White shirt weekend …… Which Octavian?

If you have arrived at this page looking for information about

 Elina Garanča, her schedule and her baby —   CLICK HERE

photocredit: Bettina Stöß

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WHICH OCTAVIAN?

Since the expected White Shirt traveller did not arrive, here are the correct answers.

Both Smorgy and KateK were so nearly there but Howells and Troyanos obviously sound very similar!

Photo/Voice

1. Garanca/ von Otter

2. von Otter/ Koch

3. Kasarova/ Garanca

4. Howells/ Graham

5. Koch/ Troyanos

6. Graham/ Kasarova

7. Troyanos/ Howells

Good guessing everyone and thank you for having a go!

Octavians

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Richard Strauss was inordinately fond of the female voice, and “Der Rosenkavalier” is famed for the beautiful music of the three female-voice roles which comprise its protagonists: Sophie, Octavian, and the Marschallin. This love triangle culminates in the exquisite trio and duet which end the opera.

Octavian, Count Rofrano, one of the most beloved characters in White Shirt opera.

“Marie Thérèse”, his lover, one of the most recognised names and poignant,

deeply felt phrases sung in any opera.

But which voice goes with which picture? Can you recognise a voice from only two words?

You will probably recognise your favourite but what of the others?

Try and sort out the recordings and photos.

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Whatever you are up to and whatever the weather ….

HAVE A WONDERFUL WHITE SHIRT WEEKEND!

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Alcina – 3 further reviews and photos.

Vesselina ist wieder da!!!

( posted as a comment to the review in der Standard )

link to der Standard review published on the 28th September

link to Kurier also on 28th

link  to Operainwien ( Dominik Troger ) 1st October

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(photos: Wiener Staatsoper / Michael Pöhn)

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Alcina	Inga Kalna
Morgana	Veronica Cangemi
Ruggiero	Vesselina Kasarova
Bradamante	Kristina Hammarström
Oronte	Benjamin Bruns
Melisso	Adam Plachetka

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If there is anyone out there – and I’m sure there must be – who can suggest further links on this subject then please let us all know! Has anyone seen both productions and can make comparisons, for instance?

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Tosca from ROH with Gheorghiu, Kaufmann, Terfel on BBC radio.

This is the one which is being shown on BBC2 tv on Christmas eve –  LINK

Tosca recorded at ROH in July this year

Saturday 1st October at 18.00 uk time

World time converter in the side bar  - >

photocredit: Catherine Ashmore/ROH

 BBC iPlayer - time now expired

Jealousy, torture, murder and suicide: the path of true love certainly produces a bumpy ride in Puccini’s Tosca. It’s a work that can make for a compelling night at the theatre. But when, as here, you get a cast, conductor and orchestra all at the top of their game, it is positively overwhelming. In what was the undoubted hot ticket of the season in July this year, three of the great operatic performers of our time are united for one of only two performances: Angela Gheorghiu sings the title role, Jonas Kaufmann is her lover Cavaradossi, and Bryn Terfel is that menacing embodiment of sadistic evil, Baron Scarpia. Antonio Pappano conducts. Not to be missed.

Presented by Suzy Klein in conversation with William Ward who puts Tosca’s Rome setting in context.

Production by Jonathan Kent,  directed by Duncan Macfarland.

Tosca ….. Angela Gheorghiu (Soprano

Cavaradossi ….. Jonas Kaufmann (Tenor)

Scarpia ….. Bryn Terfel (Baritone)

Spoletta ….. Hubert Francis (Tenor)
Angelotti ….. Lukas Jakobski (Bass)
Sacristan ….. Jeremy White (Bass)
Sciarrone ….. Zheng Zhou (Baritone)
Shepherd Boy……William Payne (treble)

Conductor ….. Antonio Pappano.   Chorus and Orchestra of the Royal Opera House, Covent Garden.

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Review and lots of photos from Intermezzo

Review from the London Evening Standard

Review from Ceasefire magasine

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Here is a video of the curtain calls taken at one of the July performances

courtesy of OperaCurtainCalls

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Alcina in Vienna – first review ( that I found on line anyway! )

“Alcina” kehrt mit Marc Minkowski an die Staatsoper zurück

Opernglück mit Händel

Veronica Cangemi as Morgana

I love the translations that Google Translator does on my Mac! – a charming turn of phrase …..

Review by Gerhard Kramer:

Nearly four hours of pure bliss – that brought the revival of George Frideric Handel’s “Alcina” at the Vienna State Opera. The great miracle of this production is the highly intelligent directed by Adrian Noble at the opulent features by Anthony Ward. Remains convinced of the artifice of the “Theatre in the Theatre” staged in her palace, the Duchess of Devonshire with her friends a performance of Handel’s opera. That the necessary, sometimes ironic distance dyed to create the curly act according to baroque gusto, while Noble is divided but the action on stage in a constant Konnex with Handel’s music so compelling that one might think, until you get to this full, touching poignancy. The models trained on Baroque choreography by Sue Lefton is on the all a highlight.

