Royal Opera House: Carmen

The high-point of the 2017 Bayreuth Festival, Barrie Kosky’s astonishingly entertaining and convincing new Meistersinger is a triumph: a production of enormous insight and great quality... that plumbs the depths of both the opera and its composer.

This ever-popular opera is given a fresh point of view in Barrie Kosky’s highly physical production, originally created for Frankfurt Opera. The Australian director is one of the world’s most sought-after opera directors, whose Royal Opera debut with Shostakovich’s The Nose in 2016 was greeted with delight. For Carmen he has devised a far-from-traditional version, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character.

On a stormy night, fate brings two strangers together, unleashing a love that has the power to destroy entire worlds. Meanwhile, in the realm of the gods, an epic battle erupts between the ruler Wotan and his rebellious daughter Brünnhilde.

Raised by a scheming dwarf and unaware of his true family origins, a young man embarks on an epic journey.

Offenbach’s mockery of bourgeois ideals, the sublimity of music and the institution of marriage ensures that the moralistic sermonizing of ‘Public Opinion’ falls on deaf ears. The mysterious figure of John Styx tells the story of behind-the-times Orpheus and his hacked-off Eurydice, of gods and goddesses seeking diversion, jaded with humdrum life in Olympus. He tells of the rebellion in the pantheon, which Jupiter adeptly averts by promising an amusement for his entourage. Burning with curiosity to see the beauteous captive and the contest between Jupiter and Pluto for Eurydice’s favour, the illustrious company embarks on an infernal ride to the underworld that culminates in what is surely the most wellknown can-can in the history of music. And what of Eurydice? She ends up putting a spoke in everyone’s wheel…

When a precious hoard of gold is stolen from the river Rhine, it unleashes a chain of destructive events, pitting gods and mortals against one another for generations. Wagner’s Ring cycle boasts some of the greatest music ever written for the opera stage. Join us as we embark on a spectacular journey into the world of myth, dream and memory, with the figure of Erda – Mother Earth herself – at its centre.

When Ovid's “Metamorphoses” meet Vivaldi's music: conceived and directed by Barrie Kosky, an effervescent show presented at the 2025 Salzburg Festival. With Cecilia Bartoli, Lea Desandre, Nadezhda Karyazina, and Philippe Jaroussky, as well as actress Angela Winkler in the spoken role of Orpheus.

Tosca is a melodrama of love, betrayal and death set in the revolutionary unrest of 1800. The story concerns the opera singer Floria Tosca who tries to save her lover, the painter Mario Cavaradossi, from the brutal chief of police, Scarpia. Through-composed and expertly orchestrated it contains some of Puccini’s best-known lyrical arias and remains one of his most performed operas. In this 2022 production, an eminent cast is directed by the acclaimed Australian director Barrie Kosky – ‘the Amsterdam audience was completely swept off its feet by Kosky’s stunning production’ (Opera News).

Lying in bed, Tsar Dodon dreams of retirement. The problem is, people keep invading his country. His astrologer offers him a golden cockerel with magical powers, a weather vane which indicates from which direction danger will come. In his case, it will be from the East in the shape of a charming oriental princess determined to conquer his kingdom.

Semele was written in 1743, by an already mature Handel, after his opera serias were becoming less well received than they had once been. The big novelty of the time was that Semele was composed entirely in English and is surely the closest that any of his oratorios get towards opera (though today many of them are staged as such). Stage director Barrie Kosky definitely places it in the operatic genre. He creates a very worldly universe in which gods and mortals are prone to the same emotions.

Glyndebourne's Saul stole the summer and had critics raving. The Guardian (****) applauded virtuoso stagecraft from director Barrie Kosky in his debut production there, calling the show a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was no praise too high for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag's exuberant costumes (The Times ****) set the Old Testament story in Handel's time, with a witty twinge of the contemporary.

Intrigue, champagne, and irony: in a production directed by Barrie Kosky, the Bavarian State Opera presents a sparkling production of Johann Strauss II's Die Fledermaus.

A devil is at work in the Ukrainian village of Sorochintsy, terrifying residents and travellers alike. Among them a farmer whose daughter is not allowed to marry her lover because her quarrelsome stepmother is against it.

Les Boréades, this great life lesson delivered by a nearly 80-year-old Rameau, a carpe diem forged to the very essence of the dances, orders us to choose love over power, freedom over love. The most striking thing is without a doubt the intelligence of an actor’s direction that osmotically blends music, theater and ballet, encompassing expression, sensitivity, humor, narration and psychology in a single gesture.

Pushkin folk tale as comedic opera whose sultry elements expand an Oriental influence. Korsakov portrays the story of Tsar Nicholas II, punished for his cowardice and despotism, using satire to condemn Russia's autocratic ruler.