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9:00 pm - At the Opera

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AT THE OPERA
Myths, legends and fantasy, Part 1
Prepared and presented by Ian MacDonald

Offenbach, J. The tales of Hoffmann. Opera in three acts with prologue and epilogue. Libretto by Jules Barbier and Michel Carré, after stories by E.T.A. Hoffmann. First performed Paris, 1881.    

Offenbach, J. The tales of Hoffmann, Prologue    
[24:50]

Offenbach, J. The tales of Hoffmann, Act I    
[36:42]

Offenbach, J. The tales of Hoffmann, Act II    
[26:46]

Offenbach, J. The tales of Hoffmann, Act III    
[40:09]

Offenbach, J. The tales of Hoffmann, Epilogue    
[13:57]

    NICKLAUSSE/THE MUSE: Huguette Tourangeau, mezz
HOFFMANN: Plácido Domingo, ten
STELLA, OLYMPIA, GIULIETTA, ANTONIA: Joan Sutherland, sop
LINDORF, COPPELIUS, DAPERTUTTO, DR MIRACLE: Gabriel Bacquier, bar
Radio Suisse Romande Ch; Choir of Pro Arte Lausanne; Chorale du Brassus; Suisse Romande O/Richard Bonynge.Total Time: 2:22:11 
Decca 417 363-2 

    Drinking in a tavern with Nicklausse, the poet Hoffmann receives a letter from his love, Stella, a prima donna. His enemy, Lindorf, asks him to tell the story of his three love affairs. First, Hoffmann loves Olympia, a mechanical doll. He believes she is real until she is broken by Coppelius. Then he loves Antonia, forbidden to sing at the risk of death. Urged on by the evil Dr Miracle, she sings for Hoffmann and dies in his arms. Finally, he loves Giulietta, a Venetian courtesan. When he kills her lover in a duel, Giulietta leaves with Dapertutto. The three women in these stories are really just different aspects of Stella so, when she finally appears, she finds that Hoffmann is drunk and she leaves him for Lindorf. Nicklausse, who has witnessed these affairs, becomes his muse and urges him to use his suffering to write great literature. 

Meyerbeer, G. O beau pays de la Touraine, from The Huguenots (1836).    Joan Sutherland, sop; Royal Opera House Ch & O/Francesco Molinari-Pradelli. 
Decca 414 450-2 [05:40]

Gounod, C. O Dieu, que de bijoux ... Ah! je ris de me voir, from Faust (1859); Je veux vivre, from Romeo and Juliet (1867).    Joan Sutherland, sop; Royal Opera House Ch & O/Francesco Molinari-Pradelli. 
Decca 414 450-2 [08:08]

Offenbach, J. Barcarolle, from The Tales of Hoffmann    Geoffrey Saba, piano 
CarnegieConcerts CC012 [07:47]



23:00 MUSIC OF THE NIGHT
Prepared by Paul Cooke
With Nena Beretin

Rangström, T. Notturno nella maniera di E.T.A. Hoffmann.    Uppsala Chamber Soloists. 
LCM C 115 [12:44]

Osborne, N. Albanian nights.    Lisa Beznosiuk, fl; Neil McLaren, fl; Paul Goodwin, ob; Catherine Latham, ob; Nicholas Bucknall, cl; Timothy Lines, cl; Andrew Watts, bn; Frances Eustace, bn; Roger Montgomery, hn; Robert Maskell, hn; Antony Pay, cond. 
EMI CDC 7 54424 2 [10:23]

Suchon, E. Metamorphosis (1953).    Slovak PO/Zdenék Kosler. 
Marco Polo 8.223130 [31:54]

