Jeffrey Lloyd-Roberts

Les naufrageurs is a French-language opera in three acts composed by Dame Ethel Smyth to a libretto by Henry Brewster, telling of the plundering of ships by Cornish villagers. Completed in 1904, it was premiered in 1906 in Leipzig in a German translation, with cuts, before being championed by Sir Thomas Beecham and given performances in 1909 in London, now in an English translation as The Wreckers

An opera based on the life of celebrity and actress Anna Nicole Smith.

As the saying goes, “Shakespeare invented him, Verdi made him immortal” – and, surely, it was Bryn Terfel who defined him. Terfel first sung Falstaff in 1999, and in 2021, the bass-baritone superstar returns once more to the role at Grange Park Opera. In a production by Stephen Medcalf first shown in the 17th century Farnese theatre in Parma in 2011 with designs that are truly Falstaffian including sensational backcloths by Italian supremo Rinaldo Rinaldi.

A major work from the remarkable partnership of playwright and poet Bertolt Brecht and composer Kurt Weill, Mahagonny was first performed in Leipzig in 1930. Its first ever Royal Opera staging, by Associate Director of Opera John Fulljames, is sung in English, and conducted by Mark Wigglesworth – recently announced as the successor to Edward Gardner as Music Director of English National Opera. Mahagonny is a satire on money, morality and pleasure-seeking among the dubious citizens of a fictional city. The richly varied, jazz-infused score, influenced by ragtime music, includes such irresistible melodies as the ‘Alabama Song’ and many dramatic ensembles. The superb cast includes Kurt Streit as the wild lumberjack Jimmy, Christine Rice as his sweetheart Jenny, Anne Sofie von Otter in a welcome return to The Royal Opera as the cunning Leokadja Begbick, and Peter Hoare and Willard W. White as her helpers and fellow-fugitives Fatty and Moses.

Posthumously premiered in 1930, From the House of the Dead derives from Dostoevsky’s autobiographical 1862 novel that drew on his experience as a political prisoner in Siberia. Janáček focuses on Dostoevsky’s idea of the “spark of God” in every human being that has the potential to redeem even the most hardened criminal.

When a spirited peasant girl is promised to a stranger, she uses every last ounce of cunning and charm to thwart her parents’ plans and get the man she actually loves. From the vibrant overture to the riotous polka, Smetana places dance at the heart of his sparkling work. This festive celebration of Czech culture and identity is re-imagined into the heart of the English countryside with this new production at Garsington Opera.