Luciano Pavarotti: An 80th anniversary celebration
9 October 2015
To mark the 80th anniversary of the birth of operatic legend Luciano Pavarotti, we've published a special 24-page commemorative issue. Below is an extract from the issue, which is available to buy here
“By the time Luciano Pavarotti died of pancreatic cancer on 6 September 2007, aged 71, he was without doubt, the most famous tenor in the world. In fact, he came to epitomise the species: a larger-than-life, lovable, pasta-guzzling bear with a belly as refulgent as his beard, arms outstretched with a large white handkerchief dangling from one side. The voice was sweet and sunny, poured out in generous measure and seemingly effortless. Throughout the 1980s and 1990s, this became the stereotypical image of the Operatic Tenor, capturing the popular imagination – so popular, in fact, that in his own lifetime, Pavarotti sold an estimated 100 million records and was just as comfortable rubbing cheeks with the likes of Frank Sinatra, Aretha Franklin, Sting and Bono as treading the boards of the Royal Opera House or La Scala with luminaries such as Joan Sutherland and Kiri Te Kanawa.”
In the commemorative issue:
- Friends and colleagues of Pavarotti – including Sir Antonio Pappano, Bono and Herbert Breslin – pen tributes to the legendary tenor
- Pavarotti’s most ‘quotable quotes’
- Benjamin Ivry explores the vital role that conductors played in shaping Pavarotti’s artistry throughout his career
- Paul Moseley, Managing Director of Decca Classics, tells us about the Pavarotti he knew
- Mirella Freni, one of the great operatic divas of recent times and close friend of Pavarotti, recounts her memorable Pavarotti moments
- We showcase photographs from across Pavarotti’s lifetime, including him with Carreras, Domingo, Frank Sinatra, Dame Joan Sutherland and Sir Georg Solti, as well as him as a young man
Opera Holland Park announces independence
1 October 2015
Opera Holland Park (OHP) has formally become an independent charity.
The change in status comes after nearly 20 years as a department of the Royal Borough of Kensington and Chelsea. It will continue to perform in its current venue and will maintain its founding values.
OHPOHP will receive a grant from the Royal Borough worth £5 million. Given that company’s average annual subsidy is around £450k, it will use this cash package to generate its own funds.
According to OHP’s website, the change was also prompted by individual donors: ‘We have been encouraged by a significant upsurge in pledges to our new Founders Fund, something we always believed would be the case since donors tend to have a different attitude towards funding an independent charitable entity rather than Council initiatives.’
A statement from the company reads:
‘The Royal Borough has done a remarkable thing in creating and maintaining an accessible opera company of this standard for so long, but it has to find ways to ensure our future without jeopardising other critical services. This solution was the one that suited both parties best. It is also worth noting that the management of OHP has for some time sought a solution like this because we believe it will offer us the flexibility, freedom to plan and plurality of funding that we have not been able to take advantage of within the confines of Council procedure and public funding. We will continue to have a very close relationship with the Council since we occupy their land and have certain partnerships within the sphere of Inspire.’
OHP general director Michael Volpe said: ‘Both James and I are very excited to finally be taking the company into independence after several years of working through the possibilities. Our board is extremely capable and the company itself is in good hands. As managers of the festival, we now have several degrees more flexibility and we know our patrons will be stepping up to the plate to support us. Artistically, our plans are as ambitious and as interesting as ever and our accessibility aims remain solidly in place.’
OHP announced the news on Twitter, dubbing it ‘OHP Independence Day’.
Opera Holland Park: Independence
October issue out now!
1 October 2015
We celebrate the life and legacy of Luciano Pavarotti in the
first of Rhinegold’s Legends of Music
series with a special 24-page commemorative supplement marking the 80th
anniversary of his birth; Royal Opera House music director Sir Antonio Pappano
speaks to Opera Now about the
importance of encouraging directors to take risks and grapple with subtexts in
opera; and we take a trip to the studios in Rome to preview Warner Classics’
new recording of Verdi’s Aida. Plus,
Michael Tanner examines drama and virtuosity in the operas of Giuseppe Verdi;
soprano Magdalena Anna Hofmann prepares for a season packed with Wagner, Dvořák
and Reznicek; Kent Leong introduces the opera programme at this year’s Macau
International Music Festival; Michael White considers some productions that
stretch the definition of opera to breaking point; Opera Now’s international guide to the best live performances this
autumn; and your chance to WIN a collectors’ edition of Pavarotti on CD.
