# Best opera houses in the world for production quality



## Almaviva (Aug 13, 2010)

Not just considering tradition, but what they've been churning out recently in terms of good stagings, how would you rank the world opera houses?

I think that Glyndebourne has a good shot at being the one that has staged the most impressive versions lately.

The Parisian houses are also pretty good at consistently showing interesting stagings. I might rank them - as a collective entity - right behind Glyndebourne. Lyon has a knack for oddball, obscure operas, with some good results.

The Met is hit and miss - some outstanding productions, as well as some pretty bad failures. But I believe it is more hits than misses. Other American houses are no competition, such as LA and Washington DC which both have bad reputation, and even those with good reputation like San Francisco, Chicago, Seattle, and Houston, can't compete in worldwide terms given their relatively diminutive size in terms of number of productions.

La Scala on the other hand has more misses than hits in my opinion. They seem to have dull, dark, and stiff stagings. The same can be said of La Fenice; the Arena di Verona seems to be oriented towards big majestic shows for tourists rather than having an interest for any kind of innovation, and I'm not clear about the other Italian opera houses - although I think that some of the best Italian stagings I've seen tend to come from the small regional companies rather than from the big ones. 

I don't think very highly of Opera Australia either but most productions of theirs that I've seen were released several years ago, and I'm not clear on what they've been doing lately.

Salzburg is very vanguard with some interesting ones but also some stinkers. Vienna looks more traditional by comparison, and consequently less creative, but I've seen some good things coming from them.

The Mariinsky is the one with the longest, richest season in the world with some 60+ different operas each year, but although they have been modernizing lately, many of their productions look outdated.

The Germans have so many different opera houses with long seasons that it is hard for me to make sense of any consistent trends.

ROH-Covent Garden and ENO seem to me to have a fair number of good productions but I'm less familiar with their work as compared to Glyndebourne. But I think that collectively speaking, the English houses are generally good. I'm not that familiar with the Spanish houses either although I've seen a couple of good productions from the Liceu.

I have the impression - maybe unfair - that the Dutch and the Scandinavian houses are regietheater-infested, and the same applies to Swiss houses.

Maybe I should group my impressions by country rather than by individual opera houses. If so, I'd say that England comes first, France second, and the United States third in terms of good productions. Maybe Austria should be fourth. Italy unfortunately would be close to the bottom.

I don't take my opinions above as any kind of truth. They are certainly influenced by the luck of the draw, therefore they may be profoundly biased, because my impression depends on DVDs and Blu rays that come to the market, except in the case of the Met. People who actually live in those countries are much better equipped to pass judgment on their own opera houses.

Opinions?


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## Aksel (Dec 3, 2010)

I really can only speak (albeit rather poorly) of the Oslo opera house, and it is very Regietheater-driven. But the stagings are very good, at least those I've seen. Among other things, they did a Tannhaüser directed by Stefan Herheim (that Seraglio Abduction nudity guy from a few years back) that was said to be very, very good. They've also done a rather minimalist, kinda traditional (if I remember correctly, that is) Rusalka which I also found to be very good.
EDIT: Ah, yes. They did that bloody Poppea last year.
Oslo does have some very interesting stagings, and they do prove to be very good at times.

And I'm currently reading a history of opera in Norway, so I'll say something about the stagings over time when I'm finished reading the book.


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## sospiro (Apr 3, 2010)

Covent Garden seems to do OK but Don Pasquale bombed. Not many new productions in the 2010.2011 season though.


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## Almaviva (Aug 13, 2010)

Aksel said:


> I really can only speak (albeit rather poorly) of the Oslo opera house, and it is very Regietheater-driven. But the stagings are very good, at least those I've seen. Among other things, they did a Tannhaüser directed by Stefan Herheim (that Seraglio Abduction nudity guy from a few years back) that was said to be very, very good. They've also done a rather minimalist, kinda traditional (if I remember correctly, that is) Rusalka which I also found to be very good.
> EDIT: Ah, yes. They did that bloody Poppea last year.
> Oslo does have some very interesting stagings, and they do prove to be very good at times.
> 
> And I'm currently reading a history of opera in Norway, so I'll say something about the stagings over time when I'm finished reading the book.


