BROADWAY RHAPSODY To Be Hosted At Opera Holland Park
by Marissa Faith Curley - Jul 12, 2026
Soprano Anush Hovhannisyan and pianist Sam Jewison will headline BROADWAY RHAPSODY, a one-night-only open-air concert at Opera Holland Park, backed by a 40-piece orchestra.
Review: LA FILLE DU REGIMENT, Royal Ballet And Opera
by Franco Milazzo - Jul 9, 2026
All's fair in love and war — at least until the hero storms in on a tank. With Tamsin Greig playing a hilarious cameo, Laurent Pelly's production of Donizetti's comic opera returns to Covent Garden for its fifth outing.
Des Moines Metro Opera Announces 2027 Festival Season
by Marissa Faith Curley - Jul 5, 2026
Des Moines Metro Opera (DMMO)’s Linda Koehn General and Artistic Director, Michael Egel, has announced the repertory for the company’s 2027 Festival Season. It will features a new production of Jacques Offenbach’s The Tales of Hoffmann, a new production and company premiere of Philip Glass’s Orphée, and the revival of the company’s acclaimed 2017 production of Benjamin Britten’s Billy Budd.
Review: LA BOHÈME, Royal Ballet And Opera
by Cheryl Markosky - Jul 2, 2026
On the opening night of director Richard Jones's excellent production of Giacomo Puccini's La bohème, England's captain, Harry Kane, leads his team to the last 16 after scoring two goals against the Democratic of Congo in the World Cup. Concurrently, another decisive victory is pulled off by an equally promising young man, 35-year-old Italian conductor Lorenzo Passerini, in his debut with The Royal Opera at Covent Garden.
Review: I PURITANI, Royal Ballet And Opera
by Franco Milazzo - Jul 2, 2026
Thirty-four years is a long time to leave an opera in the attic, and I puritani has spent most of that period gathering dust for good reason. Bel canto — that Parisian tradition of vocal style over dramatic substance producing works that, to many, are all fur coat and no knickers — has never quite recovered its mass audience since the Sutherland-Callas generation retired, and Bellini's last opera, which substitutes plot for vocal spectacle with a candour that even its admirers find trying, is not the obvious place to start rebuilding one. That Richard Jones has now properly turned his attention to it for the first time in his long career suggests either a late conversion to the cause or, more plausibly, that he has simply run out of twentieth-century miseries to reframe as grand opera.