- Buy the print issue here –
- Buy the digital issue here – just £2.49
- Subscribe here
WNO announces new music director
24 September 2015
Welsh National Opera has announced Tomáš Hanus
as its new music director. The Czech conductor will take up the position in autumn 2016.
Hanus was music director of the National Theatre Brno, Janácek Opera House from 2007-2009, and regularly conducts the Bayerische Staatsoper. He has conducted at the Dresden Semperoper, Bavarian State Opera Munich, the Royal Danish Opera, the Norwegian National Opera and Teatro Real Madrid.
He made his debut with WNO this July, conducting an orchestral concert in St. David’s Cathedral as part of the Fishguard Festival. His first engagements as music director will be concerts in the autumn and spring of 2016/17; he will make his operatic debut with the company with two productions in summer 2017.
Hanus said: ‘I felt an immediate connection with WNO from the moment we first worked together. They have passion, creativity, talent and professionalism. I am looking forward to building a strong relationship both with the company and with the community and to bringing beautiful music to more and more people. It’s a great privilege for me to work with WNO and David Pountney.’
will take up the new role of conductor laureate with immediate effect. Rizzi was music director of WNO from 1992 to 2001 and again from 2004 to 2008 (during which time he played an important part in bringing the company in to their new home at Wales Millennium Centre).
Rizzi said: ‘For me, this title recognises the achievements and advances we made together during my years as music director and also provides the basis for an on-going collaboration with the company, particularly the orchestra and chorus, which I hold in high regard. I look forward to working alongside the new music director and wish him the same joy and satisfaction that I found and continue to find at WNO.’
WNO chairman Geraint Talfan Davies said: ‘WNO is hugely fortunate in having secured the talents of Tomáš Hanus and Carlo Rizzi for the company. They will both ensure that the company’s incredibly high musical standards will be sustained. With the recent appointment of Leonora Thomson as managing director and the extension of David Pountney’s contract as artistic director, the company can face the future with great confidence.’
Welsh National Opera
San Francisco Opera announces next general director
23 September 2015
Matthew ShilvockCory Weaver
San Francisco Opera has announced that Matthew Shilvock will succeed David Gockley as general director. He will take up the position (initially on a five-year contract) on 1 August 2016 following Gockley's retirement.
Shilvock said that he planned to continue commissioning new operas and further exploring the potential of streaming. He also said that he looked forward to programming more intimate works in a new 299-seat theatre in the Diane B. Wilsey Center for Opera, which will open this winter.
The company's associate general director since 2010, Shilvock manages and leads the opera house's departments for music operations, electronic media, education, the San Francisco Opera Center, and rehearsal. He also serves as interim director of development.
Shilvock said: 'I wish to thank the board leadership and search committee for their confidence in offering me the opportunity to be at the helm of this acclaimed international company. It is indeed a humbling invitation, but one I recognise as a great privilege and honor following the legacy of the extraordinary six directors who have led this organisation over its storied history.
'I am committed to ensuring that we remain on the forefront of artistic excellence and innovation. We will bring to this Company the very finest artists and the most compelling productions, creating holistic presentations that move, transform, empower and entertain audiences. San Francisco Opera tells the world’s most powerful stories, and those stories are as relevant today as they ever have been. '
Gockley said of his successor: 'Matthew Shilvock is not only the best choice to succeed me, he is the ideal choice. He possesses a mix of personal qualities that is rare: intelligence, sensitivity, patience, respect for others, gentlemanly demeanor, but firmness when need be. His knowledge of the company is encyclopedic. For every gap in my—and others’—capability, he has filled the hole. I congratulate the San Francisco Opera board of directors for making an inspired choice.'
Born in England, Shilvock decided to become an opera administrator while studying music at Christ Church College, Oxford. He met Gockley through Opera America's fellowship programme, and went on to work with him at the Houston Grand Opera before following him to San Francisco in 2005.
San Francisco Opera
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