Oh my, I've seen that Seraglio, and even though it is kind of entertaining, it's not Mozart's! I usually dislike too much tampering with an artist's work - the basis for my profound dislike of the Copenhagen Ring due to the baby at the end - and this Seraglio certainly takes the cake in terms of alterations. So, is this Tannhäuser respectful of the original work, or also all changed for the delight of Mr. Herheim's ego?


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## Almaviva (Aug 13, 2010)

sospiro said:


> Covent Garden seems to do OK but Don Pasquale bombed. Not many new productions in the 2010.2011 season though.


That's actually a very good season in my opinion, Annie, with the usual suspects but also a couple of rarely performed operas, and a World Première of an opera that has been highly anticipated (Anna Nicole - I'm curious about it, are you planning to attend?).


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## Aksel (Dec 3, 2010)

Almaviva said:


> Oh my, I've seen that Seraglio, and even though it is kind of entertaining, it's not Mozart's! I usually dislike too much tampering with an artist's work - the basis for my profound dislike of the Copenhagen Ring due to the baby at the end - and this Seraglio certainly takes the cake in terms of alterations. So, is this Tannhäuser respectful of the original work, or also all changed for the delight of Mr. Herheim's ego?


Well, it's in no way traditional, it's Herheim for Christ's sake. But in what way it's not traditional, I cannot tell you since I haven't seen it personally. (damn you, Oslo for being so far away!)
But here is an article about the staging.


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## sospiro (Apr 3, 2010)

Almaviva said:


> That's actually a very good season in my opinion, Annie, with the usual suspects but also a couple of rarely performed operas, and a World Première of an opera that has been highly anticipated (Anna Nicole - I'm curious about it, are you planning to attend?).


Re Anna Nicole - not sure about it but don't have any holiday left so couldn't go anyway (our leave year is 1st April - 31st March)


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## emiellucifuge (May 26, 2009)

You are correct, the house here does add a good dollop of interpretation and modernisation. However, they never go overboard, it is always relevant and done in the best taste. No star wars crap.

Ignoring any moral or philosophical objections you may have to the reinterpretation of older operas, the productions here are extremely powerful and convey the message incredibly powerfully.


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## Herkku (Apr 18, 2010)

IMHO Teatro La Fenice is much more interesting than La Scala (been there, seen those!) and you should know that from DVD:s. I'm also grateful for several productions from the Zürich Opera House (the foreign opera house I have visited more often than any other) on DVD. You would like to put all of Paris together, but again IMHO Théâtre du Châtelet is in a class of its own. And then we have the very interesting Théâtre Impérial de Compiègne, a relatively small town, but a source of wonderful DVD:s of rare French operas (I have reviewed some already, but there's more to come).


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## Almaviva (Aug 13, 2010)

You're right that the Châtelet is the most creative Parisian house and probably in the same league of Glyndebourne. Yes, La Fenice in my opinion is better than La Scala (not a difficult feat since La Scala is probably the weakest of all major opera houses) but I don't think it is so by much. Like I said, I may have this impression out of my own DVD collection which is not exhaustive. I recently saw _La Jolie Fille de Perth_ by the Compiègne company and didn't like the production, with senseless ugly staging and rather average singers. But again, this is a sample of one, I don't think I've seen anything else by them. Which ones by them have you reviewed? Are those Fra label DVDs you've been revieweing done by them?


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## Herkku (Apr 18, 2010)

I have reviewed Saint-Saëns's Henry VIII and Meyerbeer's Dinorah from Compiègne. I have to deal with Auber's Haÿdée ou le secret (never heard of this), Adam's Le Toréador ou l'accord parfait and Thomas's Le Songe d'une Nuit d'Eté (never heard of this either).


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## jflatter (Mar 31, 2010)

Almaviva said:


> That's actually a very good season in my opinion, Annie, with the usual suspects but also a couple of rarely performed operas, and a World Première of an opera that has been highly anticipated (Anna Nicole - I'm curious about it, are you planning to attend?).


Glyndebourne is a creative company its just a shame that most people who go there have little interest in opera. I also saw their new Don Giovanni on TV over the Christmas period and thought that was disappointing. It will be interesting to see their new Meistersinger which is directed by McVicar. Although I am not sure about Gerald Finley as Hans Sachs.

