Handel: Saul at Glyndebourne Festival Opera | Live Review
- Tuesday, June 10, 2025
'A production that walked the line between playful and sinister'
'A production that walked the line between playful and sinister'
Despite the glitzy makeovers for Sullivan’s Trial by Jury and Lehár’s The Merry Widow, both old timers were completely overshadowed by a new kid on the block. Toby Hessions’ A Matter of Misconduct!
In collaboration with Opera North, Cecilia Stinton's multi-layered production was trumped by the quality of its singers
The Chelsea Opera Group chorus was having a marvellous time, the concert setting of the piece aptly framed them as a looming Greek chorus
'The mischievous Wagner-dæmon offers biting commentary, effectively amplifying the opera’s critique of fanaticism'
Director Jack Furness plays with illusion, a game of smoke and mirrors in a terrifically atmospheric staging
A terrific evening which could not have been better received by an enthusiastic audience A wonderful augury for the season as a whole
Musically, the production is a triumph on all counts. The lead singers are a testament to the German Fest system: a world-class cast drawn almost entirely from salaried employees of the company
It proved to be a great operatic experience. If Harris’ production laid the firmest foundations for the piece, singing of superior quality and certainly on a suitably Verdian scale fleshed out its...
The leads are as animated as their instrumental colleagues, and feel as though they have been plucked from a Pixar film
The 'dystopian ballad' by Klangforum Wien and Needcompany is a multimedia meta-opera exploring love through the medium of 20th and 21st-century works
Everything about this production is clearly inspired by the venue, its traditions and especially its size
Adams demands close attention and rewards it not with obvious operatic tropes, but with a cumulative and subtle psychological impact
Kosky is such a terrific director, sensitive not only to the text but also to the score. He makes you see Wagner’s music
Serebrennikov’s production offers a purgatorial journey rich in symbolism and trickster energy, blending Don Giovanni’s downfall with the transcendent strains of Mozart’s Requiem
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