‘We want people on the edge of their seats’: Royal Opera boss Oliver Mears on the new season – and the controversies of the last
Wagnerites rejoice! Parsifal and the climax of Barrie Kosky’s acclaimed Ring cycle are in the pipeline. The director of opera talks about scoring a bullseye, the storms that rocked last...
By Charlotte Higgins · The Guardian Culture
Wagnerites rejoice! Parsifal and the climax of Barrie Kosky’s acclaimed Ring cycle are in the pipeline. The director of opera talks about scoring a bullseye, the storms that rocked last season – and how to avoid sending audiences to sleep The morning I meet Oliver Mears, the director of opera at Covent Garden, I’m still walking on air. The day before I’d seen Wagner’s epic Siegfried , the third part of the Ring cycle. Nearly six hours long, it is an immersion into a world of gods and giants, heroes and warrior women – but also profound and poignant human relationships. With the remarkable Andreas Schager in the title role among a superb ensemble cast, it is the Royal Opera at its best. On the way to his office, Mears walks through the backstage labyrinth. Singers are warming up; wardrobe people are discussing a costume’s last-minute fix; and a couple of mice scurrying across the canteen lend a bohemian atmosphere. Heaven (give or take the rodents). Mears tells me about next season: course after course of operatic banquet. There will be a new Parsifal, conducted by music director Jakub Hrůša and directed, in his house debut, by the “brilliantly charismatic and interesting” Kazakhstan-born Evgeny Titov. There’s a new Un Ballo in Maschera by Verdi, with another director fresh to the house, the “stylish and rigorous” German Philipp Stölzl. There’s a return for Richard Jones’s brilliant production of Janáček’s Kát’a Kabanová with Hrůša conducting – whose interpretation of Janáček’s Jenůfa last season was one of the musical experiences of my life. Continue reading...