Phone +44 (0)20 7738 5454

Email hattie.butterworth@markallengroup.com

Editor Hattie Butterworth

Associate Editor Helena Matheopoulos

Consultant Editor Keith Clarke

Contributing Editors Francis Muzzu, Tom Sutcli˜e

Robert Thicknesse (UK), Francis Carlin (France), James Imam (Italy), Karyl Charna Lynn (USA),

Andrew Mellor (Scandinavia), Ken Smith (Far East)

Design Daniela DiPadova, Louise Wood, Rosalind Howard


Phone +44 (0)20 7333 1716

Title Manager Liam-Rhys Jones,


Advertising Production Daniela DiPadova,

+44 (0)20 7333 1727, daniela.dipadova@markallengroup.com


Phone UK 0800 137201 Overseas +44(0)1722 716997

Email subscriptions@markallengroup.com Subscriptions Manager Bethany Foy

UK Subscription Rate £80


Phone +44(0)20 7738 5454

Commercial Manager Esther Zuke

Marketing & Events Director Tony Hill

Head of Marketing John Barnett

Group Institutional Sales Manager Jas Atwal

Production Director Richard Hamshere

Circulation Director Sally Boettcher Editorial Director Martin Cullingford Managing Director Paul Geoghegan

Chief Executive Oÿcer Ben Allen

Chairman Mark Allen

Part of


OperaNow, ISSN 0958-501X, (USPS 9346) is published monthly by MA Music, Leisure & Travel Ltd, St Jude’s Church,

Dulwich Road, London SE24 0PB, United Kingdom.

The US annual subscription price is $115. Airfreight and mailing in the USA by agent named WN Shipping USA, 156-15, 146th Avenue, 2nd

Floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Opera Now, WN Shipping

USA, 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA.

Subscription records are maintained at MA Music, Leisure & Travel Ltd, Unit A, Buildings 1-5 Dinton Business Park, Catherine Ford Road, Dinton, Salisbury, Wiltshire SP3 5HZ.

Air Business Ltd is acting as our mailing agent.

© MA Music, Leisure and Travel Ltd, 2023. All rights reserved. No part of Opera Now may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwise without prior written permission of the publishing director. The views expressed do not necessarily represent those of the editor. The presence of advertisements in Opera Now implies no endorsement of the products or services o˜ered. Every e˜ort has been made to ensure the accuracy of statements in this magazine but we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ errors, or an advertiser not completing their contract. We have made every e˜ort to secure permission to use copyright material. Where material has been used inadvertently or we have been unable to trace the copyright owner, acknowledgement will be made in a future issue.

Please read our privacy policy by visiting http://privacypolicy. markallengroup.com. This will explain how we process, use and safeguard your data.

Printed in the UK by Pensord, Pontllanfraith, Blackwood, NP12 2YA Newstrade distribution by Seymour 020 7429 4000

Opera as spiritual experience

A dark auditorium can bring up many emotions. This space that we encounter frequently as opera lovers can sometimes feel overwhelming. As our day winds down, often opera takes the place of meetings, work, errands and other stimulation - most notably for me, my phone! As a society, we forget this power of live communion. We forget that when we watch opera, we are not only confronting the story on stage, but also our own emotional space. We are together, yet also alone. It is within this space that we give over our time to something bigger, something beautiful and open ourselves up to being changed.

I recently went to see the ENO’s staging of Górecki’s Symphony of Sorrowful Songs. As I arrived alone at the Coliseum, I felt a familiar anxiety as I prepared to encounter 60 minutes of letting go – not something I’m very good at. However dark and diÿcult this grief-stricken production was, it was also deeply spiritual. I felt a sense of renewal and a new acceptance that I haven’t been able to find anywhere else.

For many people, the church is a space of processing, grieving, celebration and community, but for others it holds diÿcult connotations. Coming together to watch live opera can enter us into a similar space of meditation – our reactions are our own and how it moves us (or fails to move us) is in itself a beautiful phenomenon.

When we talk about the validity of the arts, we often leave out the power of that deep spirituality of being with others. Opera is for all, because we can be together, sharing the space, celebrating the wonder of art without needing to use the right words. It’s easy to forget this.

As we explore the art form’s ever evolving life, you may also notice some new additions to the magazine, beginning with a new monthly column from Andrew Mellor, facilitating important discussions about opera and its future. We also have countertenor Iestyn Davies as our cover star, plotting his extraordinary career ahead of performing at Garsington this summer.

As I ponder what to go and experience in the world of opera this summer, I will also try to enter into the presence of the occasion and be open to it moving me spiritually. I may not always find the right words when someone asks ‘what did you think?’, but I have my own, personal, relationship to that precious time in the present moment.

Hattie Butterworth

@operanow fb.com/operanow

Opera Now captures the drama, colour and vitality of one of the most powerful of all the performing arts. In our print and digital issues, we showcase the creative spirit of opera, both on stage and behind the scenes, with profiles of opera companies, singers, directors and designers. Our in-depth features reflect how diverse cultural elements have influenced opera, including travel, history, literature, art, architecture, politics and philosophy.

Our lively reviews and opinion pages are a platform for writers and critics drawn from all over the world. Our aim is to inspire our opera-loving readers to broaden their knowledge and deepen their passion for this fascinating and stimulating artform.