The Dark Mirror: Zender's Winterreise at the Barbican ☆☆☆

Ian Bostridge in The Dark Mirror ©Hugo Glendinning

First, I must admit that I am more familiar with Schubert's Wintereisse through the voice of Ian Bostridge, but sung 'straight' with nothing else but a piano to accompany the tenor. Last year, I was completely absorbed by Bostridge and international pianist, Thomas Adès’s intimate concert at the Barbican (click here for review), when it was performed to coincide with Bostridge's book, Schubert's Winter Journey: Anatomy of an Obsession. Bostridge’s take on this landmark piece encapsulates the literary movement, Romanticism, which also inspired many cultural icons including Samuel Beckett.

Wintereisse is regarded as one of the greatest song-cycles ever written. The emotional impact, the sense of longing and loss, which also influenced German poet, Wilhelm Müller who was known by his contemporaries as the 'German Bryon.' Schubert’s music and German poetry stirs and captivates audiences, and gets them to ask, 'who is this young man in despair? Why does he depart and wander into the cold? And why does he lament lost love? Schubert - who died at the young age of 32 - has written a work that hones in on the darker reflections of man, the meaning of existence and the human condition.

Now, we are back again at the Barbican, a year later, to hear the same delightful voice, but not to the tone or source of Schubert, but Hans Zender in a multimedia staging directed and designed by Netia Jones.

The Britten Sinfonia, robustly conducted by Baldur Brönnimann, are located on the right side of the stage and begin with scratching, blowing, wind-like sounds. It doesn't get straight into the first piece 'Gute Nacht', but has you lingering for a while as it builds to a formidable crescendo, subtly and elegantly ceased by violinist Thomas Gould with the beginning bars of our much-loved first piece. Zender's music distorts, echoes, re-records, and stretches - you simply don't know what to expect. With more than twenty musicians of the Britten Sinfonia performing, ranging from a guitarist, harpist and accordion player, the work is unusual and full-on experimental. Though there are many moments where the impressive music sends you off, drifting to a cold and empty place.

Ian Bostridge in The Dark Mirror ©Hugo Glendinning

First performed in 1993, Zender's re-laying of the work exemplifies the loneliness and depression of our protagonist, providing a different interpretation to the Winter's journey for a modern audience. This interpretation being far more distant and harsher, and, at times, uncomfortable through Jones's visual projections, bold lights and moving imagery. Bostridge had performed Schubert's cycle for a TV film, under the direction of David Alden, which was first broadcasted in 1997, and there in the background are huge projections of Bostridge's younger self, singing the same words as his current 51-year-old self.

This somber imagery is mesmerising - Bostridge is confronted face-to-face with his youth. One side of the screen is a side profile of himself while the other is his former self looking back at him. It is a pinnacle moment - audiences' will reflect on their youth in a split second. The use of black and white, even gray, instill Winter hues and allude to memory and recollection. The monochrome display and use of film also suggest various genres from film noir, black and white film and Weimar cabaret.

Jones's multimedia moves us into freezing temperatures, murky shadows, fields and landscapes of snow, rain storms and oceanic waves. The camera, also known as a 'dark mirror', is a powerful source of presenting another version of reality, which rings true for many film-makers. Yet Jones's vision, although ambitious and unique, can be distracting and overwhelming. Sometimes, it felt like I was watching a cheap karaoke film, except we, the audience, aren't allowed to sing along.

However, Bostridge did not disappoint. His tenor voice sung with deep sorrow, which is spellbinding for an audience, which would most likely be filled with many of his fans. My favourite pieces - Der Lindenbaum (the Linden Tree), Der Leiermann (the Hurdgy-Gurdy man), Die Post (the Post), Die Krähe (the Crow) - were just as eloquently and vividly sung. In summary, I prefer my Winterreise 'straight', not shaken, but any Bostridge devotee would be silly to miss out.

This event took place from 12 - 14th May 2016. For more information about the event, or events at Barbican, please click here.

The Magic Flute: Budapest Festival Orchestra and Iván Fischer ☆☆☆☆

Last night saw the fabulous Budapest Festival Orchestra and its characterful conductor, Iván Fischer present The Magic Flute at the Royal Festival Hall. The evening was an enjoyable one, and the 'staged concert', the maestro had called it, brought to light what can – really - be recreated at the Royal Festival Hall. Most operas and concerts at the Royal Festival Hall involve soloists with scores read from a music stand and the orchestra behind them, yet this event was a special one - a proper stage for Mozart's action to take place, with the orchestra delightfully performing below in the pit.

