Last Updated on July 18, 2026
The Theatre in the Woods – Grange Park Opera has the perfect setting
We are having a blissful summer of Country House Operas. Each house has its distinct story, each one its own unique appeal. It’s hard to pick a favourite, but if I had to vote, Grange Park would certainly be a contender. Bamber Gascoigne inherited the 14th-century estate of West Horsley Place from his aunt, the Duchess of Roxburghe, at almost the same time that Grange Park Opera lost its home in Hampshire. Then, the entrepreneurial Wasfi Kani approached Gascoigne to suggest that his estate could become home to a new Opera House, and happily, he agreed. The entire cost of the stunning opera house was raised by Kani (£11.5m) from private donations in a year.
Thus, the Surrey Hills were blessed with a brand-new cultural centre in the most beautiful setting, and Grange Park Opera had a new home. Another fantastic tale of Country House Opera and a fitting space for a far-too-short season of performances. My colleague reviewed the premiere of Krishna, John Tavener’s ‘mystical pantomime’, directed by opera legend Sir David Pountney, and I finally got in on the act, on the very last night of the 2026 season, with The Barber of Seville.
While we normally aim to review early in the run, this production of The Barber of Seville from Grange Park Opera proved incredibly popular. It’s an Opera that can work for everyone, regarded as the culmination of the comic opera tradition that began in the 19th century and a perfect example of opera buffa. Written when Rossini was just 23, it is remarkable for dazzling vocal writing, perfectly timed comedy, characters that are still believable today and an underlying sophisticated musical construction. Based on the first of three plays by Pierre Beaumarchais, The Barber of Seville was first performed in 1816. It’s a work that preserves classical clarity while referencing the dramatic momentum of 19th-century opera – a time of change. Most of all, The Barber of Seville is a great introduction to opera but makes no compromise for those more familiar with the art form. Lively comedy, memorable melodies, and a fast-paced story make it immediately engaging for first-time audiences, while Rossini’s brilliant music and colourful characters provide a brilliant showcase for Opera.
For me, the draw was the chance to see Ginger Costa-Jackson as Rosina. Having seen her make her ENO debut as Carmen in 2022, I was intrigued to see what she’d make of the love-interest role in The Barber of Seville. She’s a Mezzo-Soprano with a deliciously lyrical voice and enough stage presence to light fires. Perfect for ‘Una voce poco fa’, where she has to sing sweetly about being docile and obedient while warning that she can become a viper if provoked, before working up to a fast section where she declares her love and willingness to outsmart her guardian, Dr Bartolo. She was the perfect Rosina – flirtatious and charming – and totally convincing with a brilliant and technically accomplished coluratura.
Her Count Almaviva, Maltese tenor Nico Darmanin, with an agile bel canto voice and a lyrical tenor, was well cast, with an engaging stage presence to match Costa-Jackson and excellent acting.
James Newby brought the perfect level of infectious humour to Figaro, handling the opera’s fast-paced patter numbers with dazzling agility and assurance. His ‘Largo al Factotum’ was brilliantly delivered and, opening in an upper-floor bathroom, suitably comic. It’s a true crowd-pleaser, but so well-known that it is a challenging number to deliver, requiring excellent breath control and stamina.
Ailish Tynan excelled as Berta, with a stunning delivery of ‘Il vecchiotto cerca moglie’ while Simon Bailey’s Bartolo was convincingly evil with a rich lyrical bass-baritone complemented by tidy articulation.
There were no noticeable flaws in this fast-paced and brilliantly staged production from Bruno Ravella. Ingenious sets from designer Francis O’Connor – think steampunk meets Seville – were constructed from metal frames creating skeleton houses which could pivot from street to interior in seconds (albeit appearing to need stage hands seated at the base at times to keep things stable). Costumes were glorious, particularly Costa-Jackson’s new-look dresses. The Gascoigne Orchestra, conducted from the harpsichord by Gianluca Marcianò, played impeccably. My first visit to Grange Park Opera left me especially impressed by the acoustic, which supported the outstanding cast and orchestra in a way older houses sometimes fail to do.
On a whim (and because I’m currently between homes and likely to be in Scotland next season), I booked the Grange Park Opera Fine Dining experience for the long interval. I love the picnic experience and, from walking around the grounds, could tell that it would be an excellent option. But, for a real treat, Dining at Grange Park is possibly the best ‘country house’ option I’ve tried to date. The setting is in the main house, across several stunning rooms.
Our table, in the Stone Hall, had a true sense of atmosphere. The room occupies what was once the medieval Great Hall and the heart of the house.
Where else can you listen to opera before enjoying a feast in the same grandeur as Henry VIII during a royal visit in 1533? Our food was utterly delicious and the service impeccable, despite the challenge of catering for such large numbers in a relatively short time.
Grange Park Opera Festival is a quirkily lovable event. There’s a level of detail which goes beyond the norm. For example, there are no chemical loos here and at Grange Park Opera, even the toilets are an architectural attraction. Known as the Lavatorium Rotundum, the purpose-built lavatory pavilion was designed as part of the company’s move to West Horsley Place – and as promised, there were absolutely no queues. There’s plenty of parking, and despite the historic setting, there’s wheelchair-accessible seating and a complimentary buggy service.
The 2027 season at Grange Park Opera, while far too short, does comprise four operatic works, all of which have their own appeal. Sir Bryn Terfel as Sweeney Todd will have me getting myself from Scotland to Surrey like a shot, while Grange Park’s second opera in The Ring Cycle, Die Walkure, has a stunning cast and the benefit of the English National Opera Orchestra. Elisir d’amore is almost as perfect a light-hearted summer opera as The Barber of Seville, while the ravishing music and deeply romantic storyline of Eugene Onegin is a fitting production for this most beautiful of settings. There will also be ballet – yet to be announced!
If you have yet to discover the joy of country-house opera festivals, I can heartily recommend Grange Park Opera. Impeccable acoustics, excellent programming, a fairy-tale setting, and some fabulous dining options make this an easy recommendation. I’d recommend Sweeney Todd to anyone who loves musicals but isn’t sure about opera yet. Elisir d’amore is an easy win for classical music lovers looking to try a full opera. But nothing in the 2027 season is obscure – it’s all about art and entertainment in the best possible way. The 2027 season is provisionally scheduled from June 3 to July 11th, with priority booking opening in the fourth quarter of 2026.
Grange Park Opera
West Horsley Place
KT24 6AN
Please check our previews for more about Summer Opera festivals.
Press photos of The Barber of Seville all copyright Marc Brenner
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