Once again, we find ourselves at that moment where we look at what the season ahead has in store for us.  I must admit that the last few years have led me to reevaluate my opera going.  Certainly, I’ve found that I’ve prioritized more going to places I want to spend time in, perhaps more than planning to see specific shows.  This is also a time of flux for theatres.  Even those that previously were running at 100% capacity find themselves with empty seats right up until the morning of shows – a result, perhaps, of the cost of living emergency, as well as a reluctance by audience members to plan so far in advance.  For theatres that struggled to fill seats even prior to the onset of plague, this has led to a reliance on discounting, of offering seats to student programs at a heavy discount or for free (not necessarily a bad thing, though one wonders about its long-term sustainability as an approach).  Perhaps this has led to a certain conservatism in the choice of repertoire.  Who knows?  What I am becoming increasingly aware of though is young singers being touted as the next big thing, being pushed too far too soon.  One need only look to artists such as Piotr Beczała, Charles Castronovo, Krassimira Stoyanova as models on how to plan a sustainable long-term career.   I do worry about how commercial and image-driven the industry has become, especially for the vocal and mental health of artists that opera houses and managers have a duty of care to protect.

At any rate, descending from my soap box, as always at this time of year, I’ve complied a list of shows that I think will be worth watching over the coming season.  This is a very personal list. I’m aware of the lack of early music and indeed of the paucity of music of today in the list below.  But I very much hope to be able to bring you some reviews of early and new music as we go through the season. 

And here, for your reading pleasure, are some hot tips for the season ahead.

Il trovatore, Teatro Regio di Parma, September – October 2023.

The Teatro Regio in Parma hosts an annual Verdi festival honouring that region’s celebrated musical son.  This year’s Trovatore offers a most intriguing cast – Francesca Dotto as Leonora, Riccardo Massi as Manrico, Markus Werba as Luna, joined by the riveting Clémentine Margaine as Azucena.  Getting to hear Verdi’s music in this house will be a treat, particularly as the orchestra and chorus will be provided by the Teatro Comunale di Bologna.  The musical direction is in the hands of Francesco Ivan Ciampa, while Davide Livermore stages the work.

Aida, Staatsoper unter den Linden, October 2023.

This new production of Aida represents Calixto Bieito’s second of the work.  The Berlin Staatsoper has assembled two casts with Marina Rebeka and Elīna Garanča in the first, and María José Siri and Ekaterina Semenchuk in the second.  It will be fascinating to see how Bieito’s vision has evolved in the intervening years – particularly in the light of recent events in Europe and the polarization of society in general.  Italian specialist Nicola Luisotti will be leading from the pit. 

Das Rheingold and Die Walküre, La Monnaie – De Munt, October – November 2023 and January – February 2024. 

A new Ring is always a seminal moment in the history of an opera house.  During his tenure in the Belgian federal opera house, Peter De Caluwe, has given us a house of great energy and commitment to its community, while under Alain Altinoglu the orchestra has become one of the greatest opera orchestras in the world.  This new Ring, then, will be a moment for us to appreciate what they have done for this house.  What makes this Ring even more exciting is the prospect of seeing Romeo Castellucci’s vision of the work.  Given his ability to create stunning visuals and penetrate deep into the heart of the human condition, this is a seriously exciting prospect.  The cast consists of a number of frequent guests to the Muntplein – Gábor Bretz as Wotan, Eric Cutler as Siegmund and Marie-Nicole Lemieux as Fricka, among others.

Salome, Staatsoper Hamburg, October – November 2023.

For his latest venture into the operas of Strauss, Dmitri Tcherniakov returns to the Staatsoper Hamburg, where his stimulating production of Elektra was premiered.  This new Salome features the electrifying Asmik Grigorian in the title role, with Kyle Ketelsen as Jochanaan.  Renewing her collaboration with Tcherniakov, is the great Violeta Urmana taking on the role of Herodias, paired with John Daszak’s experienced Herodes.  With Kent Nagano in the pit, this promises to be a gripping evening of music theatre. 

Lucie de Lammermoor, Festival Donizetti Opera, November – December 2023. 

At the 2021 edition of the Festival Donizetti Opera, I was privileged to see a ‘star is born’ moment as Caterina Sala gave us a sensational Adina.  This year, Sala returns to the festival in the title role of a rare opportunity to hear Donizetti’s opera in its French version.  The period instruments of Gli Originali will be conducted by Pierre Dumoussaud, while the festival has cast a number of francophone singers in the other roles; Alexandre Duhamel as Henri, Patrick Kabongo as Edgard, while Roberto Lorenzi sings Raimond.  The production is the work of Jacopo Spirei.

Les contes d’Hoffmann, Teatro la Fenice, November – December 2023.

This new production of Les contes d’Hoffmann by the ever-insightful Damiano Michieletto, is a co-production between the Fenice and Opera Australia, where it has already been seen in Sydney.  For the Venetian performances, the house has placed the musical direction in the hands of the superb Antonello Manacorda.  Iván Ayón Rivas will be singing the title role with Rocío Pérez, Carmela Remigio and the great Véronique Gens his ladies.  As his nemesis, Alex Esposito will bring his familiar vocal warmth and dramatic energy to his roles, while Giuseppina Bridelli sings Nicklausse.

Maria Stuarda, Palau de les Arts, València, December 2023.

For this next instalment in the Tudor trilogy, the Palau de les Arts has reunited many of the protagonists of its superb Anna Bolena last fall.  Not least, the magnificent Eleonora Buratto, one of the finest Italian singers before the public today – and the heiress to that great Italian vocal tradition.  Returning to join her is local star, Silvia Tro Santafé as Elisabetta and Ismael Jordi as Leicester.  The exciting young Valencian bass Manuel Fuentes joins them as Talbot.  As before, the outstanding house forces are under the musical direction of Maurizio Benini, while Jetske Mijnssen brings her staging from Amsterdam. 

