@gothicopera.bsky.social
Productions of rarely-seen operatic works that take inspiration from the uncanny atmosphere of the Gothic and supernatural. London, UK www.gothicopera.co.uk
We’re hiring! Do you think you would be a good fit for the Gothic Opera team? Applications are now open for a Producer for our next show.
Take a look at the full Job Description online at gothicopera.co.uk/work-with-us. Looking forward to hearing from you!
“Somehow, the genius for creativity in performance always survives” - we couldn’t have put it better ourselves! Do watch this space for our future plans!
20.12.2025 08:35 — 👍 0 🔁 0 💬 0 📌 0
A screenshot of part of a Guardian article which reads: Somehow, the genius for creativity in performance survives Simon Rattle says classical music is in “a long-term fight for existence”. It certainly is. Yet despite Arts Council England’s war on excellence in the name of its curdled theory of anti-elitism, the genius for creativity in performance somehow survives. In February, Regents Opera staged a compelling Wagner Ring cycle in an east London boxing hall with reduced forces and a slashed back orchestra of 22 under Ben Woodward. In November, the no less indomitable Gothic Opera rescued Offenbach’s Die Rheinnixen, containing much music that would resurface in the Tales of Hoffmann. Both were triumphs of talent, commitment and resourcefulness. Both overcame endless practical challenges. Neither of them got a penny from ACE coffers. “We’ll do it because we’re compelled to do it,” wrote Woodward. Heroic words. Musicians across the UK continue to create marvels amid the prevailing political and societal philistinism. But they – and the universal need for live music– deserve so much better. Martin Kettle
We are certainly “indomitable”! There’s no denying practicalities and funding are a challenge for companies like ours, and we’re grateful to Martin Kettle for raising awareness of our work and that of brilliant @regentsopera.bsky.social in the @theguardian.com live classical music roundup 2025.
20.12.2025 08:35 — 👍 0 🔁 0 💬 1 📌 0
Gothic Opera allows another side of Offenbach to shine at Battersea Arts Centre @gothicopera.bsky.social
✍️ Nick Boston
bachtrack.com/review-offen...
Since there are only 3 more performances, let me bang a drum for Die Rheinnixen from @gothicopera.bsky.social . Musically outstanding with so much rich, splendid, non-comic Offenbach to relish.
Not to be missed, say I, and when was I ever wrong? #HostageToFortune
To Battersea Arts Centre tonight for the latest offering by @gothicopera.bsky.social, who had a terrific 2024 with Der Vampyr and Maria de Rudenz.
Offenbach tonight: a rare chance to hear the famous Barcarolle in its original guise within the rustic romance Die Rheinnixen.
Reviewing for Opera.
Gothic Opera presents the UK staged premiere of Offenbach’s Die Rheinnixen. Coming to Battersea Arts Centre this Halloween.
Tickets selling fast!
youtu.be/os1V527l9DY?...
A photo of the front cover of Opera Now’s Autumn 2025 edition, with stars and arrows pointing to the words “Gothic Opera - meeting the founders ahead of their Halloween show”
Our interview is out! It was so much fun chatting to Holly from Opera Now about our company, how it all started, and our plans for this year and the future.
Read it here: www.gramophone.co.uk/opera-now/fe...
Are there still discoveries to be made about Jacques Offenbach (born OTD 1819)? More than you might think.
An interview with scholar Jean-Christophe Keck:
bachtrack.com/interview-je...
The wait is over. Announcing our 2025 production!
We’ll be returning to Battersea Arts Centre this Halloween with the UK staged premiere of Die Rheinnixen by Offenbach. Performed with chamber orchestra 30 Oct - 2 Nov
L-R Davide Basso, Lorna McLean, Lysanne Van Overbeek, Daniella Sicari, Alice Usher and Helene Mathiesen standing the foyer of the Offies ceremony at Central Hall Westminster
The Gothic Opera Maria de Rudenz team at the Offies 🤩
@offwestend.bsky.social
Stage Director Open Call Halloween 2025
We are hiring! If you’re interested in being our next Stage Director, please see the job description at www.gothicopera.co.uk/vacancies
Deadline for expression of interest: 12pm on Friday 7th March
Application deadline: 5pm on Monday 10th March
“enterprising Gothic Opera whose Der Vampyr was a comically camp revival at Grimeborn, followed in the autumn by an atmospheric Maria de Rudenz within the distressed walls of Battersea Arts Centre. In the title role, Daniella Sicari offered superb bel canto singing”
🙏 @larkingrumple.bsky.social!
