Breaking: Covent Backyard has 13 new operas

The season launch was later than ever, but it surely’s been price ready for. Highlights are Asmik Grigorian as Jenufa, Joyce DiDonato as Agrippina, Bryn Terfel as Don Pasquale.

Particulars:

Don Giovanni

Conductor: Hartmut Haenchen
Director: Kasper Holten

Don Giovanni: Erwin Schrott
Leporello: Roberto Tagliavini
Donna Anna: Malin Byström
Donna Elvira: Christine Rice
Zerlina: Louise Alder

Werther

Conductor: Edward Gardner
Director: Benoît Jacquot
Werther: Juan Diego Flórez
Charlotte: Isabel Leonard

Agrippina

Conductor: Maxim Emelyanychev
Director: Barrie Kosky
Agrippina: Joyce DiDonato
Nerone: Franco Fagioli
Poppea: Lucy Crowe
Ottone: Iestyn Davies

The Intelligence Park
Co-production with Music Theatre Wales; in affiliation with London Sinfonietta

Music: Gerald Barry
Libretto: Vincent Deane

Conductor: Jessica Cottis
Director and designer: Nigel Lowery

Don Pasquale

Conductor: Evelino Pidò
Director: Damiano Michieletto
Don Pasquale: Bryn Terfel
Norina: Olga Peretyatko

Zauberland (Magic Land)

An encounter with Schumann’s Dichterliebe

New to The Royal Opera

Music: Robert Schumann and Bernard Foccroulle
Textual content: Heinrich Heine and Martin Crimp

Director: Katie Mitchell
Set and costume designer: Chloe Lamford
Julia Bullock (soprano)
Cédric Tiberghien (piano)
Ben Clifford, Natasha Kafka, David Rawlins, Raphael Zeri (actors)

Die Zauberflöte

Conductor: TBC
Director: David McVicar
Tamino: Benjamin Hulett
Pamina: Elsa Dreisig
Papageno: Vito Priante
Queen of the Night time: Tuuli Takala, Christina Poulitsi

Demise in Venice

New manufacturing, The Royal Opera
Co-production with Volksoper Wien

Elektra
Conductor: Antonio Pappano
Director: Christof Loy

Elektra: Nina Stemme
Chrysothemis: Sara Jakubiak
Klytämnestra: Karita Mattila

The Flip of the Screw

Conductor: Finnegan Downie Expensive
Director: Natalie Abrahami

She Described it to Demise

The Royal Opera
Co-commission between Guildhall College of Music & Drama and The Royal Opera

Composer Matt Rogers’s new opera takes its inspiration from a future hindered by over-population, to which a sci-fi angle brings an intriguing resolution, and new issues of its personal. This chamber piece follows Rogers’s earlier success The Virtues of Issues (2015) and involves the Linbury Theatre because the third Doctoral Composer-in-Residence collaboration between The Royal Opera and the Guildhall College of Music & Drama. She Described It to Demise, a significant new fee, is an intriguing alternative to rise up near the modern – and presumably even the long run.


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