Béatrice et Bénédict

Hector Berlioz

1h 57 min
Spanish , English

Through the eye of French director Laurent Pelly this expression of Berlioz’s undying admiration for the Bard — his adaptation of Much Ado about Nothing as an opéra comique — becomes "an elegant treatise on love and music designed in shades of grey with 50s-era costumes" (Sunday Express ★★★★).


Housed by designer Barbara de Limburg in a series of oversized boxes, it’s "terribly chic, terribly pretty" (The Spectator).


Soaring over the warmly graceful playing of the London Philharmonic’, Paul Appleby sings ‘attractively’ as Bénédict and Stéphanie d’Oustrac "makes a marvellously wiry and fiery Béatrice, singing with charm and acting with gusto" (The Telegraph).


With the collaboration of Naxos

London Philharmonic Orchestra

The Glyndebourne Chorus


Artistic team

Conductor | Antonello Manacorda

Stage director and costume designer | Laurent Pelly

Set designer | Barbara de Limburg

Lighting designer | Duane Schuler



Béatrice | Stéphanie d’Oustrac

Bénédict | Paul Appleby

Claudio | Philippe Sly

Hero | Sophie Karthäuser

Somarone | Lionel Lhote

Don Pedro | Frédéric Caton

Ursule | Katarina Bradić


Teatro Real
Giuseppe Verdi
Daniele Rustioni, Laurent Pelly

Three of the greatest operas of Giuseppe Verdi were inspired by the admiration he felt towards the genius of William Shakespeare: Macbeth, Otello and Falstaff, his final opera and second comedy. It is an ideal work, teaching us to take life lightly and laugh at ourselves, and it comes to the Teatro Real in a new production by the talented master in humor, Laurent Pelly. His most recent productions on this stage have been: La Fille du régiment, Hänsel und Greteland The Golden Cockerel. Daniele Rustioni conducts two markedly Spanish casts, together with the house Chorus and Orchestra.

Opéra National de Paris
Gaetano Donizetti
Laurent Pelly, Edward Gardner

A simple but effective plot (a shy and naive young peasant buys a charlatan a love potion, actually a simple bottle of wine, to conquer the girl he is in love with; the beauty will finally realize that he loves the young man without the help of the elixir), a joyous musical language with bright and particularly inspired melodies (including the famous "Una furtiva lagrima"), made this opera composed in 15 days by Donizetti a true masterpiece.


Transposing the action into Italy in the 1950s, director Laurent Pelly achieves a true gem, finely chiseled and highly poetic.


With the collaboration of Naxos

Glyndebourne Festival
Brett Dean
Vladimir Jurowski, Neil Armfield

The world premiere recording of Brett Dean’s new opera based on Shakespeare’s best-known tragedy: To be, or not to be. This is Hamlet’s dilemma, and the essence of Shakespeare’s most famous and arguably greatest work, given new life in operatic form in this original Glyndebourne commission. Thoughts of murder and revenge drive Hamlet when he learns that it was his uncle Claudius who killed his father, the King of Denmark, then seized his father’s crown and wife.


But Hamlet’s vengeance vies with the question: is suicide a morally valid deed in an unbearably painful world? Dean’s colourful, energetic, witty and richly lyrical music expertly captures the modernity of Shakespeare’s timeless tale, while also exploiting the traditional operatic elements of arias, ensembles and choruses. Matthew Jocelyn’s inspired libretto is pure Shakespeare, adhering to the Bard’s narrative thread but abridging, reconfiguring and interweaving it into motifs that highlight the main dramatic themes: death, madness, the impossibility of certainty and the complexities of action.


With the collaboration of Naxos

Gran Teatre del Liceu
Charles Gounod
Stephen Lawless, Aida Garifullina, Saimir Pirgu

El Gran Teatre del Liceu estreno la ópera Roméo et Juliette el 14 de febrero de 2016, una coproducción entre el Liceu y The Santa Fe Opera dirigida por el británico Stephen Lawless y bajo la batuta del maestro Josep Pons. La versión operística de Charles Gounod del clásico de Shakespeare no se veía en el Liceu desde 1985 y se estrenó con un reparto encabezado por la soprano rusa Aida Garifullina como Juliette y el tenor albanés Saimir Pirgu como Roméo acompañados por la Orquesta Sinfónica y el Coro del Gran Teatre del Liceu.


Esta reciente producción sitúa la acción original en el contexto de la Guerra Civil de los Estados Unidos (1861-1865), una decisión del director Stephen Lawless para transportar los tiempos de Shakespeare a la época de Gounod. En palabras del propio director, la versión operística de este clásico universal “se convierte en una obra diferente y diversa que comienza a salir del molde shakespeariano y que imprime un toque francés a la fugacidad y el ingenio del original”. El director ha querido situar a los amantes en un marco mortuorio que condicionará fatalmente su destino desde el inicio de su enamoramiento.

Teatro Real
Jacques Offenbach
Sylvain Cambreling, Christoph Marthaler

In this new version of Les contes d’Hoffmann by Jacques Offenbach, Nicklausse, the muse and alter ego of Hoffmann, sings at the end of the opera: “On est grand par l’amour, mais plus grand par les pleurs” (Love makes us great, but weeping makes us greater still). This is a motif by who was considered “the ever-entertaining Offenbach”, however the composer’s artistic concept is linked to the Romantic movement from Victor Hugo via Berlioz to Thomas Mann, where art and inspiration develop from the suffering and melancholy of human life. This makes Offenbach’s only full-length opera a unique creation where art triumphs over the pain of love.


*Title only available in non-EU countries, with the exception of Spain