portrait is based on a short story by Nikolai Gogol, and tells the cautionary tale of the painter Chartkov who yearns for fame and fortune until he acquires a portrait which brings him exactly that. Blinded by the attentions of the rich and famous he betrays his artistic integrity and, distraught at his own actions, resorts to desperate measures.

This new production by Opera North is directed by David Poutney, a leading figure in the revival of Weinberg's music. Acclaimed tenor Paul Nilon takes the lead role of Chartkov and the Orchestra of Opera North is conducted by Rossen Gergov.

Presented by Christopher Cook with David Nice, an expert on Russian music.

Chartkov - Paul Nilon (tenor)

Liza - Katherine Broderick (soprano)

Nikita - Richard Burkhard (baritone)

Professor of Fine Arts/Journalist/Art Dealer/Landlady/Earl - Peter Savidge (baritone)

Lamplighter/Noble Gentleman - Nicholas Sharratt (tenor)

3rd Seller/Dignitary - Jonathan Best (bass)

Policeman/General - Richard Angas (bass)

Female Seller/Lady in Waiting - Helen Field (soprano)

1st Seller/1st Waiter/Turk - Mark Le Brocq (tenor)

2nd Seller/2nd Waiter/Cavalry Officer - Christopher Steele (tenor)

Noblewoman - Carole Wilson (mezzo-soprano)

Orchestra of Opera North conducted by Rossen Gergov.

An Opera North production of Moisey Weinberg's three-act opera The Portrait.

William Alwyn's Miss Julie20191005Sakari Oramo conducts the BBC Symphony Orchestra and cast in Alwyn's setting of Strindberg's naturalistic play. There's love, lust, despair and tragedy.

Recorded at the Barbican Hall, London on Thursday 3rd October

Presented by Andrew McGregor

William Alwyn: Miss Julie:

Act 1

Interval 19.40

Andrew McGregor discusses Miss Julie with Alwyn specialist, Andrew Palmer, Sakari Oramo, and members of the cast.

Act 2

Miss Julie . . . . . Anna Patalong (Soprano)

Jean . . . . . Benedict Nelson (Bass-baritone)

Ulrik . . . . . Samuel Sakker (Tenor)

Kristin . . . . . Rosie Aldridge (Mezzo-soprano)

Sakari Oramo (Conductor)

In the chilling intensity of August Strindberg's play Miss Julie, the composer William Alwyn found all he needed to write one of the most red-blooded operatic tragedies Britain has ever produced. Alwyn learned lessons from the movies and from Puccini in creating a tense and dramatic opera, known for its signature aria of sexual frenzy ‘Midsummer Night'. The neglected composer's operatic tale of infatuation and class tension returns to the BBC for the first time since its premiere in 1977.

The BBC Symphony Orchestra and Chief Conductor Sakari Oramo are joined by an international cast for a landmark concert staging.

SYNOPSIS

The opera is set in the kitchen of a widowed Count's country house in Sweden at the end of the 19th century; the action takes place on Midsummer Night.

ACT 1 Scene 1

The Count's staff are celebrating at a dance in a nearby barn. He himself is spending the night at his sister's - having been driven there by his valet, Jean - and has left his daughter, Miss Julie, in charge of the house. Kristin, the cook, is romantically involved with Jean and is waiting for him to take her to the dance.

Meanwhile Kristin stirs the contents of a saucepan on the stove: a potion for Miss Julie's lapdog that will keep other dogs away. When Jean enters, he has already been to the barn and has danced with Miss Julie - whom he found in the arms of Ulrik, the gamekeeper. Jean and Kristin agree that Miss Julie has become ‘crazy, utterly crazy' since her mother took her own life. Jean brazenly opens a bottle of the Count's special wine that he has stolen, then starts to make love to Kristin. Miss Julie enters, ostensibly to enquire about the potion but with the intention of enticing Jean back to the barn. She tells Kristin to go and change for the dance, then sings seductively to Jean about Midsummer Night and persuades him not to wait for Kristin.

Scene 2

It is after midnight when Jean and Miss Julie return from the barn. She taunts him about his peasant background and provokes him sexually. When he eventually kisses her, she slaps his face. His pride dented, he starts to polish the Count's boots sulkily. Miss Julie refuses to leave, and they eventually fall into each other's arms.

They are interrupted by the drunken Ulrik, singing an innuendo-laden song about them. Jean has just enough time to hide Miss Julie in his bedroom before Ulrik lurches in, demanding to have his own fun with her. He reveals that everyone knows she has fallen for Jean, and they are ‘laughing their heads off'. When he has left, Miss Julie emerges angry, ashamed, and terrified of the Count's reaction. She has no option but to run away, and Jean sees an opportunity to put a long-cherished plan into action: they will go together, and open a hotel in Lugano. They must leave before daybreak, and meanwhile she can spend the night with him.