“It’s a fantastic production which deserves to be more widely seen.” - Jane Darcy, The Reviews Hub
“Battersea Arts Centre’s gloriously restored Grand Hall, with its bare, crumbling walls and latticed ceiling provided the perfect backdrop for this production, the stone arches at the back of the stage creating the ideal Gothic castle vibe.” - Nick Boston, Bachtrack
!["Gothic Opera, committed to reviving seldom-seen works, has scored a triumph with Donizetti's Maria de Rudenz." - Jane Darcy, The Reviews Hub
“This was a production that [...]packed a hefty punch, refreshingly immediate and engaging throughout.” - Nick Boston, Bachtrack](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:plbouyoaxunq2v7fh6tcicp4/bafkreih3gyerbb2viyk3mo73qpanneiwzwefc5npv2b2zlq7lz42zrcb2q@jpeg)
"Gothic Opera, committed to reviving seldom-seen works, has scored a triumph with Donizetti's Maria de Rudenz." - Jane Darcy, The Reviews Hub “This was a production that [...]packed a hefty punch, refreshingly immediate and engaging throughout.” - Nick Boston, Bachtrack
We staged Maria at Halloween this year at the stunning Battersea Arts Centre🩸🫀🎶
31.12.2024 16:16 — 👍 1 🔁 0 💬 0 📌 0
“The three principals I heard in this double-cast production brought dramatic fervour and vocal excellence of a standard that easily surpassed the trio who'd sung a day or two earlier at a major London house.” - Mark Valencia, Opera Magazine
“London is blessed with a number of smaller opera companies with a passion for less well known works – Gothic Opera has a proud place in this group.” - Owen Davies, Plays to See “I’ve long enjoyed seeing Gothic Opera’s productions, and I hope they continue to go from strength to strength – I can’t wait to see what they do next year.” - Palely Loitering
“This splendid performance by Gothic Opera proves that the piece is well worth dragging from the vaults of operatic obscurity and that it is wrong to assume that neglect is always justified.” - Patrick Shorrock, Mark Aspen Reviews
2 0 2 4 (Part two of two) - Maria de Rudenz
The critics were unanimous! Here is a small selection of some of the press coverage we received for our triple Offie-nominated production of Donizetti's epic opera Maria de Rudenz.
“What this fresh young company has done, for the second time since its inception in 2019, is to rip it open and extract the fun while keeping the corpse of Marschner's score quivering yet alive...” - Mark Valencia, Opera Magazine
“Looking back on Der Vampyr in the cold light of day, it’s hard to believe how entertaining it was, arteries, entrails and all...” - Mark Valencia “Can we take vampires and Gothic horror seriously in opera today? Mintzer doesn’t and sends up the genre in a fang-tastic, feminist retelling packed with chuckles, outrageous cape-twirling and a gory denouement.” - Mark Pullinger
“Musically, things are pretty peachy. Cuts are few and music director Kelly Lovelady’s arrangement for cello, double bass, sousaphone(!) and piano works tremendously well.” - Mark Pullinger, Bachtrack
This was our first time reviving one of our productions, and it was extra special because Der Vampyr is the opera that launched our company back in 2019!
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📸 Craig Fuller
“The fact that Gothic Opera has managed to sell out multiple nights of this production, finding a way to make Marschner’s opera speak in 2024, is no mean feat.” - Flora Willson, The Guardian
““I’m just having too much fun!” declares Giuseppe Pellingra’s Lord Ruthven, the title character in Heinrich Marschner’s Der Vampyr. He’s not alone. In Julia Mintzer’s 2019 production for Gothic Opera, given a buff and a polish to open the Grimeborn festival in Dalston, the cast are clearly having a ball. And so is the audience.” - Mark Pullinger, Bachtrack
“Gothic Opera’s production ramps up the silly in its screamy, cloak-sweeping homage to Marschner’s 1828 original, with a magnificent Gráinne Gillis as the Vampire Master.” - Flora Willson, The Guardian
2 0 2 4 (Part one of two) - Der Vampyr
In August, we presented Der Vampyr 🧛♂️ at the Grimeborn Festival @arcolatheatre.bsky.social. Here's a selection of some of the press we were lucky enough to receive.
PICK OF THE YEAR (CHAMBER) It was the year Gothic Opera came of age wit not one but two crackers. After DER VAMPYR, hilarious and blood-soaked, they upped sticks to Battersea Arts Centre with Donizetti’s MARIA DE RUDENZ. Superbly lit by Luca Panetta, it oozed atmosphere and class. 4/6
18.12.2024 13:06 — 👍 4 🔁 1 💬 1 📌 0
To all our supporters, colleagues, friends and audiences, thank you for making this year such a memorable one. Wishing you all the very best for the festive season! 🎶✨🎄
"Christmas Eve, Public Square at Night," by Carl Gaertner, 1928
