Opera Interviews
theartsdesk Q&A: Conductor Edward GardnerSaturday, 31 October 2015
It’s odd seeing the whole of Edward Gardner, as upright as a guardsman until a passionate passage unleashes a repertoire of fierce jabs, deft feints and rapid thrusts. For nine years Gardner's main post was on the podium in the pit of the London Coliseum where all you could see were his disembodied hands and, slowly silvering over the course of his tenure, his schoolboy haircut. Read more... |
10 Questions for Mezzo-Soprano Alice CooteFriday, 17 April 2015
Alice Coote (b.1968) is one of the world’s leading mezzo-sopranos. She grew up in Cheshire, born to two painters, Mark Coote and Mary Moss, and learned her craft at the Guildhall School of Music and Drama, the Royal Northern College of Music and the National Opera Studio. Her breakthrough came in 2000 when, within the time frame of a fortnight, she sang Ruggiero in Handel’s Alcina at the Edinburgh Festival, and Poppea in Monteverdi’s The Coronation of Poppea at the ENO. Read more... |
theartsdesk Q&A: Conductor Jonathan NottMonday, 20 October 2014
When I entered the light and spacious chief conductor’s room in Bamberg’s Konzerthalle, Jonathan Nott was poised with a coloured pencil over one of the toughest of 20th century scores, Varèse’s Arcana. Read more... |
10 Questions for Soprano Sandrine PiauMonday, 29 September 2014
French soprano Sandrine Piau, born in 1965 in a south-western suburb of Paris, has an agile, supple voice. It soars, so critics reach readily for all those bird metaphors: nightingale, sparrow, "she leaves the earth on wings of song" and so on. Read more... |
10 Questions for Conductor Vladimir JurowskiTuesday, 23 September 2014
The Russian conductor Vladimir Jurowski, chief conductor of the London Philharmonic Orchestra, heads its major new series devoted to the music of Sergei Rachmaninov, in context with his forerunners and successors. Read more... |
theartsdesk Q&A: Tenor Michael FabianoWednesday, 16 July 2014
You can usually trust the buzz around rehearsals. From Glyndebourne, five weeks into preparation for La traviata, which opens tomorrow, one of the team working on Tom Cairns’ new production declared in an e-mail conversation that newcomer soprano Venera Gimadieva was possibly the most definitive Violetta yet. Read more... |
theartsdesk Q&A: Mezzo-soprano and Director Brigitte FassbaenderMonday, 30 June 2014
The mezzo-soprano Brigitte Fassbaender, who will be 75 on Thursday 3 July, was unsurpassed for dramatic impact and presence in roles such as Octavian in Der Rosenkavalier and Prince Orlofsky in Die Fledermaus, during a singing career which spanned from the early 1960s to the mid-1990s. Read more... |
theartsdesk Q&A: Soprano Kristine OpolaisTuesday, 17 June 2014
The best that you can usually expect from an interview is that it takes off from stock beginnings in spontaneous and unexpected directions. This one was rather exciting from the start: the end of a day in the life of a new role, Puccini's good-time girl Manon Lescaut, for lyric-dramatic soprano Kristine Opolais. Read more... |
theartsdesk Q&A: Director Jonathan KentSunday, 01 June 2014
Jonathan Kent was an actor before he was a director. Indeed, he had not directed a single play when in his mid-40s he assumed control of the Almeida Theatre in 1990. By the time he and his co-artistic director Ian McDiarmid has left more than a decade later, they had enforced a vital shift in the ecology of London theatre. Read more... |
The Seckerson Tapes: Soprano Corinne WintersSunday, 01 June 2014
In February 2013 Corinne Winters created an absolute sensation in her operatic European debut when Peter Konwitschny’s starkly intense staging of Verdi’s La Traviata arrived at English National Opera. Vocally, physically, dramatically her Violetta (“the whore who gets all the best tunes”, according to Konwitschny) was so “complete”, so unanimously greeted by superlative reviews, that it marked a highly significant arrival on the international opera scene. Read more... |
Pages
latest in today
Help to give theartsdesk a future!
It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
The Producers, Menier Chocolate Factory review - liberating...
There is something deliciously perfect about the timing of The Producers’ arrival at the Menier Chocolate Factory. In these...
La rondine, LSO, Pappano, Barbican review - sumptuous orches...
There are no battlement leaps or murderous vows, no pistols or daggers, not so much as a slight cough disturbs the serene plot of La rondine...
A Midsummer Night's Dream, RSC, Barbican review - visua...
Hermia is a headbutting punk with a tartan fetish, Oberon looks like Adam Ant and Lysander appears to have stumbled out of a Madness video. Yet...
L’étoile, RNCM, Manchester review - lavish and cheerful absu...
Emmanuel Chabrier’s L’étoile is not exactly a French farce, but it comes from a post-Offenbach era (1877 saw its premiere) when cheerful...
Black Doves, Netflix review - Keira Knightley and Ben Whisha...
It’s rare to spot Keira Knightley in a TV series, and it’s no doubt a sign of changing times that she’s starring in this six-part spies-and-guns...
Vampire Weekend, OVO Hydro, Glasgow review - a mixture of br...
When Vampire Weekend arrived onstage they numbered only three and were bunched together at the front with a large curtain draped behind them,...
The Commander review - the good Italian
Patriotic Italian films set during the Fascist war effort are...
Ballet Shoes, Olivier Theatre review - reimagined classic wi...
Those with treasured battered copies of Noel Streatfield’s 1936 story of three young adopted sisters in pre-war London may have...