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Soprano Mané Galoyan (lying down) and co in Glyndebourne s Luisa Miller Credit: Richard Hubert Smith Against the odds, Glyndebourne has reached the final new production of its comeback season, something that looked mirage-like only a few months ago. Among the first theatres to reopen back in May, it has successfully saved the best for last and here, with Verdi’s Luisa Miller, it delivers one of its most serious stagings – an uncommon tonic in the increasingly naughty world of country-house opera. One of the four-and-a-bit operas Verdi drew from Schiller (the “bit” is a scene in La forza del destino), Luisa Miller is all too infrequently done, perhaps because it falls into the blurry patch between Macbeth and Rigoletto, and this is its first staging at Glyndebourne. But its great overture, from whose opening unison phrase so much in the opera is derived, signals vintage Verdi, and the opera’s modernity (at least for 1849) is something picked up on both by the conductor E

East sussexUnited kingdomLuisa millerUrsula renzenbrinkYevgeny stavinskyGeorg zlabingerVerdi luisa millerJohannes leiackerChristof loyNadezhda karyazinaEnrique mazzolaCount walterகிழக்கு சசெக்ஸ்ஒன்றுபட்டது கிஂக்டம்லூயிசா மில்லர்வெர்டீ லூயிசா மில்லர்