Giuseppe Verdi’s The Sicilian Vespers of 1855, set to a French libretto by Eugène Scribe and Charles Duveyrier from their 1838 work Le duc d’Albe, tells of the French occupation of Sicily in the thirteenth century. Prior to the opera’s opening the Sicilian patriot Jean Procida was exiled and the French conqueror Guy de Montfort, who became the island’s governor, violated a Sicilian woman who subsequently had a son called Henri. At times the Sicilians are...

The debut of Iréne Theorin, one of the greatest Wagnerian sopranos of our time, on the title role was the main feature of the restaging of La Gioconda at Liceu. The opera by Amilcare Ponchielli – the only one by him remaining in the repertoire – moves very awkwardly, as it doesn’t fit anywhere, in the space in between post Verdi and Verism. This wasn’t possible. A few hours before the opening, the theatre announced that Iréne Theorin, still...

Don Giovanni of 1787 is one of three operas that Mozart wrote with the librettist Lorenzo Da Ponte (the others being Le nozze di Figaro and Così fan tutte). It tells of the eponymous hero, or rather antihero, who effortlessly conquers thousands of women. Although in the process he makes many enemies, the ladies he has cheated have a habit of coming back for more or trying to save him, and in the end he is responsible for his own downfall. When the ghost of the Commendatore who he...

As the curtain falls on Moshe Leiser and Patrice Caurier’s Madama Butterfly, the Royal Opera House swaps tragedy for comedy with the second revival of the same directors’ 2005 production of Il turco in Italia. Rossini’s thirteenth opera of 1814 is a comedy of errors involving a series of love triangles between various Turkish and Italian characters. The added twist is that many of these ‘errors’ are deliberately engineered by the poet Prosdocimo as he...