Brodeck, Opera Ballet Vlaanderen, February – March 2024.

A world premiere from Opera Ballet Vlaanderen, with this new opera by Daan Janssens setting the highly successful novel by Philippe Claudel.  Under the musical direction of Marit Strindlund and the stage direction of Fabrice Murgia, the house has assembled a number of Flemish and international singers including Thomas Blondelle, Tijl Favyets, Damien Pass, Elisa Soster, and Helena Rasker.  This house is always enterprising, and even if some of the more recent productions there have been rather questionable, they always provoke discussion.

Carmen, Various (touring), March 2024.

One might have said this was an unexpected combination – René Jacobs conducting Carmen.  But Jacobs has a long history of throwing new light on unfamiliar works and I have no doubt his take on Carmen will be highly stimulating.  Alongside the period instruments of B’Rock, Jacobs will be joined by a cast of Francophone singers.  I must admit to an initial disappointment at seeing Gaëlle Arquez cast in the title role – my previous experience of her Carmen was prettily sung but very much a vocalise.  That said, if there’s any conductor who will get Arquez to make the most of the text, it’s Jacobs.  Sabine Devieilhe, Julien Behr and Thomas Dolié round out the cast of principals, joined by the Chœur de Chambre de Namur and the Kinderkoor Opera Ballet Vlaanderen.

Die Frau ohne Schatten, Semperoper Dresden, March – April 2024.

The combination of the Dresden orchestra, that fabled acoustic and Christian Thielemann’s musical direction in this score is one that promises much.  The Semperoper has assembled what is possibly one of the finest groups of principals one could hope for in their roles today – well, except for Barak who remains unknown at the time of writing.  Camilla Nylund as the Kaiserin, Eric Cutler as the Kaiser, the highly promising Miina-Liisa Värelä as the Färberin, and the great Evelyn Herlitzius as the Amme.  The cast will perform in David Bösch’s new staging.

Guercœur, Opéra national du Rhin, April – May 2024.

I was slightly reticent to include a show in the French Republic in this list, given the risk of strikes, riots and cancellations that one runs when visiting the hexagon.  Yet, the opportunity to see Magnard’s tragédie en musique, with such a promising cast of Francophone singers, is one that will be hard to refuse.  Stéphane Degout takes on the title role, while acclaimed dramatic soprano Catherine Hunold sings Vérité.  The staging has been entrusted to Christof Loy, while the musical side will be under the direction of Ingo Metzmacher, a superb exponent of the music of the last century. 

Falstaff, Teatro Nacional de São Carlos, May 2024.

The Teatro Nacional de São Carlos is a theatre with a great tradition and home to an excellent house chorus and orchestra.  Under the artistic direction of outgoing artistic director Elisabete Matos, the house has provided a consistent source of pleasure and given opportunities to some excellent local singers.  This Falstaff reunites the winning duo of the delectable Rita Marques and elegant Antonio Garés, who gave such enormous pleasure in Elisir there last fall, as Nannetta and Fenton.  House favourites Dora Rodrigues and Catia Moreso – a thrilling Azucena a few months ago – sing Alice Ford and Meg Page, while the title role is taken by José Fardilha. House music director Antonio Pirolli, a superb exponent of Italian opera, conducts Jacopo Spirei’s staging.

Götterdämmerung, Finnish National Opera, May – June 2024.

A little later than originally planned, we reach the culmination of the Helsinki Ring.  One of the consistent pleasures, as we have gone through the cycle, has been its musical aspects.  The singing, almost all cast from local singers, has been superb.  Anna Kelo’s staging has been picturesque and it will be interesting to see how she ends her cycle.  The musical side will be under the hands of house music director Hannu Lintu.  Johanna Rusanen returns to Brünnhilde as does Daniel Brenna to Siegfried, while Jukka Rasilainen sings Alberich, Rúni Brattaberg, Hagen, and Tuomas Pursio and Reetta Haavisto, Gunther and Gutrune. 

Tosca, Bayerische Staatsoper, May – June 2024.

As I mentioned at the top, any young singer wishing to take as a model how to pace a career need only look at Charles Castronovo.  He’s paced his career superbly, taking on new roles at the right time, and now moves, after giving us a heartbreaking Rodolfo and superbly-sung Pinkerton, into the big challenge of Cavaradossi.  His Tosca is due to be Anja Harteros, one of the most thrilling singers of our time.  I very much hope that she will return from her extended leave of absence from the stage for this production and in excellent voice.  With Ludovic Tézier as Scarpia, we have a cast of the finest singers before the public today.  The staging has been confided to Kornél Mundruczó, while Andrea Battistoni conducts.

Das Rheingold, Teatro Comunale Bologna, June 2024.

It might seem strange to include in this list a show when we don’t yet know who will be singing what.  But when I saw Lohengrin in Bologna last year, it was a revelation.  Never had I heard Wagner played with such sheer bel canto beauty of line.  It left me eagerly wanting to hear more.  The Comunale orchestra is a magnificent band and under experienced Wagnerian and house music director, Oksana Lyniv, this new Ring in concert will be a must see.  I can’t wait to hear the sheer beauty and expressiveness of tone that they’ll undoubtedly bring as the Rhine comes into view in those opening pages.  It will be most interesting also to see who they cast in the roles when the time comes.   

And there you have it, some personal thoughts on shows worth exploring in this upcoming season. What are you looking forward to?