Last night's revival at Glyndebourne of Sir Peter Hall's classic 1981 Festival production of Benjamin Britten's A Midsummer Night's Dream' was dreamlike and fantastical. Tonight I'm at the Coliseum for English National Opera's new semi-staged Albert Herring', Britten's lacerating chamber opera satirising English small-town mores. The ENO have had some success with their semi-staged productions including Gloriana', Duke Bluebeard's Castle' and Suor Angelica' and I'm fascinated to see if Albert Herring', directed and designed by multi-awardwinning Antony McDonald, will suit this pared back approach.
English National Opera opens its 2025-26 season with a new production of Rossini's sparkling comedy La Cenerentola (Cinderella). With conductor, director, and both leads all making their ENO debuts, the feel is fresh and fun in a production set in a contemporary world but with moments of magic plus white mice, a pumpkin, a ghost and even a glass slipper, even if Rossini's version of the story involves matching bracelets.
"At 18, when your sights are set on 42nd Street and then you're getting called to 65th Street, it was weirdly a letdown," he recalled. "But after a few hours I kind of slapped myself and said 'Miles, pull yourself together.'"
This autumn, the Magic Flute returns to the Royal Opera House stage in a revival of David McVicar's acclaimed production. Running from 10 October to 3 November 2025, the Royal Opera House celebrates the 400th performance of Mozart's The Magic Flute, one of the most popular operas ever written. Mozart's coming-of-age story about true love and the search for wisdom is a repertoire staple of The Royal Opera and is always a crowd-pleaser.
After a summer of institutional mishaps to raise the pulse of the most hardened spin doctor, the Royal Ballet and Opera's new season was audible far beyond the venue. Shame on you, chanted protesters over a powerful PA system outside. Some, standing amid yellow and blue flags, simply held placards. Art is not neutral, read one. And indeed it isn't, though opera's entanglements in international geopolitics are rarely as visible as at Covent Garden in recent months.
Ambriz died Aug. 28. The official cause of her death was not immediately known, but local media reported it was due to cancer. Ambriz was the singing voice for the 1991 Spanish version of the "Beauty and the Beast". She was a key figure in Mexican opera and was known for her extensive repertoire that included opera, oratorio, chamber music, renaissance, and contemporary music.
Geter emphasizes that the opera is not just about interracial marriage, but also about the universal quest to return to one's roots and home.