The Budapest Festival Orchestra, known as one of the top orchestras in the world and winner of various accolades (including New York Magazine's 2013 list of the city's top classical music events and numerous Gramophone Awards for their orchestral albums), is currently on an international tour amid funding cuts decided by its city's General Assembly - cuts from 260 million forints (US$938,000) to 60 million forints (US$217,000). That being said, the performance last night proved how solid and defiant the orchestra and its maestro were at such a crucial time; only last Saturday they protested in Vörösmarty Square, central Budapest.

Last night, Fischer displayed his inner child as both conductor and director of the production, with singspiel successfully presented by English actors, (though I must admit, I wasn’t privy to this and thought Mr. Fischer actually needed real audience members to play a role in the opera. Damn it!) Originally performed in German as Mozart’s librettist Emanuel Schikaneder wrote it in the 18th century, Fischer had adults, teenagers, and children enjoy an evening of German singing and English dialogue, with large visual projections of pages plucked out of a children’s storybook.

This crafty technique meant fewer issues with moving around props or set designs, which hardly happens at the Royal Festival Hall, and, therefore, more visual stimulation and absorbing imagery for the audience. Actors and singers worked in sync with one another – Scott Brooksbank would translate the words and feelings of Tamino just before Bernard Richter projected Tamino’s deeper emotions and love for Pamina with his beautiful voice. The same can be said for actor, Bart Van Der Schaaf who’d bring the English crowd back to London, out of the dream-like fantasy, as lonely bird-catcher, Papageno. He released some light humour here and there, which was tidied up by bass-baritone Hanno Müller-Brachmann’s impressive voice.

The conceptual and creative imagery deserve attention too. Much scholarship has been invested into the hidden meanings in Mozart’s ‘grand opera’, most of which has alluded to the overtly Masonic nature of the piece, coinciding with 18th century Enlightenment, and in this production images of the sun and moon were prominent throughout. Though the opera is perfectly accessible for children, there are elements of opera-seria cleverly implemented with the symbolism of the Queen of Night, which was performed by Mandy Fredrich last night. Her voice hit the royal high-Fs but, from my rear stalls, it would have been nice to hear her sing a little louder, otherwise she gave a good enough performance of ‘Der Hölle Rache’, which kept the younger audiences happy. Particularly memorable was Hanna-Elisabeth Müller as the captured princess, Pamina. She has a distinctive colouring and sung with particular control and composure, which made her voice shine in ‘Ach Ich fühl’s’.

Krisztián Cser, Norma Nahoun and Rodolphe Briand gave confident and reassuring performances as Sarastro, Papagena and Monostatos. The three ladies in purple and blue wigs, sung by Eleonore Marguerre, Olivia Vermeulen, Barbara Kozelj also gave brilliant performances. And not forgetting the three boys, also dressed up as little lions, from The Hungarian State Opera Children’s Choir. They were squeaky clean on stage, and a delight to see and hear.

There were some unique moments to remember including an English speaking, and older version of, Papagena attempting to communicate with a German speaking Papageno, desperately trying to wake up his English counterpart. And towards the very end, when Papagena and Papageno come together to sing their duet, ‘Pa Pa Pa Pa, their puppy love is expressed by mushy imagery of children sprouting in the background. Yet mushy pantomime aside, Fischer seemed excited and pleased to be performing this night. The Budapest Festival Orchestra performed with flair yet they weren’t on fire - they honed in their enthusiasm enough to perform the opera in a light-hearted and leisurely pace. That’s not to say the opera was slow, but indeed, a playful and fun production, safe enough for children. Yet, it would have been nice had Papageno been a little bit wittier with his jokes - nevertheless a fun night at the staged concert. 

For information on classical events at the Southbank, click here http://www.southbankcentre.co.uk/.

For more about the Budapest Festival Orchestra, click here http://www.bfz.hu/.

A fun-filled & playful production of #Themagicflute by Budapest Festival Orchestra & Ivan Fischer. @southbankcentre pic.twitter.com/C2L2lmbcmZ

— Mary Grace Nguyen (@MaryGNguyen) May 10, 2016

Fyi: I was that loud, annoying person that screamed out 'me!' when Ivan Fischer needed "volunteers". Like duh! Actors were already planted.