Being a regular at Covent Garden I have found this season to be a strange one. It started with drab revivals of Cosi and Don Pasquale, warmed up with Rigoletto. A new production of Niobe which was heavily discounted because not many people know the piece and the new lavish prodution of Lecouvruer which had not been performed at the Royal Opera in over a century. The highlight so far has been Tannhauser which was a musical triumph.

There are still plenty of tickets for Anna Nicole even though it has been hyped because of the subject and I would only be tempted because Richard Jones is directing.

Werther is of interest because of Villazon returning. If his voice has come back to health then it has the potential to be a triumph but it is a big if.

Generally Covent Garden are a good company but I do find their casting strange at times. Michaela Carosi I cannot believe is back as Aida in acouple of months she was poor the last time. Plus why would you cast Christianne Stoijin as Tamerlano when she is best in a concert hall in a Mahler symphony.

But still I love the place and will be there on Friday for Il Barbiere thanks to a cut price deal.


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## Aksel (Dec 3, 2010)

Who directed the Tannhäuser?


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## mamascarlatti (Sep 23, 2009)

jflatter said:


> But still I love the place and will be there on Friday for Il Barbiere thanks to a cut price deal.


According to Intermezzo it sounds like a goody even without the original cast. I'd also love to see the staging sans wheelchair!


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## jflatter (Mar 31, 2010)

Aksel said:


> Who directed the Tannhäuser?


Tim Albery. See my review in what you seen recently thread.


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## jflatter (Mar 31, 2010)

mamascarlatti said:


> According to Intermezzo it sounds like a goody even without the original cast. I'd also love to see the staging sans wheelchair!


I was lucky to be at the opening night of the last run, where the accident to Ms DiDonato took place. Florez was amazing that night and I would doubt it could bettered. I do rate Kurzak as a good singer and think it should be good.

I should also add generally that the orchestra. has been on great form over the past 12 months


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## MarkJackson (Oct 17, 2011)

One which is upcoming is that of Garsington Opera at Wormsley. In their short summer festival season, they produce very stylized, non-traditional productions, which occasionally miss the mark, but are majorly satisfying. The '12 Season marks their second season at their specially designed pavilion at Wormsley Park (in Buckinghamshire), which seats only 600, making for an intimate environment. They have few big names, instead relying on the newness of their productions and freshness of their relatively young performers' voices to draw an audience. The youth of their singers also allows for productions to require great physicality of performers (fistfights to sex-bondage in their new _Don Giovanni_). Overall, the obvious drive for the minds behind the company are modernity and continuation of the operatic tradition, a mission statement often blocked by the company's newness (founded in 1989).

(A photo)
http://www.bustler.net/images/news2/11-Garsington-New-Opera-Pavilion-c-Dennis-Gilbert.jpg


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## mamascarlatti (Sep 23, 2009)

Love the building - and as you say very intimate.


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## powerbooks (Jun 30, 2012)

I think Met is a fine venue. Maybe a little too big for baroque or classical operas, but great for all sorts of romantic works. And I still believe it has the best value among all the famous opera houses.

Among the few I ever visited, I like the Drottningholm Court Theatre close to Stockholm. Ideal for Mozart!


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## Dakota (Jun 30, 2012)

One that is totally new to me is Opera Philadelphia http://www.operaphila.org/ and it is interesting because it is doing operas that are also totally new to me. I am planning to run down there (and drag my kids along  ) next February to see their production of the new Silent Night by Kevin Puts that just won the Pulitzer Prize. They will also have a Britten (Owen Wingrave) and an Ades (Powder Her Face) that I have never heard of so they get points for sheer nerve in my book. Has anybody been there yet?


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## emiellucifuge (May 26, 2009)

Nerve for one already succesful premiere, one contemporary opera that has been succesful for a while and one opera by a famous dead guy?!


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## Dakota (Jun 30, 2012)

emiellucifuge said:


> Nerve for one already succesful premiere, one contemporary opera that has been succesful for a while and one opera by a famous dead guy?!


Yeah, in what is still not a robust economy and with some companies recently folded, I would have expected them to stick to a more familiar/standard lineup. Not that I am griping,  it gives me the possibility of seeing works that are new to me.


