TOP tops 2 million views

After 18 months online, The Opera Platform has reached a total of 2,139,764 views for its rich and diverse European Opera Season rolled out between the launch in May 2015 and the end of October 2016. 

October alone delivered 149,214 video views, a significant increase on the previous month, when the live stream of Le nozze di Figaro from Dutch National Opera in Amsterdam only joined the platform on 27 September.  By the end of October, that production had reached 43,679 views.

During the same month, Schreker’s Die Gezeichneten from Opéra de Lyon accounted for 11,655 views, supplemented 
by a further 11,555 for the same company’s equally rarely performed short operas, Hindemith’s Sancta Susanna and Schoenberg’s Von heute au morgen.  These figures are evidence of TOP’s ability to find new audiences for unusual repertory.

At the same time, TOP rejoices in popularising the more familiar titles. A bonus production from Opéra de Lille of Rossini’s La Cenerentola in the staging of Jean Bellorini reached 15,860 views, and Teatro Regio Torino’s new La bohème, conducted by Music Director Gianandrea Noseda and staged by Alex Ollé of La Fura dels Baus, added only on 21 October, already hit 20,667 views by the end of that month.

There was a continuing audience for titles already introduced during the summer, not only steady support for showcase operas from TOP partners such as Pelléas et Mélisande from the Aix Festival, Macbeth from Latvian National Opera in Riga, Reigen from Stuttgart, Queen of Spades from Amsterdam and In Parenthesis from Welsh National Opera; but also for Garsington Opera’s beautiful Eugene Onegin and for the late bonus offering of Otello from Teatro Real Madrid.  The variety on offer is evidence that TOP can offer a shop window for performances by a wide range of Opera Europa members.

New titles in November have included Polish National Opera’s rare exhumation of Żeleński’s Goplana and Barrie Kosky’s explosive staging of Shostakovich’s Nose at Covent Garden, both still thrilling audiences.