— Mary Grace Nguyen (@MaryGNguyen) May 10, 2016

Deutsche Oper Berlin 2016: Salome ★★★ and Elektra ★★★★

 

Salome: Photo by  Monika Rittershaus

This month sees many operagoers heading over to Deutsche Oper Berlin for a Strauss extravaganza.  Der Rosenkavalier, Die liebe der Danae, Elektra and Salome are a few of the operas scheduled in and I had the pleasure of seeing Evelyn Herlitzius as Elektra and Allison Oakes as Salome this weekend.

It was my first time at the oper haus and I learnt much about its individuality and uniqueness from its friendly staff, quality of productions and audiences. For a start, while I fretted over finding an English translation of the librettos for these operas, it really wasn't needed. Deutsche Oper provides surtitles in both English and German - simultaneously! Not only does it make life easier for people like me who can't speak or read German, it can be very appealing and encouraging for its international audience. The productions (having seen both Salome and Elektra on consecutive nights) were irrefutably modern and abstract, yet I’m aware that I’m limiting my judgement based on two productions only. And there's no problems on the acoustics side either. Although it is large auditorium there was hardly any obnoxious echoes. Pretty solid sounds if you ask me.

Other things that added to my pleasurable experience at Deutsche Oper included the dress code which is practically nonexistent (not that I have a hard time deciding what to wear for the ROH OR ENO). Also, how easy it was to grab my jacket without having to worry about a stampede of fussy people, shoving and elbowing each other to get their belongings. In fact the cloakrooms are conveniently located at the entrance – it’s the first thing the staff attendant will bring your attention to. There’s also a decent bar on the first floor to grab a drink before the show.


Salome ★★★

I saw the Deustche Oper Berlin orchestra perform Salome back in 2014 at the BBC Proms, under conductor Donald Runnicles, so I knew musically I wouldn’t be disappointed. Tonight saw Alain Altinoglu conduct the orchestra, and although it was my first time seeing him perform, I was more than impressed as he encapsulated much of the drama and intrigue of this fascinating opera.

Vocally it was its lead soprano Allison Oakes who was the diamond in the production. Through and through, she portrayed a cold and cruel Salome, wary of her step-father’s lustful infatuation with her. Vocal quality was undoubtedly top-notch for many of its lead soloists including Michael Volle (Jochanaan), Herodias Jeanne-Michèle Charbonnet (Herodias) and Burkard Ulrich (Herods) who I had seen at the BBC Proms 2014 as well. However it was the staging that failed to move me. Oscar Wilde’s Succès de Scandale (1891) which Richard Strauss adapted into an opera, seemed not so scandalous here on stage.

Director Claus Guth designs the stage as a high-end tailoring store for men with silk ties and mannequins on display. Herod’s soldiers including Narraboth (Thomas Blondelle) are suited up and just as robotic and zombie-like as the mannequins. Guth has six young girls running and dancing on stage randomly. All different ages, they resemble Salome at various phrases of her childhood and adolescent life, and this could be interpreted as Herods seedy perception of Salome. Its paedophilic nature is made known and deliberately perverse, though Strauss’s opera deals with a variety of sensational and biblical notions, not just necrophilia, that caused much controversy at its premier in 1905. In this production, however, Guth leaves it to the Deutsche Oper Berlin orchestra, Altingoglu and the expert soloists to unleash the emotional turbulent music of Strauss to carve out the sensationalism, blood and moral destruction for the audience, made not explicit on stage.

The sensational part of this production, however, is how drip and drab the staging was. Jochannas is introduced as naked and found in a rubble of clothes. As he sings and tells Salome to stop trying to tempt him, he slowly puts on a suit and I wonder whether this has anything to do with Salome’s power and authority in the narrative... (I don't know, the mind boggles.) Either way, I found myself wasting time attempting to decipher the abstract symbolism on stage than actually enjoying the performance. Oakes, Altinuglo, Volle and Ulrich and the music seemed to be the production's saving grace.

Excellent playing by @deutsche_oper orch.& unrivalled singing quality.Just mixed feelings on the direction #SALOME 😳 pic.twitter.com/LIFDH4ts7G

— Mary Grace Nguyen (@MaryGNguyen) April 2, 2016

@deutsche_oper kissing-chopped-off-head ready! pic.twitter.com/lhx65k4C5U

— Mary Grace Nguyen (@MaryGNguyen) April 2, 2016

Elektra ★★★★ 

Photo by Bettina Stöß

Having seen Donald Runnicles conduct for Salome at the Royal Albert Hall back in 2014, I knew I was guaranteed a solid performance. Here Runnicles as well as the Deutsche Oper Berlin orchestra were tenacious and much has to do with Strauss’s score, full of dissonance, leitmotifs and chromaticism. It’s hard to fall asleep when the music screams revenge!

