Agree entirely with jamesay (except perhaps regarding the singing which was generally rather better than “average”)

But the more interesting point perhaps is the decline over recent years in the quality of staged operatic productions for the EIF – viz 2010′s “Moctezuma” from Mexico, 2009′s “Admeto” from Gottingen and even Scottish Opera’s rather lacklustre “Two Widows” of 2008 (That Year’s “Krol Roger” was a fine exception).

If you look at the Belgian press you will see that Vlaamse Opera were very pleased to be “selected” to play at Edinburgh. How much “competition” is there to travel a production to Edinburgh? The last 2 selections were far too “director led” (despite this year’s eminent Conductor).

I now no longer expect to go to opera at EIF and see top rate staged productions – instead it is place to go to see rarely produced operas whether staged or in the Usher Hall. Indeed I rather wish that Semiramide had been presented as a concert production -I wouldn’t have had to keep closing my eyes to try to concentrate on the music and singing!!

I have seen many, many operas in my lifetime…and many of them in Belgium at the Flanders Opera, but this was by far the worst…ever. I missed it in Antwerp but finally saw it this week in Edinburgh. Nigel Lowry’s production was just horrible. Like many of his other stagings this is another failure. He never makes any connection between the music and the story. Singers are merely set pieces to him. Sets, lighting, costumes..all a total failure. And, as much as I hate to say it, it seems the greatness of conductor Zedda is starting to wane. All tempi were way too slow, forcing singers to reach into the bottom of the barrel to find enough breath to finish each phrase, some not quite making it. What is bel about this kind of canto? He also seemed unable to keep the singers and orkestra together. With none of the standard cuts observed, this proved a real snore-fest. It was a shame. One final note and a bit of a defense of the company at the Flemish Opera. They have a very rich and long history of producing top-notch, quality productions by greats such as Robert Carson. It seems the current leadership is not interested in continuing this tradition. In a time of great economic strife in which many opera companies are failing, it is risky to put so much trust in the hands of new leaders and directors with little to no experience and in singers that would not even get hired on cruise-ships.