With some notable exceptions, the most eminent of which is Beethoven’s Fidelio, the theme of maintaining marital loyalty, whilst morally so commendable, is theatrically utterly boring. Its opposite, instead, always affords interesting theatrical shambles which can range from the vaudeville to tragedy and everything in between. If Händel’s Rodelinda, a story about staunch marital loyalty, theatrically is not only tolerable but works rather well is because deep down it...

Mozart described his Così fan tutte as a dramma giocoso. The Venetian stage director, Damiano Michieletto, who debuted at Liceu with this production created for La Fenice in 2013, is interested a lot more in the dramatic or even tragic side of it, than in the giocoso element. It starts with a distorted take on Don Alfonso’s character, who turns from a “vecchio filosofo” to a cynical, embittered alcoholic who manipulates and mistreats the characters. From...

What a surprise – it is very unusual to see a 35-year old opera production still performed with such subtle intensity in terms of acting and personal interaction. I assumed the Berliner Staatsoper has highly experienced evening supervisors for their performances (which they most likely have anyway) just to learn that Harry Kupfer himself oversaw the rehearsals of the revival of his 1979 Salome production – which made the audience follow the opera with high...