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## Aksel (Dec 3, 2010)

emiellucifuge said:


> Nerve for one already succesful premiere, one contemporary opera that has been succesful for a while and one opera by a famous dead guy?!


Remember they're American, dear. They're a bit different.


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## guythegreg (Jun 15, 2012)

Aksel said:


> Remember they're American, dear. They're a bit different.


lol - more than a bit, I think ...


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## mamascarlatti (Sep 23, 2009)

emiellucifuge said:


> Nerve for one already succesful premiere, one contemporary opera that has been succesful for a while and one opera by a famous dead guy?!


You just don't know how spoilt you are emiel.

Compared with NZ Opera's sorry offerings here it's nerve. Look:

2011
Xerxes, Cavalleria rusticana & Pagliacci
2010
The Marriage of Figaro, Macbeth
2009
The Italian Girl in Algiers, Eugene Onegin
2008
La Bohéme, Hansel and Gretel, Jenufa
2007
Lucia di Lammermoor, Turandot
2006
The Magic Flute, Don Pasquale, Faust
2005
Don Giovanni, La Traviata
2004
The Elixir of Love, Rigoletto, Così fan tutte, Carmen
2003
Boris Godunov, The Barber of Seville, Acis and Galatea, Tosca
2002
The Marriage of Figaro, The Pearl Fishers
2001
Manon, Viva Verdi, Falstaff
2000
Madama Butterfly, Aida, Die Fledermaus


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## emiellucifuge (May 26, 2009)

I am spoilt! But theeres a difference between an opera house on the island of NZ, and one of the many in rich america in a big town.

Still I am spoilt, but I dont see why you shouldnt be too! We only have three opera houses in this country, one in the south, one that travels and one in Amsterdam which serves the whole Randstad metropolis. The latter particularly churns out premiere after premiere. Perhaps its to do with audience, in which case the question is - why are american audiences more conservative?


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## Dakota (Jun 30, 2012)

emiellucifuge said:


> Perhaps its to do with audience, in which case the question is - why are american audiences more conservative?


Interestingly, that fits in with a discussion I was having with my kids last night on why (different context, but still....) we had found Amsterdam to be so much less conservative than what we see around us. Our speculation was that it might stem in part from Amsterdam's history as an important world port and all the exciting influences that would bring. Obviously that's just an amateur outside view. I think in the past the US felt itself culturally inferior to anybody and everybody in Europe; I would like to think we have matured a bit from that, but.........


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## mamascarlatti (Sep 23, 2009)

I can't talk about America but as far as New Zeland is concerned it's just due to a complete lack of higher culture among the majority of the population (I really noticed that after returning from my holiday in England and France). There is basically no liberal eduction here (liberal in the old fashioned sense) and no value for anyone but sport "heroes" and TV celebrities. 

Of course there are exceptions but I'm still waiting to meet them.


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## guythegreg (Jun 15, 2012)

emiellucifuge said:


> why are american audiences more conservative?


I don't know if this is relevant, but many of the Met's hit productions originated elsewhere. Maybe the Met staff just isn't as good at or as focussed on "acquiring" hit productions of less commonly performed operas??


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## Aksel (Dec 3, 2010)

guythegreg said:


> I don't know if this is relevant, but many of the Met's hit productions originated elsewhere. Maybe the Met staff just isn't as good at or as focussed on "acquiring" hit productions of less commonly performed operas??


The Met has always been, and still is very dependent on the Italian and German 19th century staples. True, the amount of 'obscure' opera done at the Met has increased dramatically since Levine took over almost four decades ago, but the Met has never been a place for new opera. Berg is the newest composer to be regularly performed there, and even he died almost 70 years ago.
And it's true that most of the Met's hits originate elsewhere. But I would argue that it is because most of the Met's own productions aren't very good.


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## guythegreg (Jun 15, 2012)

Well, I don't know. I do know their recent Sonnambula blew, as did their new Tosca. And the Tosca was so full of hope, before it opened. I personally have a sneaking suspicion that the chosen director, Luc Bondy, secretly hates either the Met, or America ... I mean, his Don Carlo was so colorful, so thoughtful, so creative, and his Tosca was just crap.


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## Dakota (Jun 30, 2012)

guythegreg said:


> Well, I don't know. I do know their recent Sonnambula blew


Am I really the only person in the universe who liked the new Sonnambula? Enjoyed it even and would like to see it again.........