Evelyn Herlitzius as the bitterly resentful Elektra is the tour de force of the production, and this is shown from the moment she sings the first few bars of "Allein! Weh, ganz allein.” The singing is praiseworthy and engaging; you forget where you are and all eyes can’t stop themselves from gazing at Herlitzius calling for her father Agamemnon. Though distinguished vocals aside, her potrayal of Elektra is toxic, psychotic and even scary. She describes Elektra as obsessive. Addicted to the idea, and willingness, to kill her mother and her lover. It's not a pretty picture and Herlitzius transcends that.

This opera of disjointed family relations, Greek royalty and murdering backstabbers takes place on Bernd Damorsky’s soil and dry mud stage, enclosed in golden painted walls. Is this the mind of Elektra? Shrouded in gold but stuck in limbo? The staging has nothing else to distract us but a door that opens above Elektra where her treacherous mother Queen Klytämnestra watches down on her. This minimal staging worked appropriately and permitted the audience to focus on its performers, Strauss’s phenomenal music did the rest. Doris Soffel as Klytämnestra hit the notes needed, even though her red couture made her look like Cruella de Vil's doppelganger. Her hideous laughing was effective, making her character easier to hate.

Elektra’s sister Chrysotemis - who Elektra attempts to get kinky with, attempting to engage in some incestuous kissing, fondling and rolling around on the soil - was sung by Manuela Uhl. I wasn’t entirely convinced by Uhl’s singing, which managed to move some of the audiences (as I saw at the curtain call). What she successfully did, however, was manage to irritate me with her innocent and non-confrontational depiction of Elektra’s sister. I found her annoying, but perhaps that’s the point. Chrysotemis doesn’t want to help her sister avenge her father’s horrific murder because, essentially, she is a coward.

Tobias Kehrer was mighty impressive. I had seen him at the Royal Albert Hall singing as Osmin in Glyndebourne’s 2015 production of The Abduction of the Seraglio, which made my viewing of him in the role of a serious and semi-heroic character more intriguing. From an oafish and comedy character to seeing him as Oreste, the son of Agamemnon, was marvellous. I’m a fan of his rich bass voice and to see him running around in anger through the soil and grace us with a sentimental scene reunited with his distressed sister only proved how versatile he can be as a performer.

Out of the two operas (Salome and Elektra), I felt much more pleased with the second opera, given the less-is-more concepts on stage. Director Kirsten Harms (who was given a honorary membership of @deutsche_oper! at the curtain call of the night I saw her) seemed to have harnessed the best of Elektra, Strauss’s and librettist Hugo von Hofmannsthal‘s highly-powered opera.

A gem I took last night. Strong stage presence and glorious voice. #EvelynHerlitzius as Elektra @deutsche_oper pic.twitter.com/gBGqCxUmFL

— Mary Grace Nguyen (@MaryGNguyen) April 4, 2016

Astounding performance by #EvelynHerlitzius! Runnicles was in spectacular form @deutsche_oper #Elektra pic.twitter.com/WZYgaFeu8a

— Mary Grace Nguyen (@MaryGNguyen) April 3, 2016

Strauss time! 😍😘 pic.twitter.com/xPGjKvKPDk

— Mary Grace Nguyen (@MaryGNguyen) April 3, 2016

The productions of Salome and Elektra have ended but here are various Strauss operas available. Please have a look at their website here. 

http://www.deutscheoperberlin.de/en_EN/calendar/

Musical - London Coliseum: Sunset Boulevard with Glenn Close ★★★★

"Glenn Close is ravishing. She reprises the role of Norma Desmond, making her debut in London which has won her several awards in Los Angeles and Broadway. Dressed in silks, furs and sophisticated couture, made exclusively for showbiz royalty and divas, she engages the audience’s eyes and converts them all, even those who don’t like musicals. She is a charismatic beaming star when she sings songs including ‘Surrender’, practically whispering before she gives vocal bravado to ‘As if we never said goodbye.’"

