Peter Hoare

Posthumously premiered in 1930, From the House of the Dead derives from Dostoevsky’s autobiographical 1862 novel that drew on his experience as a political prisoner in Siberia. Janáček focuses on Dostoevsky’s idea of the “spark of God” in every human being that has the potential to redeem even the most hardened criminal.

The Graham Vicks production of FALSTAFF opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes. The staging is effective--the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time--so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections.

The Christoph Marthaler production of Leoš Janáček's "Věc Makropulos", recorded live at the Salzburger Festspiele on 8 & 30 August 2011. Angela Denoke stars as Emilia Marty, with Raymond Very as Albert Gregor, Peter Hoare as Vitek, Jurgita Adamonyté as Krista, and Johan Reuter as Jaroslav Prus. Esa-Pekka Salonen conducts the Wiener Philharmoniker.

The Italian and international press were unanimous in their praise for "Peter Grimes" at La Scala, which revived the tradition of Britten's operas on the lyric stages of Italy. A top British cast was marshaled by the baton of Robin Ticciati. Richard Jones's production focuses on the fisherman as the outside in a brutal and brutalized 1980s society, cut off by mutual suspicion and misunderstanding: an unforgettable production of a 20th-century operatic masterpiece that never loses its power. Filmed in High Definition and recorded in true Surround Sound.

Live from Glyndebourne 2009

“Kaufmann is performing the title role for the first time, and it’s hard to imagine him bettered. His striking looks make him very much the Romantic and romanticised outsider of Giordano’s vision. His voice, with its dark, liquid tone, soars through the music with refined ease and intensity: all those grand declarations of passion, whether political or erotic, hit home with terrific immediacy.” – The Guardian Presented in its Covent Garden premiere in January 2015, this staging – directed by David McVicar and conducted by the Royal Opera’s Music Director, Sir Antonio Pappano – shows a bloody tricolour daubed with the words “Even Plato banned poets from his Republic” – written by Robespierre on the death warrant of the historical Chénier, a poet and journalist sent to the guillotine in 1794 for criticising France’s post-revolutionary government.

A major work from the remarkable partnership of playwright and poet Bertolt Brecht and composer Kurt Weill, Mahagonny was first performed in Leipzig in 1930. Its first ever Royal Opera staging, by Associate Director of Opera John Fulljames, is sung in English, and conducted by Mark Wigglesworth – recently announced as the successor to Edward Gardner as Music Director of English National Opera. Mahagonny is a satire on money, morality and pleasure-seeking among the dubious citizens of a fictional city. The richly varied, jazz-infused score, influenced by ragtime music, includes such irresistible melodies as the ‘Alabama Song’ and many dramatic ensembles. The superb cast includes Kurt Streit as the wild lumberjack Jimmy, Christine Rice as his sweetheart Jenny, Anne Sofie von Otter in a welcome return to The Royal Opera as the cunning Leokadja Begbick, and Peter Hoare and Willard W. White as her helpers and fellow-fugitives Fatty and Moses.

Lucia’s brother Enrico is horrified to learn she has fallen in love with his sworn enemy Edgardo. He hastily arranges her marriage to his associate Arturo. Edgardo and Lucia privately exchange rings before he leaves to fight in France. Enrico tricks Lucia into believing that Edgardo has been unfaithful. Longing for death, she signs the contract with Arturo – moments before Edgardo returns. Lucia murders Arturo in their wedding bed. His death is followed first by Lucia’s, and then by Edgardo’s.

Opera based on the story of Edward II and Piers Gaveston. Music by George Benjamin, libretto by Martin Crimp. BBC broadcast of the 2018 premiere at the Royal Opera House, the composer conducting, prefaced by commentary and interviews.

Lady Macbeth of Mtsensk is a powerful work of raw emotional intensity. With themes of adultery and murder, the story follows the downfall of a bored provincial merchant’s wife who seeks solace and excitement in an extra-marital affair. With a bold and contemporary setting, the staging provides the perfect backdrop to this 20th-century opera’s unflinching approach to sex and violence.

Benjamin Britten’s Billy Budd will be performed in Norway for the very first time! This is an opera set in a hard masculine environment, about repressed passions and the weight of guilt - but also about rebellion, the power of beauty and about release. Director of Opera Annilese Miskimmon herself directs this masterpiece, featuring an exclusively male cast. Director Annilese Miskimmon and Set and Costume designer Annemarie Woods, take us onto a submarine during the Vichy regime in 1940s France. Here we meet a close and claustrophobic environment, controlled by sailors’ discipline and the meaningless necessity of war.

Diana Damrau’s reputation as the world’s leading coloratura soprano has been built on her extraordinary technical virtuosity, her sensitive musicianship and her acute psychological insight. In this DVD of Katie Mitchell’s sometimes radical production of Lucia di Lammermoor from London’s Royal Opera House, she is, as the Financial Times wrote, “brilliantly convincing”. The British award winning director Katie Mitchell – took a revisionist approach to the drama, updating the action to the mid-19th century and applying a feminist slant as she added new and unexpected elements. The Financial Times wrote: “Mitchell shows us on stage personal traumas that a self-respecting woman in the early 19th century was meant to keep to herself. It is a messy, bloody list — nocturnal sex trysts, a knife murder, a miscarriage, a suicide in the bath … In all this Damrau is brilliantly convincing. Her rebellious Lucia is a woman of modern attitudes stuck in a still feudal Victorian world.”

Sir Simon Rattle, the Berliner Philharmoniker and the Rundfunkchor Berlin give an impeccable performance of the powerful biblical oratorio “The Gospel According to the Other Mary” by John Adams, one of the most renowned contemporary composers. The sophisticated score with a libretto by acclaimed theatre director Peter Sellars comes to life thanks to the Berliner Philharmoniker, whose intimate knowledge of Adams’s music stems from the composer himself: He attended the orchestra’s rehearsals. In the role of the Evangelist, Bubeck, Cummings and Medley lead through the narrative. A stunning highlight is Lazarus’s aria, sung by tenor Peter Hoare. But at the heart of the piece are Mary Magdalene and her sister Martha during the last days before Jesus’s death, impressively performed by mezzo-sopranos Kelley O’Connor and Tamara Mumford.