It is dawn, and Jean is triumphant. Miss Julie already regrets what has happened but feels that she must go along with Jean's plan - which, she now learns, is dependent on her stealing the Count's money. She eventually obeys and goes upstairs. Kristin enters and notices two glasses on the table. Disbelieving Jean's explanation that he was drinking with Ulrik, she announces that she will avoid the scandal by handing in her notice, after which she and Jean will get married. ‘I've got more ambition than that!' he sneers.

Ulrik comes to apologise for his earlier behaviour but begins to fight with Jean. Miss Julie returns, dressed for travel and with a suitcase in one hand. Under her other arm is her dog, which Jean grabs and hands to Ulrik to dispose of outside. A gunshot is heard and Miss Julie collapses, distraught, while Jean and Kristin quarrel. The sudden, ominous ringing of a bell indicates that the Count has returned and Miss Julie watches helplessly as Jean begins to put on his uniform. ‘That bell rules my life,' he apologises. As for their hotel in Lugano, it was simply a dream on Midsummer Night.

Half-crazed, she asks him what she should do. He suggests that there is a way out: the way that her mother took - suicide. The bell rings again, and Jean pushes her aside before climbing the stairs. She picks up Kristin's potion then walks slowly and steadily out into the park -

Sakari Oramo conducts the BBC Symphony Orchestra in a setting of Strindberg's tragic play.

William Bolcom's Dinner At Eight20190309Sean Rafferty presents 'Dinner at Eight' from Ireland's National Opera House at the 2018 Wexford Festival Opera.

It's Manhattan in the 1930s and society hostess, Millicent Jordan is immersed in the crucial social trivialities of arranging 'Dinner at Eight.' William Bolcom's opera is a tragicomedy based on the 1932 Broadway hit by George S. Kaufman and Edna Ferber.

Millicent's planning is deft, skilled, obsessed and oblivious. While the lives of her family and guests are in crisis (husband, Oliver is suffering from a fatal heart disorder and her daughter's love life is fast approaching tragedy) all that matters is that cook's pi耀ce de r退sistance, a lobster in aspic, has come crashing to the kitchen floor!

This is a new work that weds American musical comedy and opera with a brilliant, fast-paced score and witty libretto by the Pulitzer-Prize and Grammy Award-winning composer, William Bolcom and the Pulitzer-Prize winning librettist, Mark Campbell.

Dinner at Eight ... Cocktails with Sean Rafferty and his guests William Bolcom and Mark Campbell from 6.30!

Millicent Jordan.....Mary Dunleavy (soprano)

Oliver Jordan......Stephen Powell (baritone)

Paula Jordan.....Gemma Summerfield (soprano)

Carlotta Vance.....Brenda Harris (soprano)

Dan Packard.....Craig Irvin (baritone)

Kitty Packard.....Susannah Biller (soprano)

Lucy Talbot.....Sharon Carty (mezzo-soprano)

Dr Joseph Talbot.....Brett Polegato (baritone)

Larry Renault.....Richard Cox (tenor)

Max Kane.....Ashley Mercer (bass-baritone)

Gustave.....Sheldon Baxter (baritone)

Miss Copland.....Maria Hughes (soprano)

Tina.....Laura Margaret Smith (mezzo-soprano)

Miss Alden.....Claire Egan (soprano)

Eddie.....Ranald McCusker (tenor)

Mr Hatfield.....Henry Grant Kerswell (bass)

Wexford Festival Chorus

Wexford Festival Orchestra

David Agler (conductor)

Sean Rafferty presents Dinner at Eight by William Bolcom from Wexford Festival Opera.

Wozzeck20080712A new production from the Opera Bastille in Paris of Berg's dark and disturbing modernist opera, directed by Christoph Marthaler and conducted by Sylvain Cambreling, a noted interpreter of 20th-century scores. Baritone Simon Keenlyside sings the title role for the first time, with leading German soprano Angela Denoke as Wozzeck's common-law wife Marie.

Wozzeck, an impoverished soldier stationed in Germany, agrees to undergo medical experimentation in order to gain some extra money for his family. As his mind begins to disintegrate, he experiences dark visions and paranoia until, when confronting his wife about an 'infidelity', he wreaks brutal revenge.

Presented by Andrew McGregor.

With Simon Keenlyside (baritone), Angela Denoke (soprano), Gerhard Siegel (tenor), Roland Bracht (bass), Jon Villars (tenor), David Keubler (tenor), Ursula Hesse von den Steinen (mezzo-soprano), Patrick Schramm (bass), Igor Gnidii (baritone), John Graham-Hall (tenor).

Maitrise des hauts de Seine/Choeur d'enfants de l'Opera national de Paris

Orchestra and Chorus of the Opera National de Paris

Sylvain Cambreling (conductor).

A new production from the Opera Bastille in Paris of Alban Berg's dark modernist opera.