Mozartiana

At the centre of the Royal Opera House’s season this year is a set of operatic cycles inspired by the Olympic rings. Beginning with the new production of Il Trittico and climaxing with the first revival of Keith Warner’s Ring Cycle, the spring centrepiece was the three Mozart-Da Ponte comedies, rarely seen in succession in London or elsewhere. Excitement was dampened, however, by the realisation that they would be presented not by one creative team, but rather in the form of the existing productions - already frequently revived over the past few years. Moreover, the operas were not presented in their order of composition (further undermined the interest of seeing them in this proximity) making the project seem more like the result of cost cutting than something truly celebratory. Perhaps with a visionary director such as…