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The Guardian’s Glowing Verdict on Il Ritorno d’UlisseThe review frames the opera as a “sensuous slice of opulence and luxury,” noting that director John Caird and conductor Laurence Cummings have crafted a visually stunning, musically rich revival that feels both historic and freshly accessible.Baroque Revival at Garsington: Production HighlightsVenue: Garsington Opera, Buckinghamshire (runs until 25 July)Director: John CairdConductor: Laurence CummingsLead Tenor: Ed Lyon as UlissePenelope: Cecelia HallSet designer Robert Jones repurposes elements from his acclaimed Orfeo production, placing musicians on verdant terraces framed by crumbling frescoes. Costumes, described as “shimmering Elizabethan robes,” blend opulence with clever cost‑saving reuse. Lighting designer Paul Pyant bathes the stage in a golden aura, while special effects—Neptune’s emergence and a chariot descent—are executed with “unpretentious ingenuity.”Artistic Choices and Their Financial ImplicationsWhile the review does not disclose exact budgets, it highlights that the reuse of Orfeo set pieces and costume materials serves as a pragmatic measure to contain production costs without sacrificing visual impact. The run through late July suggests a strategic window to capture summer audiences, potentially maximizing ticket revenue during a peak attendance period.Reinvigorating Monteverdi for Modern AudiencesThe production’s inclusive atmosphere—evident from the English Concert’s pre‑show march around the Wormsley Estate—creates a festive, community‑focused experience. By pairing Monteverdi’s 17th‑century score with contemporary staging, the opera bridges historical authenticity and present‑day relevance, positioning baroque works as viable main‑stage offerings rather than niche curiosities.Looking Ahead: Future of Baroque Opera in the UKThe reviewer ends on an anticipatory note, “All told, it whets the appetite for 2028 and a promised L’incoronazione di Poppea.” This suggests that Garsington’s success with Il Ritorno d’Ulisse may pave the way for further large‑scale Monteverdi productions, encouraging other houses to invest in baroque revivals and potentially reshaping the UK opera season’s programming balance.

Tamerlano, a 1724 opera by Handel, has been reimagined in a modern production at the London Handel Festival. The story revolves around the despotic emperor Tamerlano, who has brought the stubborn Bajazet to his court in chains. Tamerlano's infatuation with Bajazet's daughter Asteria leads him to offer his betrothed, Irene, to the Greek prince Andronico. However, both Bajazet and Andronico threaten to end it all, while Asteria plots to assassinate Tamerlano.In an attempt to make the opera more accessible, director Orpha Phelan has aligned each character with a recognizable famous figure. Tamerlano is reimagined as Donald Trump, Andronico as Alexander the Great, and Irene as Elizabeth Bennet or a Bridgerton escapee. The production is billed as 'Social Experiment 2', manipulated by Andronico's friend Leone, played as Sigmund Freud.Despite the modern twist, the opera's musical standards are high, led by Laurence Cummings and the excellent Academy of Ancient Music. The cast, including Benjamin Hulett as Bajazet, Nardus Williams as Asteria, and Kitty Whately as Irene, copes admirably with Phelan's concept. However, James Laing's portrayal of Tamerlano is somewhat overwhelmed by excessive fidgety business, including eating Big Macs and doing the Trump dance.The production runs at Shoreditch Town Hall, London, until 28 March. Despite some reservations, the opera's vital element of danger is somewhat lost in the buffoonery. Nevertheless, it remains a fine cast and a resourceful set by Madeleine Boyd.