Highlights of 2025's Live Classical and Opera Events

In 2025, the operatic landscape was marked by significant premieres and performances that captivated audiences. One of the standout events was the premiere of Mark-Anthony Turnage’s opera *Festen*, commissioned by the Royal Opera. Critics hailed it as one of the most remarkable operatic premieres in decades, showcasing Turnage's evolved dramatic instincts and a libretto by Lee Hall that effectively unveiled dark family secrets during a 60th birthday celebration. Andrew Clements described it as potentially "the best British opera in half a century."

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Another highlight was the Australian Chamber Orchestra's performance at the Barbican, which featured a vibrant program of works by Bach, Shostakovich, and Gubaidulina. The orchestra, led by Richard Tognetti, delivered a gripping performance characterized by technical control and creative freedom.

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The Royal Opera House hosted several memorable productions, including Katie Mitchell’s reimagining of Janácek’s *The Makropulos Case*, which received mixed reviews but was praised for its invigorating portrayal of the anti-heroine. Additionally, Antonio Pappano's return for Wagner’s *Die Walküre* was marked by magical staging elements, particularly the portrayal of Erda, the earth goddess.

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The Tallis Scholars’ concert in Bristol, celebrating Palestrina’s 500th anniversary and Arvo Pärt’s 90th birthday, was noted for its clarity and elegance. I Fagiolini's tribute to Orazio Benevoli also stood out, utilizing the venue's acoustics effectively.

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The Southbank Centre’s inaugural Multitudes festival introduced innovative collaborations, such as the London Philharmonic Orchestra's partnership with Australia’s Circa, which combined acrobatics with Ravel’s *Daphnis et Chloé*. Vasily Petrenko’s interpretation of Shostakovich’s *Leningrad Symphony* was enhanced by thought-provoking visual elements, while Annilese Miskimmon’s production of Jake Heggie’s *Dead Man Walking* marked its first full professional staging in the UK.

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Despite the challenges faced by the classical music sector, including criticisms of Arts Council England's approach to funding, performances continued to thrive. Simon Rattle remarked on the ongoing struggle for classical music's existence, yet noted the resilience of creativity in performance. Regents Opera's staging of Wagner's Ring cycle in an unconventional venue exemplified this spirit.

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The year concluded with Gothic Opera's revival of Offenbach’s *Die Rheinnixen*, which showcased the commitment and resourcefulness of the performers despite financial constraints. Martin Kettle emphasized the universal need for live music, advocating for greater support for such artistic endeavors.

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• “We’ll do it because we’re compelled to do it,” — Ben Woodward, Director

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This overview encapsulates the vibrant and challenging landscape of live classical and opera events in 2025, highlighting both artistic achievements and the ongoing struggles within the sector.

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