Toby Spence

Director Robert Carsen and his creative team flood the stage with summer blossoms, drifts of autumn leaves, winter snows and thunderous spring storms. The cast of 140 are attired in elegant costumes inspired by late 1940s Dior. This mythical tale of a young queen, Alphise, determined to abdicate rather than contemplate an enforced marriage to a descendant of Boreas, is nothing less than highly-charged.

Depicts the consumerism of the mythical city of Mahagonny, conveying all its ripe decadence. A Hollywood Babylon full of pyramidal towers, carved elephants, commodified sex and licensed gluttony. An opera in three acts, live from the Salzburger Festspiele, 1998. Conductor: Dennis Russell Davies. Stage Director: Peter Zadek.

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.

Alban Berg explores the power that Eros and Thanatos, in their rawest forms, have over our lives: Lulu, a femme fatale, will do anything to get ahead in a man’s world, but she ends up being destroyed.

The premiere of Benjamin Britten's Billy Budd in Madrid is undoubtedly one of the highlights of the Teatro Real's bicentennial celebrations. Its magnificent libretto, based on the novel of the same name by Herman Melville, tells the story of the sailor Billy Budd: a handsome, loyal, generous, strong, naive, and kind young man whose beauty and personality drive the ship's master-at-arms mad. Unable to control the situation, the master crucifies the naive young man without mercy. This new production by the Teatro Real is being presented for the first time in Madrid, in co-production with the Opéra national de Paris, under the direction of Deborah Warner, one of the great names in stage direction today.

After over a century out of the Met’s repertoire, audiences were thrilled to discover just what a sensational evening in the theater Thomas’s Hamlet can be. Simon Keenlyside’s riveting performance as the tortured Prince of Denmark in Patrice Caurier and Moshe Leiser’s starkly brooding production had critics raving that Keenlyside’s superb singing, coupled with his deftly delineated three-dimensional Hamlet, was one of the greatest examples of operatic drama of our time. The cast includes Marlis Petersen as the long suffering Ophélie, who brilliantly shows why her mad scene is so justly famous, along with Jennifer Larmore and James Morris as Gertrude and Claudius.

Composer Thomas Adès conducts the Met premiere of his powerful opera based on Shakespeare’s last play, in Robert Lepage’s brilliantly inventive production. Simon Keenlyside is the magician Prospero, who conjures the storm that shipwrecks his enemies and sets in motion the course of events. Rising Met stars Isabel Leonard and Alek Shrader are the young lovers, Miranda and Ferdinand, Alan Oke sings the sinister Caliban, and Audrey Luna gives a memorable performance as the sprite Ariel.

William Christie, the master of Baroque music, and stage producer Luc Bondy join forces in Paris to give Handel's masterwork a new lease of life.