mon 18/11/2019

Opera Features

theartsdesk in Paris - following in the footsteps of Gounod

alexandra Coghlan

It’s a truism that history is written by the victors, but nowhere in classical music is the argument made more persuasively than in the legacy and reputation of Charles Gounod.

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Michael Chance on continuing opera in Hampshire: 'good people like to work with good people'

Michael Chance

Out of the blue comes a phone call. A freelance career is based on those to a certain extent. Certainly mine has been. But this one was a bit different. “Would you come and talk to us about the way forward?”. I soon learnt that what this actually meant was, “would you launch and run a new opera festival for us?”

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Franco Fagioli on performing the Baroque: 'a challenge is to interpret beyond the musical notation'

Franco Fagioli

I started singing when I was nine years old in my primary school choir. I sang plenty of solos there before moving on to another children’s choir; that was a formative experience for me. At this point, I was singing the soprano part and from here I was invited to sing in Mozart’s The Magic Flute. This was my first experience of opera, and one that gave me great joy and satisfaction.

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Soprano Ruby Hughes on Handel's last prima donna

Ruby Hughes

Who was Giulia Frasi? This is so often the response I get when I mention the name of this Italian singer who came to London and became Handel’s last prima donna during the final decade of his life and, consequently, the supreme soprano of English music in the mid-18th century.

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theartsdesk at the Lucerne Easter Festival: Haitink, Schiff and an alternative Passion

David Nice

Anyone passionate about great conducting would jump at the chance to hear 89-year-old Bernard Haitink giving three days of masterclasses with eight young practitioners of the art, his eighth and possibly last series in Lucerne (though he's not ruling anything out). That was the hook to visit this year's Easter Festival.

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Glyndebourne Opera Cup - a view from inside

Jessica Duchen

I was on a panel of six critics convened to choose the winner of a special "media award" at the Glyndebourne Opera Cup on Saturday evening. What follows is therefore not a review, but rather a chance to chew over the concept and its highs (and occasional lows). And you may be intrigued to hear that our panel and the main jury picked the exact same top three winners.

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Having a Verdi ball: conductor Richard Farnes on Opera North's upcoming production

Richard Farnes

Commentators have, over the years, variously described Un ballo in maschera (A Masked Ball) as all things to all people: Verdi’s Tristan und Isolde, Verdi’s masterpiece, Verdi’s Don Giovanni, a pure love poem, and much more. It seems to me to be one of his most consistently exciting works, perfectly proportioned and dramatically astute.

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Best of 2017: Opera

David Nice

It may not have been the best year for eye-popping productions; even visionary director Richard Jones fell a bit short with a tame-ish Royal Opera Bohème, though his non-operatic The Twilight Zone is something else. Instead there's been time to reflect on what makes a true...

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theartsdesk in Stockholm - HK Gruber and sacred monsters

David Nice

It was excellent, flesh-creepy fun back in 1978, when a young Simon Rattle conducted the Liverpool world premiere with the composer declaiming, but how well has Austrian maverick H(einz) K(arl) "Nali" Gruber's "pandemonium" for chansonnier and orchestra Frankenstein!! stood the test of time? One word: brilliantly.

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Remembering Dmitri Hvorostovsky (1962-2017)

David Nice

A certain online scandalmonger and coffin-chaser likes to preface news of deaths in the musical world with "sadness" or "tragedy", usually when neither he nor we have heard of the person in question.

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