AT THE OPERA Myths, legends and fantasy, Part 1 Prepared and presented by Ian MacDonald
Offenbach, J. The tales of Hoffmann. Opera in three acts with prologue and epilogue. Libretto by Jules Barbier and Michel Carr&eacute;, after stories by E.T.A. Hoffmann. First performed Paris, 1881. &nbsp;&nbsp; Offenbach, J. The tales of Hoffmann, Prologue &nbsp;&nbsp; [24:50] Offenbach, J. The tales of Hoffmann, Act I &nbsp;&nbsp; [36:42] Offenbach, J. The tales of Hoffmann, Act II &nbsp;&nbsp; [26:46] Offenbach, J. The tales of Hoffmann, Act III &nbsp;&nbsp; [40:09] Offenbach, J. The tales of Hoffmann, Epilogue &nbsp;&nbsp; [13:57] &nbsp;&nbsp; NICKLAUSSE/THE MUSE: Huguette Tourangeau, mezz HOFFMANN: Pl&aacute;cido Domingo, ten STELLA, OLYMPIA, GIULIETTA, ANTONIA: Joan Sutherland, sop LINDORF, COPPELIUS, DAPERTUTTO, DR MIRACLE: Gabriel Bacquier, bar Radio Suisse Romande Ch; Choir of Pro Arte Lausanne; Chorale du Brassus; Suisse Romande O/Richard Bonynge.Total Time: 2:22:11 Decca 417 363-2 &nbsp;&nbsp; Drinking in a tavern with Nicklausse, the poet Hoffmann receives a letter from his love, Stella, a prima donna. His enemy, Lindorf, asks him to tell the story of his three love affairs. First, Hoffmann loves Olympia, a mechanical doll. He believes she is real until she is broken by Coppelius. Then he loves Antonia, forbidden to sing at the risk of death. Urged on by the evil Dr Miracle, she sings for Hoffmann and dies in his arms. Finally, he loves Giulietta, a Venetian courtesan. When he kills her lover in a duel, Giulietta leaves with Dapertutto. The three women in these stories are really just different aspects of Stella so, when she finally appears, she finds that Hoffmann is drunk and she leaves him for Lindorf. Nicklausse, who has witnessed these affairs, becomes his muse and urges him to use his suffering to write great literature. Meyerbeer, G. O beau pays de la Touraine, from The Huguenots (1836). &nbsp;&nbsp; Joan Sutherland, sop; Royal Opera House Ch &amp; O/Francesco Molinari-Pradelli. Decca 414 450-2 [05:40] Gounod, C. O Dieu, que de bijoux ... Ah! je ris de me voir, from Faust (1859); Je veux vivre, from Romeo and Juliet (1867). &nbsp;&nbsp; Joan Sutherland, sop; Royal Opera House Ch &amp; O/Francesco Molinari-Pradelli. Decca 414 450-2 [08:08] Offenbach, J. Barcarolle, from The Tales of Hoffmann &nbsp;&nbsp; Geoffrey Saba, piano CarnegieConcerts CC012 [07:47] 
23:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin
Rangstr&ouml;m, T. Notturno nella maniera di E.T.A. Hoffmann. &nbsp;&nbsp; Uppsala Chamber Soloists. LCM C 115 [12:44] Osborne, N. Albanian nights. &nbsp;&nbsp; Lisa Beznosiuk, fl; Neil McLaren, fl; Paul Goodwin, ob; Catherine Latham, ob; Nicholas Bucknall, cl; Timothy Lines, cl; Andrew Watts, bn; Frances Eustace, bn; Roger Montgomery, hn; Robert Maskell, hn; Antony Pay, cond. EMI CDC 7 54424 2 [10:23] Suchon, E. Metamorphosis (1953). &nbsp;&nbsp; Slovak PO/Zden&eacute;k Kosler. Marco Polo 8.223130 [31:54]

A tradition of 40 years and more, At the Opera brings you favourite and lesser-known operas, in full.

A tradition of 40 years and more, At the Opera brings you favourite and lesser-known operas, in full.

At the Opera

At the Opera  14 January 2026

 AT THE OPERA
Love triumphs, Part 2
Prepared and presented by Ian MacDonald

Rossini, G. The barber of Seville. Opera in two acts. Libretto by Cesare Sterbini, after Beaumarchais' Le Barbier de Séville. First performed Rome, 1816.    

