Tchaikovsky's adaptation of Pushkin's table-turning romance is his most popular opera because, as with the plays of Chekhov, it invites audiences to immerse themselves vicariously in lives being lived.
Now here's a chance to re-evaluate this early disappointment. The WhatsOnStage Opera Poll-nominated Król Roger was testimony to his talent as an epic director, while L'Ormindo revealed a sure eye for detail and tone. The irony is that Holten's own work for the Royal Opera has improved since his first effort, this 2013 Eugene Onegin. Compare Nicholas Hytner's output at the NT in any six of his years but then again Sir Nick didn't often guest-direct elsewhere. He'll have spent six years at the helm, no time at all in opera house terms, and for someone with 60 productions to his name a tally of five self-directed shows for his employers ( Die Meistersinger in 2017 will be his swansong) is a paltry return. What to make of Kasper Holten? No sooner has Covent Garden's director of opera made his mark than he's off.
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