Fidelio

Opera Britannia“Falls short of a masterpiece...” Tim Albery clearly realised that the theme of the Beethoven’s sole opera, a deep resentment for all forms of tyranny and oppression, is as relevant today as it was in Beethoven’s time...

Whatsonstage.com“The performers are excellent...” Beethoven’s only opera requires precise control of tone, a subtle manipulation of audience emotions, which makes the triumph of Opera North’s production all the more remarkable given some early hiccups on the first night...

The Arts Desk“Emma Bell as Leonore is physically perfect...” After the occasionally over-the-top visuals of several recent Opera North productions it’s good to watch something so clean and uncluttered. The beauty of Tim Albery’s production, originally staged by Scottish Opera in 1994, is its unfussiness...

The Telegraph“The first act is wonderfully imagined...” It wasn’t the Fidelio of my dreams – one that sets your heart beating faster and makes life seem more precious – but it doesn’t falter or sag, and it’s certainly miles better than Welsh National Opera’s miserable effort last autumn...

Financial Times“Thrillingly modern and hard-hitting...” The entire ensemble, led by Jeremy White’s Rocco and Fflur Wyn’s Marzelline, is immaculately schooled, and the choruses bristle with vitality. All this – and the orchestra’s urgent playing – is testimony to the influence of Richard Armstron