As with the premiere from November 2010 by Marc Minkowski’s Musiciens du Louvre-Grenoble colorful, exciting vital game that unfolds in spite of original sound downright Philharmonic euphony. And even with the singers sitting every nuance of expression, with highest precision and virtuosity as well as the elaborate coloratura diminutions succeed.

Kasarova overwhelmed as a hero with splendid mezzo.
Among them, the evening primarily Vesselina Kasarova belongs in the former castrato of Ruggiero: The arrogance of the ensnared by the sorceress Alcina heroes they characterized as convincingly continues its reversal; overwhelmed vocally the incredibly diverse use of their magnificent mezzo between loosest vocal ornaments and bright highs.

It must be called immediately after Alois Mühlbacher in the boys’ role of Oberto, performed basic musical charm, his clear, the children long since grown soprano voice. A graceful, airy soprano Veronica Cangemi is one of Alcina’s sister Morgana, with a slim design mezzo Kristina Hammerström the disguised Bradamante in search of her unfaithful lover Ruggiero. Benjamin Bruns provide reliable peripheral characters with a light tenor, baritone Adam Plachetka with powerful bass to the stage. New to the ensemble is only Inga Kalna in the title role, has her tending to the dramatic, yet capable of high culture, Piano Soprano his best moments in the presentation of the abandoned, vengeful woman.

Conclusion: A show that could be addictive.    ……. many of us would not argue with that!!

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Anna Netrebko on BBC iPlayer.

Here’s a programme I missed!

It was on today ( Wednesday ) on BBC radio 3 but can be heard on iPlayer for the next 7 days.

 BBC iPlayer time now expired

World renowned Russian soprano Anna Netrebko talks to presenter Sean Rafferty about her new album release ‘Anna Netrebko: Live at the Metropolitan Opera’. Anna also discusses the new season at the Met as she performs the title role of Donizetti’s Anna Bolena which will be shown live in cinemas worldwide next month as part of the Met’s ‘Live in HD’ series.

Sean is joined in the studio by leading Canadian baritone Gerald Finley and pianist Julius Drake performing live ahead of their Wigmore Hall recital of Schumann, Huw Watkins, Stanford, Scott and Sullivan.

MUSIC INCLUDES:

Pergoesi – Stabat Mater dolorosa (opening duet)

Richard Strauss – Cacilie (4 Lieder Op.27)

Mozart – Vendrai, carino from Don Giovanni

Puccini - La Boheme: O soave fanciulla

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Berlioz: La Damnation de Faust on BBC radio

Berlioz: La Damnation de Faust on BBC radio 3

Thursday 29th September at 14.00 uk time

World time converter in the side bar  - >

Sir Willard White as Méphistophélès.  La damnation de Faust video still. Festival de Salzburg 1999

BBC iPlayer time now expired

Opera Matinee this week features a work which defies categorization: part opera and part oratorio, it was inspired by the composer’s reading of a translation of Goethe’s Faust. As Berlioz recalled in his memoirs: “This marvellous book fascinated me from the first…I could not put it down. I read it incessantly, at meals, in the theatre, in the street.”

Berlioz: La Damnation de Faust

Doctor Faust ….. Gregory Kunde, tenor
Mephistopheles ….. Sir Willard White, bass-baritone
Marguerite ….. Ruxandra Donose, mezzo-soprano
Brander ….. Henk van Heijnsbergern, bass

Netherlands Radio Chorus
Netherlands National Children’s Chorus
Netherlands Radio Philharmonic Orchestra
Charles Dutoit, conductor.

Information from wikipedia with synopsis.

Link to free scores

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with thanks, as ever, to the wonderful Smorgy

Smorg’s text for the YT video:

Vesselina Kasarova singing Marguerite’s lamentation, D’Amour, l’ardente flamme, during a performance of Hector Berlioz’s La damnation de Faust at the Salzburg Summer Festival in 1999 (less than a year after giving birth to her son).

Sylvain Cambreling conducting. If you enjoy this, buy the DVD (
http://www.epinions.com/review/mvie_mu-1099738/content_253528215172
 )!! It’s worth it.

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A still from the Salzberg Festival video

Temptation anyone?

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Fry’s Planet Word

If you enjoy Stephen Fry. If you enjoy language. Enjoy this series if you can.

TRAILER

courtesy of mipmarkets

In this exclusive interview with MIPCOM daily News’ Julian Newby, Stephen Fry discusses his new 5-part linguistic documentary series Planet Word, produced by Fry’s company Sprout Pictures.

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In this five-part series, Stephen Fry explores language in all its amazing complexity, variety and ingenuity. In his own distinctive way, he comes to understand how we learn it, write it, sometimes lose it, why it defines us to the very core of our being and can make us laugh, cry, tear our hair out and simply inspire us.

Link to episode guide.

Part of episode 1 on YouTube

image from the BBC

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Vivaldi week on BBC radio.

All programmes now available on BBC iPlayer. Just click the links below.

