News Round Up
19 June 2009
London’s Royal Opera House (ROH) is to build a £60m production park in on a 14 acre site in Thurrock, Essex. Visitors to the park will be able to watch new sets being built in Covent Garden’s workshops and view famous costumes such as the one worn by Maria Callas when she gave her last performances as Tosca at the opera house. The site will host a skills academy where school leavers can train as technicians for the opening and closing ceremonies for the 2012 London Olympics and world tours by acts such as Coldplay and the Rolling Stones. A full-size stage will serve as a training area. The ROH considered relocating to Essex, in the far east of London not far from the Olympic Village, only after the Olympics organisers compulsorily purchased the land where its workshops stood. The props and scenery park is now likely to play a part in reviving the Thames Gateway region, creating 250 jobs and 2,250 training posts and apprenticeships.
Confessions of a Wagner virgin
19 June 2009, Seattle, USA
As part of its ongoing audience-building programme, Seattle Opera has announced a video project featuring a young opera-goer’s first experience of Wagner’s Ring cycle, being staged by the company in late summer. 19 year-old Cassidy Quinn Brettler, a Seattle resident, will present the film (‘Confessions of a First-Time Opera-goer’) having previously had minimal exposure to opera. Her task will involve talking to performers, artistic staff and Ring fans, while exploring behind the scenes and attending rehearsals. The film will be put together by female students on a Reel Grrls media training programme.
Brettler, a media and drama student at Emerson College in Boston, had to fight off the challenge of 49 other would-be presenters, the result coming down to an online poll. Says Brettler: ‘When I was little I thought operas were just things that old people went to, but then I saw Hansel and Gretel a few years ago and really liked it. Brettler reckons she now wants to ‘show everyone how much variety truly exists in the opera genre’. Wagner’s Ring she proclaims as ‘very unique and interesting.’
The progress of Brettler’s work on ‘Confessions’ can be followed online via her own Facebook and Twitter accounts, as well as on a range of Seattle Opera platforms - the company’s own website, Facebook page and Twitter account.
Perfect pitch: new instruments for old sounds at the Glyndebourne Festival
18 June 2009, Glyndebourne, UK
Tony Robson tries out one of the new instrumentsSimon Laundon
In its quest of an ‘authentic early English sound’ Glyndebourne’s forthcoming new production of Purcell’s The Fairy Queen (a festival first) will use a set of new instruments made specifically for the production. Glyndebourne’s associate orchestra, the Orchestra of the Age of Enlightenment, will perform on an entirely new collection of instruments, designed to sound at Purcell’s pitch standard A405, exactly three quarters of a tone flatter than modern concert pitch (A440), and slightly lower than the now conventional ‘Baroque pitch’ (A415).
Tony Robson, oboe and recorder player for the Orchestra of the Age of Enlightenment has been working extensively with Southampton University Purcell specialist Andrew Pinnock to source the various instruments. Speaking about the process, Pinnock said that ‘it was a project lots of us wanted to see happen, for a very long time. I’ve been talking to Tony Robson and Glyndebourne for well over a decade.’ Simply finding and waiting for the instruments for The Fairy Queen took two to three years.
Glyndebourne’s authentic approach has prompted something of a reappraisal of the possibilities of late17th-century English orchestral sound. On the evidence of the rehearsals for Fairy Queen, the psychological and physical effects of the music on both performers and audiences are quite different at the lower pitch of Purcell’s day. ‘Baroque music can be played very well on modern instruments,’ says Pinnock ‘but with copies of old ones, the balance and blend achievable seems to be much more convincing – especially important when accompanying voices.’ It is also thought that by singing at the authentic pitch, the true vocal parts of Purcell’s music ‘fall perfectly into range’.
Marking the 350th anniversary of Purcell’s birth, Glyndebourne’s production of The Fairy Queen will open this Saturday (20 June) with 12 performances until 12 August. There will also be a concert performance as part of the BBC Proms on 21 July. The production is directed by Jonathan Kent and conducted by Baroque specialist, William Christie.
For tickets to this rare and unbridged performance, visit www.glyndebourne.co.uk
Experience counts at this year's BBC Cardiff Singer of the World
16 June 2009, Cardiff, UK
Ekaterina Shcherbachenko; winner of BBC Cardiff Singer of the World Competition 2009Brian Tarr
For the third time in 10 years a lyric soprano has won Cardiff Singer of the World. After Anja Harteros in 1999 and Nicole Cabell in 2005, in 2009 it was a willowy Russian with cheekbones to die for, a silky timbre and soft-focus diction: 32-year-old Ekaterina Shcherbachenko, who – maybe a little controversially – is already an established member of the Bolshoi. A sympathetic stage presence, she had made a home run in round two with Tatyana’s Letter Scene, even if she did push through her tone at the big moments, but for the final she chose to sing in French, Italian and English. Marguerite’s Jewel Song lacked diamantine sparkle and – vitally – a trill; maybe Dame Joan Sutherland, the competition’s evergreen patron, had a chance to take Shcherbachenko aside after the show and give her some tips.
