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London's Royal Opera House launches 2011-12 season

14 April 2011, London, UK

Antonio Pappano
Antonio Pappano(Photo: Sheila Rock / EMI)

The Royal Opera House has launched its 2011/12 season.

The progamme through the year will be built around a series of opera cycles, starting with Puccini’s three miniatures that make up Il trittico, directed by Richard Jones.

Next comes the three Mozart/Da Ponte operas Le Nozze di Figaro, Così fan tutte and Don Giovanni, followed by Berlioz’s epic The Trojans, in a new production directed by David McVicar.

The season is rounded off with complete performances of Wagner’s Ring Cycle, a revival of Keith Warner’s production.
Launching the season, ROH Music Director Antonio Pappano said: “The season culminates in 2012, Olympic year, and I had in mind the five rings on the Olympic flag, which suggested to me that we should do a series of substantial and challenging cycles through the year with the four Ring operas as the conclusion.”

Athens-Epidaurus Festival 2011 dates announced

14 April 2011, Athens, Greece [Updated 18 April 2011]

Epidaurus Theatre
Epidaurus Theatre(Photo: Hellenic Festival)

The dates for this year’s Athens-Epidaurus Festival have been announced, to be followed by full programme details at the end of April.

The annual festivals are among the most established cultural events in Europe, both taking place in and around spectacular sites from the Classical world.

The Athens Festival stages operas at the Herodion Theatre, a magnificent marble amphitheatre below the Acropolis that was built in AD 161 by the Roman philosopher and teacher, Herodes Atticus, in memory of his wife.

Epidaurus boasts an even more spectacular venue – one of the most perfectly preserved examples of an Ancient Greek amphitheatre, dating from the 4th century BC. Its atmospheric forest setting and superb acoustic make it an excellent venue for opera on a balmy summer’s night in the Peloponnese.

Festival events in will run from 1 June to 20 July (Athens) and 1 July to 6 August (Epidaurus).


Rolando Villazón nominated for two Classical BRIT Awards

12 April 2011, London, UK

Rolando Villazón
Rolando Villazón(Photo: Felix Broede / DG)

Tenor Rolando Villazón and conductor Antonio Pappano have each been nominated for two of this year's Classical BRIT Awards.

Both artists are on the shortlist for best male artist, which also includes a posthumous nomination for the conductor, Sir Charles Mackerras.

Villazón’s second nomination is for best album of the year and Pappano has been shortlisted for the critics’ award.

The best female artist category features no opera singers for the first time in the Awards’ 12-year history.

Tickets are now on sale for the Awards ceremony at London’s Royal Albert Hall on 12 May.


Royal Philharmonic Society Music Awards shortlist announced

11 April 2011, London, UK

The Royal Philharmonic Society has announced this year’s Music Awards shortlist, with 38 nominations across 13 categories.

The Opera and Music Theatre category includes productions by The Royal Opera and Welsh National Opera, plus Prokofiev’s monumental War and Peace in last year’s co-production by the Royal Scottish Academy of Music and Drama, Scottish Opera and the Rachmaninov State Conservatoire of Rostov-on-Don in Russia.

Opera also dominates this year’s Audience Development category, with community and education projects by The Royal Opera House and English National Opera both shortlisted.

Soprano and tenor voices are notably absent from the Singer category, which comprises two English artists – mezzo-soprano Susan Bickley and bass Brindley Sherrat – alongside the German baritone, Christian Gerhaher.

John Gilhooly, Chairman of the Royal Philharmonic Society, said: “The RPS Music Awards are decided by independent panels consisting of leading members of the music industry. This year they have put their fingers on the country’s musical pulse and found a rich vein of talent and invention.”

Winners will be announced at the RPS Music Awards ceremony at London's Dorchester Hotel on Tuesday 10 May. A special Performance on 3 programme devoted to the RPS Music Awards will be broadcast on BBC Radio 3 on 15 May, 2-4pm.


NI Opera presents Tosca in Londonderry

6 April 2011, Londonderry, UK

Giselle Allen (Tosca) with Jesus Leon (Cavaradossi)
Giselle Allen (Tosca) with Jesus Leon (Cavaradossi)(Photo: NI Opera)

Review by Michael White

Northern Ireland’s new national opera company, NI Opera, has just launched its first major production – an itinerant staging of Tosca by the company's artistic director, Oliver Mears.

Significantly, this didn’t take place in Belfast but in Londonderry, because the company has a mission to be regional rather than metro-centric. Each act was presented in a different venue and the audience, singers and orchestra were marshalled from place to place during the intervals.

Two of the three venues were stunning. Act I happened in Derry's protestant cathedral which, for the purpose, was temporarily transformed into a Roman basilica complete with Marian statuary, wreathed in flowers, and processions of biretta'd clergy, wreathed in incense.

For Act II, Derry's exuberant neo-renaissance Guildhall became Palazzo Farnese. And the only disappointment was that in a walled city with plenty of spectacular possibilities for Tosca's terminal jump, Act III took place in a conventional auditorium with a proscenium stage and enclosed-room set.

The surprise of the show, though, was the standard of singing. For obvious reasons, the company had taken pains to cast a Northern Irish soprano in the title role; and although Giselle Allen had a slightly hard edge to her tone she was tempestuously alive: in every sense a strong vocal personality that projected well and carried conviction.

I wasn't so thrilled by her Cavaradossi, the Mexican Jesus Leon. But Paul Carey Jones made an incisive, sharply observed Scarpia; John Molloy a fulsome Angelotti; and Andrew Rees (who shone recently as the oily breast-enhancement surgeon in Covent Garden's Anna Nicole) delivered another, oddly radiant cameo as Spoletta – a role you sometimes barely notice but done here with striking detail as an eager-to-please subaltern who likes his job too much.

NI Opera's next production will take place in September, when it shares an Orpheus in the Underworld with Scottish Opera. After that comes a Hansel and Gretel of its own in December – which means the company is taking its time to come together. But that's no bad thing. If it can build on the promise of this initial Tosca, it will have something serious to offer Northern Ireland.

Michael White's full review will appear in the Summer issue of Opera Now.


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