Win 10 song recital discs from Harmonia Mundi
20 January 2014
This wide-ranging selection of recital discs offers a panorama of 19th- and 20th-century European song traditions performed by some of today’s finest interpreters. Highlights include two volumes from Matthias Goerne’s Schubert Edition (Die schöne Müllerin and Schwanengesang), a live recital from Ravinia Festival by the celebrated mezzo-soprano Lorraine Hunt Lieberson and Schumann’s Dichterliebe with Mark Padmore. French, English, Spanish and Moravian songs complete the collection – see full details below.
To enter, simply drop us an email with the subject ‘GOERNE’ to firstname.lastname@example.org, or send a postcard to Rhinegold Competitions, 20 Rugby Street, London WC1N 3QZ. Please include your full name, address and a contact telephone number. (Deadline for entries: 28 February 2014.)
- Britten 'Before life & after'
Mark Padmore - tenor
Roger Vignoles - piano
- Canciones españolas
Bernarda Fink - mezzo-soprano
Anthony Spiri - piano
- Dvořák Zigeunerlieder, Songs & Duets
Genia Kühmeier - soprano
Bernarda Fink - mezzo-soprano
Christoph Berner - piano
- Eisler Ernste Gesänge
Matthias Goerne - baritone
- Recital at Ravinia
Lorraine Hunt Lieberson - mezzo-soprano
Drew Minter - countertenor
Peter Serkin - piano
- Schubert Die Winterreise
Werner Güra - tenor
Christoph Berner - piano
- Schubert Schwanengesang
Matthias Goerne - baritone
Christoph Eschenbach - piano
- Schumann Dichterliebe op.48, Liederkreis op.24
Mark Padmore - tenor
Kristian Bezuidenhout - fortepiano
- Victor Hugo en Musique
Konstantin Wolff - bass-baritone
Trung Sam - piano
Italian conductor Claudio Abbado dies aged 80
20 January 2014, Bologna, Italy
Claudio Abbado(Photo: Felix Broede / Deutsche Grammophon)
The Italian conductor Claudio Abbado, former music director of the Teatro alla Scala, has died in Bologna at the age of 80, following a long illness.
Abbado held several positions at La Scala between 1968 and 1986, rising to become artistic director in 1976. He also held the post of music director at the Vienna State Opera from 1986 to 1991, and went on to succeed Herbert von Karajan at the Berlin Philharmonic Orchestra in 1989 – then regarded the top job in the classical music world.
A message on La Scala website mourned Abbado’s passing while celebrating his legacy: ‘Claudio Abbado has left us. But he will remain at La Scala for ever. This is his theatre: the place that will retain, concretely and tangibly, the mark of the conductor without boundaries, the musician without preconceptions, the man of the theatre who was ready to take risks and the human being whose mind reached out to the world.’ Daniel Barenboim, who led a concert in Abbado’s memory at La Scala, said that the world had lost ‘one of the greatest musicians of the past 50 years’.
Above all, the many tributes that have flooded websites and publications since Abbado’s death have highlighted the maestro’s humanity, gentle mastery and genuineness as hallmarks of his personal style. These qualities also came through in his music-making, where he approached even the biggest orchestral scores like chamber music, coaxing results out of his players through his ability to listen rather than behaving like a podium tyrant.
Abbado was born in Milan to a musical family – both parents taught music – and decided to become a conductor at the age of seven after hearing Debussy’s Trois Nocturnes. He went on to study at Milan’s Giuseppe Verdi Conservatory and with Hans Swarowsky at the Vienna Music Academy.
The maestro first came to public attention when he won the Boston Symphony Orchestra’s Koussevitzky Prize at Tanglewood in 1958, although on his own admission he was astonished to come first. He made his debut at La Scala, Milan, two years later; however, the real turning point in his career came when Karajan invited him to perform Mahler’s ‘Resurrection’ Symphony with the Vienna Philharmonic Orchestra at the Salzburg Festival in 1965. This symphony was to become a cornerstone of Abbado’s concert repertoire in the decades that followed.
Aside from his years in Milan, Vienna and Berlin, Abbado was also a principal conductor of the London Symphony Orchestra from 1979 to 1987, and in 2003 founded the Lucerne Festival Orchestra. His commitment to working with younger musicians led him to establish the European Union Youth Orchestra (later to become the Chamber Orchestra of Europe) as well as the Gustav Mahler Youth Orchestra and the Orchestra Mozart.
