Grange Park Opera in Surrey will stage the world premiere of an opera based on Lord Krishna on 4 June 2026, marking the first-ever performance of the work.
Directed by Sir David Pountney with choreography by Shobana Jeyasingh, the production features Krishna, a final opera completed in 2005 by British composer Sir John Tavener, which had remained unperformed until now. Described as a “mystic pantomime,” the opera blends music, dance and ritualised scenes, with Krishna’s life shown through 13 vignettes set in a vivid, atmospheric soundscape featuring multiple flutes.
Asian Voice spoke to Founder & CEO of Grange Park Opera, Wasfi Kani CBE about presenting Krishna this season, production and much more.
As the founder of Grange Park Opera, what drew you to presenting a work as spiritually and stylistically distinctive as ‘Krishna’ in this season?
We always try to present a mix of the traditional and the unexpected, and a world premiere is exactly that. This piece actually came about because King Charles mentioned it to the director, Sir David Pountney. David suggested it to me since we have an opera house and love putting on new works.
The composer, John Tavener, was a deeply religious man who searched for truth in different faiths. Toward the end of his life, he focused on Krishna and wrote this piece. He passed away right after finishing it, and because staging new, complex works is so difficult, it sat unperformed for years. Eventually, I was alerted to it and went to examine the original manuscript at the publisher's to figure out the logistics, the length, the cast size, and the unique elements required. For instance, Tavener specifically called for a Native American powwow drummer. To bring that to life, we’ve actually cast an acrobatic performer who beats giant drums right on stage.
I realised the piece is a true epic, Tavener himself described it as a "mystic pantomime" and one of the most ecstatic works he had ever written. He was so consumed by the figure of Krishna while writing it that, upon finishing, he felt a profound sense of emptiness. Tragically, he died never having heard his own creation performed by a full orchestra and chorus.
The piece features some extraordinary demands. For instance, whenever Krishna sings, he is accompanied by a "halo" of eight flutes. Tavener specified that these flutes shouldn't sit in the orchestra pit, but must be aerially suspended. In our production, we have placed them five stories up at the very top of the theater. The result is spectacular; the audience hears the music from the front, and then suddenly, it surrounds them from high above and behind.
With David Pountney directing and Shobana Jeyasingh choreographing, how have their distinct artistic languages shaped this production?
Director David Pountney collaborated closely with the designer and choreographer Shobana Jeyasingh to bring Tavener’s specified cast of singers and actors to life. Together, they shaped a visually compelling narrative where the dancers seamlessly transition into the spotlight for key scenes and then melt back into the background as the story unfolds.
‘Krishna’ draws from Hindu philosophy and devotional imagery. How have you approached presenting this material to a diverse, international audience without diluting its depth?
The opera is set inside a massive Indian temple. To ensure the production remains deeply devotional and respectful of Krishna, the team was guided by Ranchor Prime, who had originally worked with Tavener. At the same time, director David Pountney frames the narrative to be universally compelling, much like Wagner's Ring Cycle, these are eternal stories that resonate with everyone, whether they are a devotee or not.
Do you see this production as a cultural bridge between Western operatic traditions and Eastern spiritual narratives?
Western composers have been drawn to Indian spirituality for decades, and this piece represents the latest step in that long musical tradition. It reflects a beautiful, mutual fascination where East and West continuously influence and inspire one another. Ultimately, this cultural blending makes perfect sense when you consider the philosophical idea that the divine, or Krishna, resides in everyone's heart. Whether you are watching a classic Western opera by Verdi or Wagner, or a piece rooted in Eastern tradition, the underlying spiritual connection is universal.