But I have yet to come to terms with the "machine" and the whole new Ring Cycle. After seeing all four twice now, I have just the tiniest bit of respect for the machine, but I was _*so*_ enraptured with Robert LaPage's Damnation de Faust that I am still disappointed over all that effort and all the money poured into the machine. Ack, I still can't discuss it..........


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## guythegreg (Jun 15, 2012)

Dakota said:


> Am I really the only person in the universe who liked the new Sonnambula? Enjoyed it even and would like to see it again.........
> 
> But I have yet to come to terms with the "machine" and the whole new Ring Cycle. After seeing all four twice now, I have just the tiniest bit of respect for the machine, but I was _*so*_ enraptured with Robert LaPage's Damnation de Faust that I am still disappointed over all that effort and all the money poured into the machine. Ack, I still can't discuss it..........


lol as far as the new Sonnambula goes, maybe. I'm no die-hard traditionalist, I don't mind experimentation, but it just didn't make SENSE. No doubt you've been over the arguments pro and con yourself. And I don't know, but I think they cut an AWFUL lot of music I love. And the Lisa didn't sing very well, I thought.

as far as the Ring goes, glad to hear you loved Damnation of Faust. I only saw it once but I was very impressed - the soldiers walking up the wall was SO memorable ...


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## Dakota (Jun 30, 2012)

Aksel said:


> Berg is the newest composer to be regularly performed there, and even he died almost 70 years ago.


Oh, I think John Adams is pretty steady in the repertory and Philip Glass pops up on occasion.


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## Dakota (Jun 30, 2012)

guythegreg said:


> lol as far as the new Sonnambula goes, maybe. I'm no die-hard traditionalist, I don't mind experimentation, but it just didn't make SENSE. No doubt you've been over the arguments pro and con yourself. And I don't know, but I think they cut an AWFUL lot of music I love.


That was my first experience of Sonnambula so I didn't know that I was missing chunks of it; how dare they!


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## guythegreg (Jun 15, 2012)

Dakota said:


> That was my first experience of Sonnambula so I didn't know that I was missing chunks of it; how dare they!


Yeh, happens pretty frequently. Try Moffo's Sonnambula, let me know what you think. I'd be interested to know.


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## guythegreg (Jun 15, 2012)

Or try this:


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## Dakota (Jun 30, 2012)

guythegreg;326845Try Moffo's Sonnambula said:


> K, I put that on my wish list.....


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## sospiro (Apr 3, 2010)

This may not have anything to do with it but all opera houses in Europe & UK are subsidised so maybe they can be more daring. In England there is the Arts Council and I expect there is other funding.

I think opera houses in the US tend to be more conservative with their choice so as not to offend their donors & subscribers.

Nat - are the arts subsidised in NZ?


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## mamascarlatti (Sep 23, 2009)

sospiro said:


> Nat - are the arts subsidised in NZ?


There is some "government" type funding, like Creative New Zealand, but a lot of funding comes from corporate sposors. In fact I've just noticed that it's called NBR New Zealand opera. That's probably why it has to be a crowd-pleaser.


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## guythegreg (Jun 15, 2012)

sospiro said:


> This may not have anything to do with it but all opera houses in Europe & UK are subsidised so maybe they can be more daring.
> 
> I think opera houses in the US tend to be more conservative with their choice so as not to offend their donors & subscribers.


I've read that the Met cares infinitely more about the loss of one big donor than about 1,000 yearly subscribers. I don't know if it's true, but it makes sense to me - the subscribers cost you money (since they don't pay the full price of what it costs to put on the productions) and the donors make up that gap. And so here in the US you're ultimately trying to please a comparatively small group of rich old people.

In "subsidized" countries, who are you really trying to please? A comparatively small arts bureaucracy?

In neither location is the view of the "average" operagoer (assuming there is such a thing) taken into much account, it seems to me. I know there are people who wish the Met would be more daring, but I'm not one of them. I haven't had much luck with the more "daring" concerts I've gone to. I did greatly enjoy The Nose, by Shostakovich (although it would have been nice if he had written some music for it lol). But Bartok always makes me feel like a fool for attending, and (as my blog on Gruppen reports) Boulez did the same thing a few weeks ago.


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