Rossini, G. The barber of Seville, Act I    
[01:32:17]

Rossini, G. The barber of Seville, Act II    
[46:02]

    COUNT ALMAVIVA: Luigi Alva, ten
ROSINA: Teresa Berganza, mezz
DOCTOR BARTOLO: Enzo Dara, bar
FIGARO: Hermann Prey, bar
Ambrosian Opera Ch; London SO/Claudio Abbado.Total Time: 2:18:19 
DG 415 695-2 

    Count Almaviva, disguised as a servant Lindoro, serenades his love Rosina, the ward of Dr Bartolo, who plans to marry her for her dowry. His barber, Figaro, suggests that he get into Bartolo’s house by disguising himself as a soldier. He fails in this attempt but returns as assistant to Basilio, the singing-master. He shows Bartolo a letter supposedly to Almaviva from a mistress, which Bartolo thinks will inflame Rosina’s jealousy. She is upset but Almaviva reveals his true identity and his constancy and, with Figaro’s help, they elope before Bartolo discovers that he has been tricked. 

Rossini, G. Introduction; Aria; Duet, from Stabat Mater (1842).    Helen Field, sop; Della Jones, mezz; Arthur Davies, ten; Roderick Earl, bass; London Symphony Ch; City of Londond Sinfonia/Richard Hickox. 
Chandos CHAN 8780 [21:10]

Rossini, G. Comic duet for two cats (1816).    Elisabeth Söderström, sop; Kerstin Meyer, mezz; Jan Eyron, pf. 
BIS CD-17 [03:42]

Rossini, G. La regata Veneziana (c.1850)    Rossini, G. 
BIS CD-17 [04:19]



23:00 MUSIC OF THE NIGHT
Staying in Seville
Prepared and presented by Dan Bickel

Albéniz, I. Sevilla, from Suite española, op 47 (1886; arr. Barrueco).    Andrew Blanch, gui. 
www.andrewblanch.com AB 2015 [05:43]

Turina, J. Women of Seville, op 89 (1935).    Jordi Masó, pf. 
Naxos 8.557684 [12:56]

Turina, J. Canto a Sevilla, op 37 (1927).    Maria Espanada, sop; BBC PO/Juanjo Mena. 
Chandos CHAN 10819 [37:19]

AT THE OPERA Love triumphs, Part 2 Prepared and presented by Ian MacDonald
Rossini, G. The barber of Seville. Opera in two acts. Libretto by Cesare Sterbini, after Beaumarchais' Le Barbier de S&eacute;ville. First performed Rome, 1816. &nbsp;&nbsp; Rossini, G. The barber of Seville, Act I &nbsp;&nbsp; [01:32:17] Rossini, G. The barber of Seville, Act II &nbsp;&nbsp; [46:02] &nbsp;&nbsp; COUNT ALMAVIVA: Luigi Alva, ten ROSINA: Teresa Berganza, mezz DOCTOR BARTOLO: Enzo Dara, bar FIGARO: Hermann Prey, bar Ambrosian Opera Ch; London SO/Claudio Abbado.Total Time: 2:18:19 DG 415 695-2 &nbsp;&nbsp; Count Almaviva, disguised as a servant Lindoro, serenades his love Rosina, the ward of Dr Bartolo, who plans to marry her for her dowry. His barber, Figaro, suggests that he get into Bartolo&rsquo;s house by disguising himself as a soldier. He fails in this attempt but returns as assistant to Basilio, the singing-master. He shows Bartolo a letter supposedly to Almaviva from a mistress, which Bartolo thinks will inflame Rosina&rsquo;s jealousy. She is upset but Almaviva reveals his true identity and his constancy and, with Figaro&rsquo;s help, they elope before Bartolo discovers that he has been tricked. Rossini, G. Introduction; Aria; Duet, from Stabat Mater (1842). &nbsp;&nbsp; Helen Field, sop; Della Jones, mezz; Arthur Davies, ten; Roderick Earl, bass; London Symphony Ch; City of Londond Sinfonia/Richard Hickox. Chandos CHAN 8780 [21:10] Rossini, G. Comic duet for two cats (1816). &nbsp;&nbsp; Elisabeth S&ouml;derstr&ouml;m, sop; Kerstin Meyer, mezz; Jan Eyron, pf. BIS CD-17 [03:42] Rossini, G. La regata Veneziana (c.1850) &nbsp;&nbsp; Rossini, G. BIS CD-17 [04:19] 
23:00 MUSIC OF THE NIGHT Staying in Seville Prepared and presented by Dan Bickel
Alb&eacute;niz, I. Sevilla, from Suite espa&ntilde;ola, op 47 (1886; arr. Barrueco). &nbsp;&nbsp; Andrew Blanch, gui. www.andrewblanch.com AB 2015 [05:43] Turina, J. Women of Seville, op 89 (1935). &nbsp;&nbsp; Jordi Mas&oacute;, pf. Naxos 8.557684 [12:56] Turina, J. Canto a Sevilla, op 37 (1927). &nbsp;&nbsp; Maria Espanada, sop; BBC PO/Juanjo Mena. Chandos CHAN 10819 [37:19]

