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19/04/2004 Opera in London - stronger than ever
The Savoy Theatre, London's new dedicated opera venue, launched last week with Rossini's Barber of Seville. It attracted an overwhelmingly positive press - no mean feat in the notoriously bitchy world of opera. For its opening season, until 19 June, the Savoy is alternating Barber with Mozart's Marriage of Figaro. Targeting, among others, opera virgins and neophytes, West End show fans and tourists, Savoy's accessibility will, I feel, readily find a new audience. As its productions are sung in English, it will be seen by some as competing with the recently-reopened English National Opera, just a few blocks away. ENO's reopening season, Das Rheingold, Tosca and Magic Flute, has had mixed reviews. As if to emphasise its distance from both upstarts, the Royal Opera House's current production of the obscure Shostakovich work, Lady Macbeth of the Mtensk District, has been praised to the skies - you try get a ticket! And Covent Garden's 2004/05 season is set to reinforce its unique position, with a run of productions fronted by global megastars - Domingo, Terfel, Alvarez, Mattila, Hampson, Tilling, Fleming, Bartoli, and Florez head the list of top names due at ROH in 2004/05. Neither the new kid on the block, Savoy Opera, nor the newly invigorated ENO can hope to compete with this level of talent. But London opera is stronger than ever.
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