Click here to read my 5-Star review at www.LondonTheatre1.com.
https://www.londontheatre1.com/news/134953/5-star-moving-unique-ingenious-production-sunset-boulevard/

#GlennClose is ravishingly fabulous 'darling'! #ENOSunset @E_N_O #intervaltweet pic.twitter.com/xwMtr5WMHg

— Mary Grace Nguyen (@MaryGNguyen) April 4, 2016

Late start but the atmosphere is pumping with musical lovers and Sunset Boulevard fans. #ENOSunset #Pressnight pic.twitter.com/SIM8bLHc7g

— Mary Grace Nguyen (@MaryGNguyen) April 4, 2016

The dashing #MichaelXaviar and ravishingly star performer #GlennClose. Immaculate & radiant performance #ENOSunset pic.twitter.com/LRzzC5bYw0

— Mary Grace Nguyen (@MaryGNguyen) April 4, 2016

The honours goes to conductor Michael Reed & the #ENO Orchestra, floating the audience to the Hollywood. #ENOSunset pic.twitter.com/Du4zf0Wo96

— Mary Grace Nguyen (@MaryGNguyen) April 4, 2016

#GlennClose is amazing! She made the role her own, as if the lead - Norma Desmond - was made for her. #ENOSunset pic.twitter.com/UB9rOr7Tfh

— Mary Grace Nguyen (@MaryGNguyen) April 4, 2016

My ☆☆☆☆☆#Review #ENOSunset Moving, Unique and Ingenious productionhttps://t.co/fNdk9GnBXc @sunsetblvd pic.twitter.com/y73C3cOaU5

— Mary Grace Nguyen (@MaryGNguyen) April 5, 2016

Nice to see me quoted @TheStage in @sunsetblvd #ENOSunset Critics' round up via @LondonTheatre1.Thanks @churlishmeg pic.twitter.com/UIltLmma0T

— Mary Grace Nguyen (@MaryGNguyen) April 6, 2016

Wyndham Theatre - People, Places and Things with Denise Gough ★★★★★

"The production’s beaming star, Denise Gough plugs away in to our addict with sheer authenticity. She becomes the single most important focal point of the stage – in fact, she becomes the audience’s addiction. Fuelled by energy and intense charisma, her performance strength is so spot-on that you’ll want to lean forward, get off your seat, just, so you can get closer to her and the highly stimulated stage. It is no wonder that she won the Critics’ Circle Theatre Award for Best Actress 2015."

Click here to my read full review on www.LastMinuteTheatreTickets.com
Ends 4th June. 

⭐⭐⭐⭐⭐ 5-Star #Review #PeoplePlacesThings Sharp,immersive, shocking https://t.co/tT50kyTFIs @PPTonstage @gough_denise pic.twitter.com/gEdw5OoEZ8

— Mary Grace Nguyen (@MaryGNguyen) March 25, 2016

A show that challenges and physically affects you is a winner. Well done to its lead star @gough_denise, @PPTonstage pic.twitter.com/agMXT2aLl6

— Mary Grace Nguyen (@MaryGNguyen) March 22, 2016

My view at Wyndham Theatre right now! Not bad. Not bad at all! @PPTonstage #PeoplePlacesThings pic.twitter.com/sVtqARJxxf

— Mary Grace Nguyen (@MaryGNguyen) March 22, 2016

If a show displays their hashtag at the end of the it, it means they want to be tweeted about,even if it's a preview pic.twitter.com/zpkRBSen6o

— Mary Grace Nguyen (@MaryGNguyen) March 22, 2016

I feel like I never want to touch alcohol ever again! #PeoplePlacesThings

— Mary Grace Nguyen (@MaryGNguyen) March 22, 2016

Saw 1984 by @HeadlongTheatre? Why do I feel just as physically sick and uncomfortable? The filthy intensity is palpable #PeoplePlacesThings

— Mary Grace Nguyen (@MaryGNguyen) March 22, 2016

King's Head Theatre: Così fan tutte ★★★★

There are those who can enjoy La Traviata and La bohème multiple times in a year, but I’m one of those operagoers that can see Così fan tutte again and again. Why? Admittedly Don Giovanni, another of Mozart’s tremendous works, is one of my favourite operas and a lot of that has to do with the highly memorable and addictive music, as well as the hilarious narrative that caused a bit of a stir when it was first shown in 1790 at the Burgtheater in Vienna.

Considering it was written and performed in the late 1700s, some may argue that Mozart’s Così was ahead of its time, depicting would-be fiancées falling for new lovers on the same day their fiancés had been called away to war. It would be fair to say that today, where so-called freedom of speech and supposed gender equality exists, current directors wouldn’t be fazed about the way that women are depicted in this opera.