Abbado leaves behind him an extensive recording legacy with Deutsche Grammophon, his label for 46 years. In July 2013, DG released a 41-CD Abbado edition covering the core works of the symphonic repertoire, and in February 2014 will release a new recording of Mozart’s Piano Concertos K466 and 467 with Martha Argerich.
Claudio Abbado, conductor, born 26 June 1933; died 20 January 2014
- YouTube – Abbado conducts the prelude to Verdi's Macbeth (Teatro alla Scala, 1976)
- YouTube – Abbado rehearses Verdi's Requiem with Monserrat Caballé (1985)
Ruth Jenkins-Róbertsson tackles her first bel canto role
20 January 2014
Ruth Jenkins-Róbertsson(Photo: Mark Whitehouse)
The British soprano Ruth Jenkins-Róbertsson has a passion for playing opera's baddies. She discusses her forthcoming debut as Donizetti's feisty heroine Norina in a new Scottish Opera production of Don Pasquale.
You studied Land Economy as an undergraduate - quite an unusual choice for a musician! Did you always hope to become a singer, or was there a watershed moment that prompted you to switch career paths?
I have always loved singing, particularly out the window as a child to scare people, but growing up it never really occurred to me that it could become a career! At 18 I didn't really know anything about the business, and I didn't think studying singing would be helpful for me at that time. I really enjoyed doing my Land Economy degree, and I also got involved in the Cambridge University Operatic Society. This really opened my eyes and made me start to think about training properly. I ended up getting a job with HSBC when I graduated, but after getting offered a place at the Royal Academy of Music I decided to have a go at that instead!
Who or what have been the most important influences on you during your years of training to be a singer?
My singing teacher, Lillian Watson, and my coach, Audrey Hyland, influenced me the most during my four years at the Royal Academy of Music (RAM). They closely mentored my repertoire and performance every week, gave me the confidence to put it all into action on stage and encouraged me to perform in various concerts, auditions and competitions. Lillian steered me towards Garsington Opera, which gave me my first professional role as Papagena; as you can imagine I was thrilled!
The overall training I received at the RAM was really holistic and I was given some fantastic opportunities. The most significant for me were the Song Circle concerts at London’s Wigmore Hall headed by Richard Stokes, the Kohn Foundation Bach Cantata Series conducted by Iain Ledingham, and the RAM’s opera productions under Jane Glover, directed by John Ramster. My time there enabled me to become a professional singer and I feel lucky to have such a supportive foundation. It was really daunting leaving in 2012 as I had been in education since I was four!
Aside from the RAM I participated in a Samling course, where the teachings of Sir Thomas Allen, Roger Vignoles and Patricia MacMahon had a huge impact on me. It was an intense and thought-provoking opportunity, and I came away with a lot of new ideas. I went on to sing Papagena at Scottish Opera with Sir Thomas Allen directing, which was of course a wonderful experience.
You've been the recipient of quite a few awards. How significant has this support been in helping you to develop as an artist?
Extremely significant! Once leaving college you still need a support network, but everything costs money: lessons, coaching, scores, travel, audition and competition costs, recordings, publicity material … the list goes on! To fund all of this on top of the general costs of life can often be impossible. I'm particularly grateful for the Leonard Ingrams Award from Garsington Opera, which I am using for language training and European audition costs, and the John Scott award from Scottish Opera which has enabled me to continue my singing lessons.
Turning to Scottish Opera's new Don Pasquale, what aspects of the role of Norina are you most looking forward to?
Firstly, I absolutely love the music! I’m really excited about singing my first bel canto role, and have enjoyed exploring the lovely legato passages with the florid coloratura over the past few months. Norina essentially shows three ‘characters’ during the opera: her true self, the sweet girl from the convent and the hellish madam. I love her gutsy, intelligent nature, and am having great fun in rehearsals at the moment exploring all these aspects of her character with director Renaud Doucet. My teacher Lillian Watson has performed Norina several times, and she has given me some brilliant insight into the role. I also feel really privileged to be working with some amazing colleagues.
Norina is quite a feisty, cunning character who always manages to get her own way. Is she someone you admire, or do you think her treatment of Don Pasquale in any way reprehensible?