At the Opera  18 February 2026

 AT THE OPERA
Myths, legends and fantasy, Part 2
Prepared by Elaine Siversen
With Jules Laurent

Handel, G. Alcina, HWV34. Opera in three acts. Anonymous libretto after Ludovico Ariosto’s epic poem Orlando Furioso used by Riccardo Broschi for his 1728 opera L’isola di Alcina. First performed London, 1735.    

Handel, G. Alcina, Overture & Act I    
[49:43]

Handel, G. Alcina, Act II    
[59:33]

Handel, G. Alcina, Act III    
[42:40]

    BRADAMANTE: Norma Procter, cont
MELISSO: Thomas Hemsley, bar
ALCINA: Joan Sutherland, sop
RUGGIERO: Fritz Wunderlich, ten
MORGANA: Jeannette van Dijck, sop
ORONTE: Nicola Monti, ten
Cologne Radio Choir; Cappella Coloniensis/Ferdinand Leitner.Total Time: 2:31:56 
DG 477 8017 

    Bradamante, disguised as her brother, Ricciardo, with her tutor, Melisso, have been shipwrecked and cast ashore on Alcina’s enchanted island. Bradamante is searching for her betrothed, Ruggiero. They meet Morgana, Alcina's sister, who falls in love with the disguised Bradamante. She takes them to Alcina where Ruggiero is present. Later Bradamante confronts him. He recognises her as Ricciardo but denies any interest in Ricciardo's sister because he is the faithful lover of Alcina.
Oronte, Alcina's commander-in-chief, who loves Morgana, is jealous of ‘Ricciardo’ and decides to make Ruggiero jealous too. He concocts a tale that Alcina now loves ‘Ricciardo’ and will no doubt soon add Ruggiero to her collection of discarded lovers now transformes into monsters. Alcina assures Ruggiero that her feelings are unchanged.
Melisso, disguised as Ruggiero's tutor, Atlante, gives him a magic ring which brings him to his senses. Ruggiero wishes to send a message of defiance to Alcina, but Melisso advises him to pretend that he still loves her and to make his escape. When Alcina is told that Ruggiero is planning to flee, she begins to make spells to bind Ruggiero to her but cannot overcome her feelings for him.
Other travellers have been shipwrecked and have been changed into wild beasts, trees or stones by Alcina. Melisso tells Bradamante that the island is surrrounded by Alcina's enchanted monsters and advises Ruggiero to take the Gorgonian shield and the winged horse to help him conquer them. Alcina’s forces are defeated and Ruggiero smashes the urn that holds Alcina's secret power. All her spells are broken and the rocks, trees and beasts resume their human shapes. They rejoice at their liberty and all celebrate the triumph of love. 