Così fan tutte translated from Italian means both 'School for lovers' or 'women are like that'. It would be unfair to suppose that ‘women are like that’ and, of course, Mozart or his librettist Da Ponte didn’t compose the opera to voice such opinion but some sources suggest that the young composer was writing against the backdrop of the French Revolution, in the final years of the Enlightenment era where rational and liberal thoughts were motivating creative minds, leading to vast new artistic innovations, including this one.

I’ve seen a variety of productions of Così - from the circus-styled extravaganza at the ENO, the Met Opera’s traditional staging and Opera Vera’s modern-day setting with a cameraman recording Don Alfonso charming a TV audience – and I’ve realised how fun, easily adaptable and versatile Così can be performed today.

Now, the King’s Head Theatre have concocted something far more original, which includes both Così as the opera and the play by Louis Nowra, an Australian comedy, as well. Sadly, due to time constraints, I wasn’t able to see the play but I can tell you that I was, more than, pleased with what I took from the opera alone.

Music director, Elspeth Wilkes plays Mozart's reduced score vividly on the piano. Director Paul Higgins sets his opera in a TV studio with digital screens, diary rooms, a security guard and a talk show host to propel the story forward. This hilarious opera follows the male lovers as they get into the cab laughing away outside the King’s Head Theatre Pub, having sealed a deal with the TV presenter, then the audience watch as their women cry. As they pretend to drive away to a false destination, the fiancés return secretly disguised as trendy, preppy types. Yet, the TV show is more of a reality show that is geared towards tearing up relationships for better entertainment value, false drama and cat fights like a typical Jerry Springer show. 


Baritone Steven East is rich in tone as the philosopher Don Alfonso, dressed in a tacky presenter’s suit, and he comes across as a manipulative TV star than a wise Socrates attempting to teach something new. The reality show tries to prove these male contestants wrong - that their fiancées aren't as loyal as they originally thought - at the expense of ruining their relationship and providing better TV ratings.

Caroline Kennedy recently sang the role of Despina in Opera Vera (click here), a few weeks before I had seen this production, where she gave a supremely confident performance. However, her depiction of Despina here is very different. Kennedy retains the same independent and liberal attitude compared to Dorabella and Fiordiligi, but she shows signs of previously being hurt by a loved one and is forced by the sleazy Don Alfonso to take part in the trickery game. Nonetheless, her different accents and singularly talented and silky smooth voice shouldn’t go unnoticed.

The other soloists also deserve credit. Laurence Panter as Ferrando is bright and enthusiastic, Jevan Mcauley as Guglielmo was incredibly impressive, having a way with charming the audience with his warm, deep voice. Ailsa Mainwaring is a skilled actress too and sung well, yet there were times where she sounded weaker than others.

And then there's Stephanie Edwards as Fiordligi. Not only does she exhibit a tenacious character, she has a stunning, sweet-toned voice and acting prowess that I haven’t seen in a young soprano at an early stage in her career before - she is a soloist I hope to see and hear again! So, if laughing, giggles, TV gimmicks and opera is what you're looking for, then here is it.

Così is showing on the 23rd, 25th, 27th, 29th, 31st March and the 2nd and 3rd of April. For more information and to purchase tickets please click here. http://www.kingsheadtheatre.com/

How to get cheap Opera Tickets in London, even if they are sold out

.And this is reasonable for arriving at 8.41am to see an epic opera, sorry - three operas! #ROHtrittico pic.twitter.com/iVF0Lp8FUG

— Mary Grace Nguyen (@MaryGNguyen) March 5, 2016

There seems to be two misconceptions about opera tickets. Firstly - a point which has been argued to death - that 'opera tickets are expensive' and secondly, once a show, or production, has sold out there is no way you can see it, ever!

As a reviewer and blogger, I have the advantage of seeing many operas in London through press tickets, however, this is not ALWAYS the case. With the amount of theatre and opera I see per week (which can range between two to five shows in a week), there are occasions where opera and theatre companies do not provide me with that complimentary ticket. This has encouraged me to seek alternative ways of gaining access to sold out shows and finding the cheapest tickets, which might not always offer the best view but still provides me with a means to view 90% of the opera, and hearing beautiful music and amazing voices.

Opera, theatre, even ballets and classical music concerts, are not only composed and written for the rich and affluent. Keen culture vultures can go and enjoy shows without breaking the bank! Alongside discounted theatre websites and (believe it or not) newspaper, magazine and online publications, actual opera companies offer reduced tickets and special offers as well! 

Here are two examples from newspaper, magazine and online publications:

For the 5-Star rated Akhnaten at the ENO, Time Out were offering 40% off on tickets. 