Although she’s acting primarily in the interests of herself and Ernesto, I think Norina cares about Don Pasquale and never actually means him any harm. She does get a bit carried away in her quest during Act III and she realises that she has gone too far, but I think that is a feature of her fiery and passionate temperament. I do admire her determination and ingenuity, and since the events take place over a short space of time Don Pasquale is not subject to the charade for too long. It’s all for his own good!
What other kinds of roles do you enjoy playing, and why?
Baddies! My favourite so far has been the Queen of the Night in Mozart’s Magic Flute. Although there is always vulnerability to be found, I love the physical and vocal strength that comes with this role. The same goes for Zhou in Sir Peter Maxwell Davies Kommilitonen!, which we premiered at the RAM. You can be a bit crazy and quirky on stage, and I find that letting go in this way makes the music much easier, and more fun, to sing!
What are the challenges that you face, personally, as you make your way as an opera singer? Do you have a 'life philosophy' that motivates you?
I need to be on the ball, ready to audition and with music prepared most of the time, because opportunities often surface at very short notice. With all the travelling that a career as a singer demands I think it’s really important to stay healthy and rested. My husband, the Icelandic bass-baritone Andri Björn Róbertsson, is much better at this than me, so he keeps me on the right track! Remaining determined through the stiff competition is also essential, as is having a life and devoting time to family and friends.
- Scottish Opera’s Don Pasquale will receive four performances in Glasgow between 24 January and 1 February. The production will also tour to Edinburgh’s Festival Theatre from 18 to 22 February. www.scottishopera.org.uk
Massenet’s Manon at the Royal Opera House, London
16 January 2014, London, UK
Riveting: Ermonela Jaho as Manon(Photo: Bill Cooper)
Review by Francis Muzzu
Ingénue, coquette, Grande Horizontale – whichever stage of Manon’s life Ermonela Jaho depicts, whether vertical or indeed horizontal, she conveys the vivacity and allure of Massenet’s great creation. Her soprano is at times too cloudy to be the ideal French instrument, and her diction is decidedly occluded, but she spins an elegant line, shades her tone exquisitely and certainly doesn’t shirk any high alternatives.
When Jaho first runs onto the stage she really does look fifteen years old, and in this revival of Laurent Pelly’s belle époque production she charts her social ascent from Gigi to Nana (and corresponding fall) with a riveting performance. Matthew Polenzani’s Des Grieux is not as dramatic, but Jaho seems to inspire him, and of his plangent tenor there is no doubt – this is a fine instrument used with taste, and his voice blends beautifully with hers.
Pelly’s production is a mixture of the observant and the crass, but provides a simple and sometimes soignée showcase for its singers: the costumes threaten to upstage their wearers at times. The supporting cast is good, though often linguistically impenetrable. Emmanuel Villaume’s conducting is passionate at the expense of delicacy, and some soupy textures deny the score its finesse.
Manon runs at Covent Garden until 4 February.
New music director confirmed at La Scala
11 December 2013, Milan, Italy
Riccardo Chailly(Photo: Gert Mothes)
In an announcement made by Giuliano Pisapia, Mayor of Milan, the trustees of Teatro alla Scala have confirmed the appointment of Riccardo Chailly as the opera house’s new music director from 2017.
Chailly’s name was originally put forward by Alexander Pereira, newly appointed general director of La Scala, who takes up his post at the end of 2014. Confirmation of the appointment has ended months of speculation over who might take over as the head of Italy’s most prestigious and controversial performing arts institution.
The news comes as the European opera world embarks on a round of musical chairs, with La Scala’s current general director, Stephan Lissner, becoming boss of Paris Opera at the end of this season. Meanwhile Pereira is leaving the Salzburg Festival in Austria to take up his role in Milan. La Scala’s current music director, Daniel Barenboim, quits Milan at the end of the 2014 opera season after conducting Beethoven’s Fidelio at La Scala next December. Barenboim will be focusing on his extensive international conducting and performing commitments as well as continuing in his role as music director at the Berlin State Opera.
Currently music director of the renowned Leipzig Gewandhaus Orchestra, 60-year-old Chailly will become La Scala’s principal guest conductor from next year until his full-time appointment in 2017. His arrival in Milan should allay fears that La Scala’s regime change could plunge the theatre into another period of instability. Indeed, his appointment signals continuity, since he once worked under Claudio Abbado during one of the most glittering eras in La Scala’s history, and made his opera-conducting debut at the house in 1978.
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