The Russian’s French enunciation was also on the mushy side, but her subsequent ‘Signore, ascolta’ was subtly drawn and featured a fine crescendo on the final note. An adventurous choice, Anne Trulove’s aria from Act 1 of Rake’s Progress again needed more musical and textual clarity – and a slightly sharper climactic top C – though she put plenty of effort into the characterisation. To deserve the ultimate accolade, Scherbachenko, above all as the year’s most mature contestant, should have dominated her chosen material with greater consistency.
The other soprano in the final, Japan’s Eri Nakamura, gave no cause for similar doubts. Currently on the young artists’ programme of the Royal Opera (along with the meticulous tenor Jee-Min Park, this year’s South Korean contestant), Nakamura is a petite woman with a surprisingly big voice, projected with plenty of spin and occasionally reminiscent of Mirella Freni. Her persona is intense – perhaps even a mite overbearing. She impressed rather than charmed in Juliette’s ‘Je veux vivre’ (which popped up several times this year), then swopped over to Giulietta for ‘Oh! quante volte’, slightly overworking the line and expression. Liù’s ‘Tu che di gel sei cinta’ was shaped with welcome dignity, even heroism, while Strauss’ song Cäcilie brought long-breathed phrasing and surging passion.
The three male finalists could hardly have been more strongly contrasted: the tenor Giordano Lucà from Italy, the bass Jan Martiník from the Czech Republic and the countertenor Yuriy Mynenko from the Ukraine. Lucà, who took the audience prize, awarded by viewers and listeners around the entire UK, is just 21 – and occasionally it showed – but his elegance and grace were exceptional as Nemorino, the Duke of Mantua, Macduff and Rodolfo. At the final there were moments of tiredness or tension in the voice, and he is more elegiac, sunny and affectionate than tragic, dashing and seductive, but he is a touchingly unaffected performer. Given time to develop his voice and stage presence, and maybe a little more squillo, he could become an important singer.
Martiník (born 1983), who took first prize in the parallel song competition, sports a mellow, rounded timbre that destines him for the more benign German roles, and he has already sung Sarastro as a member of Berlin’s Komische Oper. Predictably, he was convincing in the lament from Rusalka, but the impact of his Don Basilio and King Philip, both subtly handled, was compromised by his soothingly cushioned timbre and consonants.
There had been hopes that 30-year-old Mynenko would make history by becoming the first countertenor to win the competition. He made a strong case for himself with his refinement, precision and liquid, vibrant tone – more in the vein of Daniels than Scholl – in arias by Riccardo Broschi (brother of Carlo, aka Farinelli), Handel (the tempestuous ‘Crude furie’ from Serse) and Rossini – Tancredi’s ‘Di tanti palpiti’, delivered with panache, if not with a similarly well-schooled mezzo’s thrilling sense of bel canto overdrive.
For your chance to relive any of the week’s events, visit www.bbc.co.uk/wales/cardiffsinger
News round up
13 June 2009
- The Salzburg Festival has announced that that Alexander Pereiria, currently general manager of the Zurich Opera House, will take over as artistic director of the festival from October 2010, planning his first event in 2011. Salzburg's current director, Jurgen Flimm, unexpectedly announced in Dec 2008 that he would step down from the post. Meanwhile, Andreas Homoki, currently Intendant at the Komische Oper in Berlin, will succeed Pereira in Zurich.
- Opera America has announced that the contract of its president and CEO, Marc A Scorca, has been extended through 2016.. In 2010, OPERA America will celebrate 40 years of service to the opera community and Scorca's 20th anniversary with the organisation.
- Cecilia Bartoli has won this year’s Sonning Music Prize, worth 80,000 Euro. The prize has been awarded annually by the Léonine Sonning Muisc Foundation in Denmark since 1959. Bartoli will receive the honour at a concert in Tivoli, Italy, in 2010.
- Washington National Opera (WNO) has announced that Jane Lipton Cafritz has been appointed Chairman of the company’s Board of Trustees, effective July 1, 2009. Cafritz succeeds John J Pohanka, who has served as Chairman for four years.
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