Leonard Bernstein composed his one act opera Trouble in Tahiti in 1952, and on this occasion wrote the libretto himself. It concerns a married couple who on the surface have it made with their beautiful suburban home, but who find it difficult to live with each other and constantly bicker and fight. In 1983 he wrote A Quiet Place, which considers where the same family’s members are thirty years later. While performing both in the same evening would seem an obvious thing to...

Composed in 1751, Handel’s Jephtha is based on the story from Judges XI and George Buchanan’s 1554 play Jephthes, sive Votum. It sees the Israelite Jephtha triumph in battle over the Ammonites, but then face the most dreadful situation. This is because he had vowed that if he were victorious he would sacrifice the first living creature he saw on his return, and this turns out to be his daughter Iphis. To make the work acceptable to an eighteenth century audience,...

Benjamin Britten’s The Rape of Lucretia is the first work to which he applied his term ‘chamber opera’. With an English libretto by Ronald Duncan that is based on André Obey’s play Le Viol de Lucrèce, the piece premiered at Glyndebourne Festival Opera in 1946 and was seen there again in 2015 following the development of a touring version in 2013. It is set towards the end of the sixth century B.C. during the reign of the seventh and final King of...

Some productions are tremendous on their first outing and never quite manage to recapture the same brilliance in subsequent revivals. Others discover that they need an initial outing before they find their feet, and the Royal Opera’s Rigoletto, from its Director of Opera Oliver Mears, would seem to fall into this latter category. It first appeared last September, but, aided by an outstanding cast, its first revival feels leaner and meaner in a great many ways. The good news is that...

Based on Victor Hugo’s play Le roi s’amuse, Giuseppe Verdi’s Rigoletto was a triumph when it premiered at La Fenice in Venice in 1851, and has remained one of the composer’s most frequently performed operas ever since. Its popularity is thoroughly deserved but might still be deemed interesting, given that it is a contender for the cruellest opera in the mainstream repertoire. While many works see the innocent suffer and die, there is usually a sense in...