Peter Grimes 2021

Based on a poem published in 1810 with more ethnographic than dramatic focus, Britten constructed a sombre parable about the conflict between the masses and the individual. The maritime atmosphere, the crudity of people’s lives and passions, and the complex, impenetrable personality of the protagonist come together in a tragedy which ferments and explodes in the din of silence and hearsay. New production of the Teatro Real, in co-production with the Royal Opera House Covent Garden of London, the Opéra national of Paris and the Teatro dell’Opera of Rome

Mozart: La clemenza di Tito 2018

This is an excellent production of Mozart's 1791 opera about Titus Vespasian, who prefers to be remembered for his clemency, even toward his best friend who instigated a revolt to overthrow him. It was recorded at Glyndebourne on August 3, 2017, in front of an audience, and the orchestra and singers perform the work beautifully

Benjamin Britten: Billy Budd 2017

Britten: The Rape of Lucretia 2013

Sarah Connolly's 'outstanding' (The Guardian) portrayal of the wronged Roman noblewoman, written originally for Kathleen Ferrier, lies at the hear of David McVicar's powerfully stark production for English National Opera as 'an everyday sort of woman who could be living at any time or place'. Her nemesis is the arrogant Tarquinius of Christopher Maltman, 'who made the air tingle with danger' (Financial Times). Sung in English.

Britten: Gloriana 2013

Benjamin Britten’s opera Gloriana was written in 1953 for celebrations around the Coronation of Her Majesty Queen Elizabeth II, to whom the opera is dedicated. It had its first performance at the Royal Opera House on 8 June 1953, in the presence of The Queen then just 6 days into her reign. The centenary in 2013 of Britten’s birth prompted this new Royal Opera production, in which director Richard Jones uses the setting of a celebratory pageant in 1953 to explore the work’s alternating splendour and intimacy. This theatrical, inventive and colourful staging has at its core the symbolic reflections between the Tudor Elizabethan and the New Elizabethan ages that characterize the opera. The juxtaposition of the modern and the archaic in William Plomer’s libretto is wonderfully amplified in music that artfully fuses the sounds and manners of Tudor England – from lute songs to courtly dances – with Britten’s own distinctive style.

The Rake's Progress 2011

The devil is hard at work in Stravinsky’s The Rake’s Progress! The three-act opera was premiered at Venice’s La Fenice in 1951 and is whimsically staged and performed in this production from the 2010 Glyndebourne opera festival.

Candide 1991