• Dress Circles tickets on Thursdays, Fridays and Saturdays were £79 (now £47.40) and Upper Circle tickets were £39 (now £23.40).
• Dress Circles tickets on Tuesdays were £59 (now £35.40) and Upper Circle tickets were £34 (now £20.40). (Click here to see the offer.)

The Daily Mail also, at times, offer £10 tickets to Sussex Opera House at Glyndebourne. Although they might not be available on ideal dates (or close to the stage), it's still a massive chunk from the usual £90+ to £200+ tickets, which is the going rate for most Glyndebourne operas. (Click here for article.)

Keeping a close eye on the schedules and calendars of your favourite opera companies, opera festivals (Grimeborn, Tête-à-Tête) or concert halls (Barbican, Royal Festival Hall, St John's Smith Square), is probably the most effective way of knowing what operas are being showed so you can prepare ahead and purchase the ticket(s) you want, before they get snapped up by someone else. 

Social media, particularly Twitter, is another way of keeping tabs on opera tickets (including returns) on the day. Sometimes fellow Tweeters (and opera lovers on other social media platforms) let people know if they have tickets up for grabs. I've been fortunate enough to meet some very generous operagoers and classical music aficionados who have offered me their spare ticket last minute through Twitter and Facebook.

I've provided a list of opera companies (unfortunately not all) that not only dispel the idea that opera tickets are expensive but provide ways for customers to see a sell out show on the cheap!

The English National Opera (ENO)

• Cheap tickets: Balcony tickets, in the first and second rows, are worth £12, but they come with a restricted view e.g. a pole or safety bar is in front of you, but I've never been fazed by this as I tend to see the majority of the staging. These tickets sell out fast, so find out when the ENO release tickets for the opera and book early!
• Cheap tickets: Opera Undressed (£25) (Click here for more info) I've managed to get stall seats from Opera Undressed, which is usually worth £100+. All you need to do is register and you will get an email that will indicate when you can purchase your Secret Seat ticket(s). At the end of the performance, you also get the chance to meet some members of the cast and a lovely drink (G & T) on the house. However, there's only one or two opportunities to take advantage of Secret Seats, so perhaps get a friend to register thereafter to ensure you can continue to use Secret Seats. It should be noted, however, that these tickets are targeted at newbies to opera, so for those that that are regular operagoers...
• Cheap tickets: Secret Seat (£20) is probably the best option (Click here for more info.) Secret Seats are released during the priority booking period and are for stall and dress circles seats, which are usually priced at £30. First, you decide when to see the opera and then you book online, in advance! From those who have experience booking them, they suggest you book Secret Seat tickets for several operas in the season. The only catch is that if you book for a group, of say four, sitting next to all of them isn't guaranteed, but you're promised to sit next to at least one. Also, although the website says there are a limit on Secret Seat tickets, there have been occasions whereby operagoers have managed to get Secret Seat tickets on the day of the opera, so it is worthwhile keeping an eye on the ENO social media accounts in case they pop up.
• Cheap tickets:Access All Arias - If you are aged 16-29 or a full time student, you can purchase stall tickets for £30, dress circle tickets for £20 and upper circle tickets for £10 through Access All Arias. You can also bring another adult with you for the same price, and purchase a programme booklet for half the price. Talk about convenient! (Click here for more information.)
  
• Cheap tickets, and great for sell out shows: The £10 Standing ticket - I recently discovered this method for ENO's Ahknaten, which was completely sold out. Surprisingly, I felt that while I was watching the opera, I had a better view than those sitting in the row in front of me. You can only purchase them in person on the day, and sometimes you can buy an extra ticket for your friend if they are running late (which I was.) When I arrived at 6.30pm (for a show that started at 7.30pm) there were many standing tickets available, therefore there isn't a limit of them on the day. My advice is - just grab your opera glasses and ensure you wear the most comfortable shoes, then enjoy the show! Of course, I'm not recommending this to anyone who has been advised by their doctor to avoid activity that requires standing for a long period of time. 