Handel, G. Da tempeste il legno infranto, from Giulio Cesare, HWV17 (1724).    Joan Sutherland, sop; Hubert Dawkes, hpd; New SO of London/Richard Bonynge. 
Decca 482 4759 [05:23]

Handel, G. Let the bright seraphim, from Samson, HWV57 (1743).    Joan Sutherland, sop; Harry Dilley, tpt; Royal Opera House O, Covent Garden/Francesco Molinari Pradelli. 
Decca 482 4759 [05:52]



23:00 MUSIC OF THE NIGHT
More Handel ...
Prepared and presented by Dan Bickel

Handel, G. Love in Bath (arr. Beecham).    Royal PO/Thomas Beecham. 
EMI CDM 7 63374 2 [47:32]

Handel, G. Oboe concerto in G minor (1705).    Bart Schneeman, ob; Musica Amphion/Pieter-Jan Belder. 
Channel Classics CCS SA 29209 [08:36]

AT THE OPERA Myths, legends and fantasy, Part 2 Prepared by Elaine Siversen With Jules Laurent
Handel, G. Alcina, HWV34. Opera in three acts. Anonymous libretto after Ludovico Ariosto&rsquo;s epic poem Orlando Furioso used by Riccardo Broschi for his 1728 opera L&rsquo;isola di Alcina. First performed London, 1735. &nbsp;&nbsp; Handel, G. Alcina, Overture &amp; Act I &nbsp;&nbsp; [49:43] Handel, G. Alcina, Act II &nbsp;&nbsp; [59:33] Handel, G. Alcina, Act III &nbsp;&nbsp; [42:40] &nbsp;&nbsp; BRADAMANTE: Norma Procter, cont MELISSO: Thomas Hemsley, bar ALCINA: Joan Sutherland, sop RUGGIERO: Fritz Wunderlich, ten MORGANA: Jeannette van Dijck, sop ORONTE: Nicola Monti, ten Cologne Radio Choir; Cappella Coloniensis/Ferdinand Leitner.Total Time: 2:31:56 DG 477 8017 &nbsp;&nbsp; Bradamante, disguised as her brother, Ricciardo, with her tutor, Melisso, have been shipwrecked and cast ashore on Alcina&rsquo;s enchanted island. Bradamante is searching for her betrothed, Ruggiero. They meet Morgana, Alcina's sister, who falls in love with the disguised Bradamante. She takes them to Alcina where Ruggiero is present. Later Bradamante confronts him. He recognises her as Ricciardo but denies any interest in Ricciardo's sister because he is the faithful lover of Alcina. Oronte, Alcina's commander-in-chief, who loves Morgana, is jealous of &lsquo;Ricciardo&rsquo; and decides to make Ruggiero jealous too. He concocts a tale that Alcina now loves &lsquo;Ricciardo&rsquo; and will no doubt soon add Ruggiero to her collection of discarded lovers now transformes into monsters. Alcina assures Ruggiero that her feelings are unchanged. Melisso, disguised as Ruggiero's tutor, Atlante, gives him a magic ring which brings him to his senses. Ruggiero wishes to send a message of defiance to Alcina, but Melisso advises him to pretend that he still loves her and to make his escape. When Alcina is told that Ruggiero is planning to flee, she begins to make spells to bind Ruggiero to her but cannot overcome her feelings for him. Other travellers have been shipwrecked and have been changed into wild beasts, trees or stones by Alcina. Melisso tells Bradamante that the island is surrrounded by Alcina's enchanted monsters and advises Ruggiero to take the Gorgonian shield and the winged horse to help him conquer them. Alcina&rsquo;s forces are defeated and Ruggiero smashes the urn that holds Alcina's secret power. All her spells are broken and the rocks, trees and beasts resume their human shapes. They rejoice at their liberty and all celebrate the triumph of love. Handel, G. Da tempeste il legno infranto, from Giulio Cesare, HWV17 (1724). &nbsp;&nbsp; Joan Sutherland, sop; Hubert Dawkes, hpd; New SO of London/Richard Bonynge. Decca 482 4759 [05:23] Handel, G. Let the bright seraphim, from Samson, HWV57 (1743). &nbsp;&nbsp; Joan Sutherland, sop; Harry Dilley, tpt; Royal Opera House O, Covent Garden/Francesco Molinari Pradelli. Decca 482 4759 [05:52] 
23:00 MUSIC OF THE NIGHT More Handel ... Prepared and presented by Dan Bickel
Handel, G. Love in Bath (arr. Beecham). &nbsp;&nbsp; Royal PO/Thomas Beecham. EMI CDM 7 63374 2 [47:32] Handel, G. Oboe concerto in G minor (1705). &nbsp;&nbsp; Bart Schneeman, ob; Musica Amphion/Pieter-Jan Belder. Channel Classics CCS SA 29209 [08:36]

At the Opera  11 February 2026

AT THE OPERA
Premiere Anniversaries, Part 2
Prepared and presented by Camille Mercep

Schuster, J. Demoföonte. Opera in three acts. Libretto by Pietro Metastasio. First performed Forli, summer of 1776.    

Schuster, J. Demoföonte, Act I    
[01:06:03]

Schuster, J. Demoföonte, Act II    
[46:42]

Schuster, J. Demoföonte, Act III    
[26:22]

    DEMOFÖONTE:: Andreas Post, ten
MATUSIO: Jan Kobow, ten
DIRCEA: Dorothee Mields, sop
TIMANTE: Jörg Waschinski, ct
CREUSA: Marie Melnitzki, sop
CHERINTO: Werner Buchin, ct
La Ciaccona/Ludger Rémy.Total Time: 2:19:07 
Harmonia Mundi 98282 2 

    Demophon, King of Thrace, asks the oracle how long the custom of the annual sacrifice of a virgin is to continue. The reply is that it must occur every year that an ‘innocent usurper’ sits on the throne. Demophon’s minister, Matusio, does not know that his daughter, Dircea, has secretly married the king’s elder son, Timante, and borne him a child. Equally ignorant of this, the king decrees that Dircea will be sacrificed. Demophon has chosen a foreign princess, Creusa, as the bride for Timante. She is on her way to Thrace accompanied by Timante’s younger brother, Cherinto, who falls in love with Creusa. When they arrive in Thrace, Timante tells Creusa that he can’t marry her but gives no reason. Enraged, Creusa urges Cherinto to kill Timante in revenge. Dircea is seized by guards and taken to the place of sacrifice. Timante and his followers attempt to liberate Dircea but Timante is taken prisoner. He confesses that he has married Dircea and that they have a son. 
Cherinto tells Timante that Creusa has persuaded Demophon to grant him and Dircea a pardon. Timante renounces his claim to the throne in favour of Cherinto, thus enabling him to marry Creusa. However, Matusio reveals that Dircea is Demophon’s daughter, thereby invalidating her marriage to Timante. A distraught Timante renounces his wife and son before a document is produced that declares that his father is not Demophon but Matusio. Hence Timante and Dircea were free to marry and Cherinto is the legitimate heir to the kingdom (and free to marry Creusa). As Timante is no longer the ‘innocent usurper’, the sacrificial tradition can also cease. 

Mozart, W. Biancheggia, from Il sogno di Scipione, K126 (1772).    Christiane Karg, sop; Arcangelo/Jonathan Cohen. 
Berlin Classics 0300389BC [07:14]

Haydn, J. Overture to L’isola disabitata, Hob.Ia:13 (1779).    Haydn Sinfonietta, Vienna/Manfred Huss. 
Schwann 3-1484-2 [07:15]

Mozart, W. L'amerò, sarò costante, from Il re pastore, K208 (1775).    Yvonne Kenny, sop; Australian CO/Richard Tognetti. 
Sony SK 66282 [06:30]



23:00 MUSIC OF THE NIGHT
Prepared by Paul Cooke
With Nena Beretin

Joubert, J. Sinfonietta, op 38 (1962).    Paul Arden-Taylor, ob; Anna Evans, ob; Keith Rubach, bn; Christine Predota, bn; Stephen Roberts, hn; James Buck, hn; English String O/William Boughton. 
Naxos 8.571368 [17:38]

Pépin, C. Les eaux célestes (2023).    BBC SO/Jader Bignamini. 
BBC Music Magazine BBCMM511 [09:04]

Sandström, J. En Herrgårdssägen (1987-2004).    Iceland SO/Christian Lindberg. 
BIS CD-1748 [27:03]