 The Royal Opera House (ROH) / Covent Garden

• Cheap Tickets: Upper Slips for £4 - £18 - Last year, to my joy, I discovered £4 Upper Slip tickets to see one of Tchaikovsky's ballets. I also managed to see La Traviata with Sonya Yoncheva for £14. These seats are on the side of the stage, high up, more so than the amphitheatre level, with a restricted view, yet I was pretty satisfied with what I was paying for. It's worth mentioning that it's a game of luck when purchasing these tickets - you don't know which side has the best view. Unfortunately the ROH box office doesn't know where the best side to view the production is until a week before the first night, usually the time when dress rehearsals have taken place, so you might be out of luck on choosing the wrong side to sit if you book months in advance. But there are...
• ... Day tickets, which range from various prices. These can be cheap tickets and are great for sell out shows: On the actual day of the opera (or ballet), the ROH offers between 60 to 70 day tickets, so you can physically queue up to get a ticket of a sold-out performance. For your information, it's one ticket per person and the box office doesn't open until 10am! However, depending on the cast, conductor or popularity of the opera, you might have to get there very early. For the in-demand Tristan und Isolde production with Nina Stemme, two years ago, I queued up from 8am and managed to get an extraordinary view from the Grand Tier Boxes for £40. For Jonas Kaufmann and Eva-Maria Westbroek in Andrea Chénier, I was very tired - I queued up from 7.45am, and managed to see the hot cast from the Upper Slips for less than £20. And for the latest Il trittico, I arrived at the opera house at 8.41am and purchased an amphitheatre (S-Row) ticket for roughly £33, which allowed me to view the entire stage and see the wonderful Ermonela Jaho reprise her role as Angelica. 
• Cheap tickets, and great for sell out shows: Phone in Day tickets - But you can't queue up on the day I hear you cry! Not to worry, from 10am you can still call the box office and see what tickets are available. When I want to see an opera on its opening night and all the seats are taken, there are standing tickets. For Wayne McGregor's ballet, The Ravel Girl, I managed to book a standing circle stall ticket for £6. Yes, £6! Again, wear comfortable shoes! Another example is this week's opening of Musorgsk's Boris Godunov with Britain's favourite baritone, Bryn Terfel where I managed to get a standing ticket for the same location, which was originally £18 reduced to £10. The reason being that it was a restricted view. The actual staging had two levels, which meant that it was hard for some, depending where they sat or stood, to see the higher level. I appreciated the fact that I was advised and made aware by the box office of this disadvantage; despite the restriction, I was still pleased with my view, though some people may not agree. 
• Cheap tickets: Student Discounts: If you are a student, you can register to get e-mails from the ROH which will update you on special student days whereby tickets, no matter where they are located - orchestral stalls, amphitheatre, grand tier or upper slips - tickets are £10 each. During my student days, I would rely on these a lot and although they are only available on special days e.g. a weekday and not for all productions, they still give newbies an opportunity to get to see an opera live for a tenner.

Opera Holland Park (OHP): The company offers thousands of ticket for free through their Inspire Tickets range and they go like hot cakes, so you have to apply early to get your hands on them. They also have many tickets at £17 per person. (Click here to look at last year's offer of Inspire.)

• FREE tickets: 1,000 tickets are available for free for those aged between 7 - 18 and up to four people can apply, such as an adult and three young people. There's a deadline for applications for these free tickets, however, these seats are available for all 32 productions during the summer season. (Click here for more information)
• FREE tickets: Patrons of the OHP (ages 60+) also have access to free tickets. Each year OHP offer 500 free tickets for the older audiences as well!
• FREE tickets:Under-30's tickets - 300 tickets are offered to those under-30's and available to book on the phone for each production. (Click here for more information.)

Small-scale opera productions

Here are a few example of prices for small and local productions, which also prove how cheap opera tickets really can be.

• Unexpected Opera's The Rinse Cycle at the Charing Cross Theatre ranged from  £12.50 to £25.00
• Tête-à-Tête Opera Festival: Out of hundreds of operas to choose from, they offer tickets worth £5 per ticket for early bird booking on line. Or £7.50 per ticket thereafter.
• Fulham Opera's Simon Boccanegra (which has its last showing today) ranges from £20 (for concessions) to £25. There's a booking fee on-line, otherwise, like most small-scale productions, you may chance it and pop down to the venue and buy tickets on the door. 
• For London Mozart players' The Coose of Cairo (L'oca del Caïro) at St John's Smith Square, showing on Thursday 14^th April 2016, tickets are available for as cheap as £15! I've also seen excellent productions by Opera Danube at this Westminster venue where the price of tickets were within the same price bracket. 

And for those that love chamber music and recitals, there's Wigmore Hall's Under 35s Scheme where certain performances are accessible for £5 only. (Click here for more information.)

I have only provided a handful of examples based on my experience. If you know other ways of getting cheap opera tickets, please let me know and volunteer this information. I believe that I've provided fair examples proving that opera ticket are cheap. If this doesn't convince you that this is the case, I don't know what will.