AT THE OPERA Premiere Anniversaries, Part 2 Prepared and presented by Camille Mercep
Schuster, J. Demof&ouml;onte. Opera in three acts. Libretto by Pietro Metastasio. First performed Forli, summer of 1776. &nbsp;&nbsp; Schuster, J. Demof&ouml;onte, Act I &nbsp;&nbsp; [01:06:03] Schuster, J. Demof&ouml;onte, Act II &nbsp;&nbsp; [46:42] Schuster, J. Demof&ouml;onte, Act III &nbsp;&nbsp; [26:22] &nbsp;&nbsp; DEMOF&Ouml;ONTE:: Andreas Post, ten MATUSIO: Jan Kobow, ten DIRCEA: Dorothee Mields, sop TIMANTE: J&ouml;rg Waschinski, ct CREUSA: Marie Melnitzki, sop CHERINTO: Werner Buchin, ct La Ciaccona/Ludger R&eacute;my.Total Time: 2:19:07 Harmonia Mundi 98282 2 &nbsp;&nbsp; Demophon, King of Thrace, asks the oracle how long the custom of the annual sacrifice of a virgin is to continue. The reply is that it must occur every year that an &lsquo;innocent usurper&rsquo; sits on the throne. Demophon&rsquo;s minister, Matusio, does not know that his daughter, Dircea, has secretly married the king&rsquo;s elder son, Timante, and borne him a child. Equally ignorant of this, the king decrees that Dircea will be sacrificed. Demophon has chosen a foreign princess, Creusa, as the bride for Timante. She is on her way to Thrace accompanied by Timante&rsquo;s younger brother, Cherinto, who falls in love with Creusa. When they arrive in Thrace, Timante tells Creusa that he can&rsquo;t marry her but gives no reason. Enraged, Creusa urges Cherinto to kill Timante in revenge. Dircea is seized by guards and taken to the place of sacrifice. Timante and his followers attempt to liberate Dircea but Timante is taken prisoner. He confesses that he has married Dircea and that they have a son. Cherinto tells Timante that Creusa has persuaded Demophon to grant him and Dircea a pardon. Timante renounces his claim to the throne in favour of Cherinto, thus enabling him to marry Creusa. However, Matusio reveals that Dircea is Demophon&rsquo;s daughter, thereby invalidating her marriage to Timante. A distraught Timante renounces his wife and son before a document is produced that declares that his father is not Demophon but Matusio. Hence Timante and Dircea were free to marry and Cherinto is the legitimate heir to the kingdom (and free to marry Creusa). As Timante is no longer the &lsquo;innocent usurper&rsquo;, the sacrificial tradition can also cease. Mozart, W. Biancheggia, from Il sogno di Scipione, K126 (1772). &nbsp;&nbsp; Christiane Karg, sop; Arcangelo/Jonathan Cohen. Berlin Classics 0300389BC [07:14] Haydn, J. Overture to L&rsquo;isola disabitata, Hob.Ia:13 (1779). &nbsp;&nbsp; Haydn Sinfonietta, Vienna/Manfred Huss. Schwann 3-1484-2 [07:15] Mozart, W. L'amer&ograve;, sar&ograve; costante, from Il re pastore, K208 (1775). &nbsp;&nbsp; Yvonne Kenny, sop; Australian CO/Richard Tognetti. Sony SK 66282 [06:30] 
23:00 MUSIC OF THE NIGHT Prepared by Paul Cooke With Nena Beretin
Joubert, J. Sinfonietta, op 38 (1962). &nbsp;&nbsp; Paul Arden-Taylor, ob; Anna Evans, ob; Keith Rubach, bn; Christine Predota, bn; Stephen Roberts, hn; James Buck, hn; English String O/William Boughton. Naxos 8.571368 [17:38] P&eacute;pin, C. Les eaux c&eacute;lestes (2023). &nbsp;&nbsp; BBC SO/Jader Bignamini. BBC Music Magazine BBCMM511 [09:04] Sandstr&ouml;m, J. En Herrg&aring;rdss&auml;gen (1987-2004). &nbsp;&nbsp; Iceland SO/Christian Lindberg. BIS CD-1748 [27:03]

At the Opera 14 January 2026

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