Antonio Vivaldi (1678-1741)

Starting on Monday 26th September the BBC is featuring Vivaldi as composer of the week. The programmes go out at 12 noon, repeated at  18.00 Monday to Friday and should also be on iPlayer. There is a remarkable selection of excerpts to enjoy as well as the interesting facts about Vivaldi’s life.

Baroque opera  fans watch out for Sonia Prina,  Sandrine Piau,  Marie-Nicole Lemieux,  Jennifer Larmore and Emma Kirkby.

Recorder fans don’t miss Michala Petri.

Those who love the sounds of this fabulous era in music don’t miss several top class Baroque ensembles and conductors.

MONDAY 

link to the 18.00 programme

Donald Macleod begins his story of Antonio Vivaldi (1678-1741), the unconventional priest and composer who wrote The Four Seasons and was rediscovered in the 20th century as one of the most important musical figures of his age.   

Concerto in G minor, Op 8 No 2, Rv315 (3rd mvt) (L’Estate). Giuliano Carmignola (baroque violin), Venice Baroque Orchestra, director Andrea Marcon.

Concerto, Op 8 No 1, Rv269 (La Primavera). Stefania Azzaro (violin), Concerto Italiano, director Rinaldo Alessandrini.

Sum in medio tempestatum, Rv632. Tuva Semmingsen (mezzo), King’s Consort, director Robert King.

L’Olimpiade, Rv725 (excerpt). Roberta Invernizzi (soprano: Megacle), Sonia Prina (contralto: Aristea), Concerto Italiano, director Rinaldo Alessandrini.

Concerto for two violins, lute and continuo, Rv93. Rolf Lislevand, Manfredo Kraemer, Pablo Veletti, Brigitte Täubl, Eva Posvanecz, Laura Johnson, Lorenz Duftschmid, Balasz Maté, Béatrice Pornon, Eduardo Eguez, Brian Feehan, Guido Morini.

TUESDAY

link to 18.00 programme

Donald Macleod sees Vivaldi embark on a professional relationship that will dominate the rest of his career, and take his first tentative steps into the perilous world of opera.

Concerto No 12 in G (La Stravaganza) (excerpt). Rachel Podger (violin), Arte Dei Suonatori Baroque Orchestra.

Bassoon Concerto in B flat, RV503. I Musici, Klaus Thunemann (bassoon).

Mundi Rector de Caelo micanti (Juditha triumphans). Magdalena Kozena (mezzo: Juditha), Anke Herrmann (soprano: Abra), Academia Montis Regalis, Coro Giovanile dell’Accademia Nazionale di Santa Cecilia di Roma, director Alessandro De Marchi.

Orlando finto pazzo (Act 1, Scenes 1-4). Gemma Bertagnolli (soprano: Ersilla), Marina Comparato (mezzo: Tigrinda), Sonia Prina (contralto: Origille), Manuela Custer (mezzo: Argillano), Martin Oro (countertenor: Grifone), Marianna Pizzolato (mezzo: Brandimarte), Academia Montis Regalis, Coro del Teatro Regio di Torino, director Alessandro de Marchi.

L’estro armonico, Concerto No 8 in A minor, RV522. Elizabeth Wilcock (violin), Micaela Comberti (violin), English Concert, director Trevor Pinnock.

WEDNESDAY

link to the 18.00 programme

Having won over his home crowd in Venice, Vivaldi set out to capitalise on his growing fame by finding work and influential patrons abroad. Presented by Donald Macleod.

Dell’alma superba (Serenata a tre). Ernesto Palacio (tenor), I Solisti Veneti, director Claudio Scimone.

Non ti lusinghi la crudeltade (Tito Manlio). Emma Kirkby (soprano: Lucio), Brandenburg Consort, director Roy Goodman.

Sonata No 11 in E flat, RV756. Andrew Manze (baroque violin), Nigel North (archlute), John Toll (harpsichord).

Magnificat, RV610b. Emily Van Evera (soprano), Nancy Argenta (soprano), Alison Place (mezzo), Catherine King (mezzo), Margaret Cable (contralto), Taverner Choir and Players, director Andrew Parrott.

Concerto, Op 8 No 3 (l’autunno, RV293). Antonio De Secondi (violin), Concerto Italiano, director Rinaldo Alessandrini.

THURSDAY

link to the 18.00 programme

Donald Macleod reveals how Vivaldi was ordained a priest, but eschewed the altar for the opera stage and set up home with his favourite soprano and her sister.

Gloria, RV589 (excerpt). John Alldis Choir, English Chamber Orchestra, conductor Vittorio Negri.

La fida ninfa (Trio, Act 1). Sandrine Piau (soprano: Licori), Marie-Nicole Lemieux (contralto: Elpina), Topi Lehtipuu (tenor: Narete), Ensemble Matheus, director Jean-Christophe Spinosi.

Cosi potessi anch’io (Orlando furioso). Jennifer Larmore (mezzo: Alcina), Ensemble Matheus, director Jean-Christophe Spinosi.

Concerto in A minor, RV445. Michala Petri (sopranino recorder), I Solisti Veneti, director Claudio Scimone.

Laudate pueri, Dominum, RV601. Catherine Bott (soprano), Stephen Preston (flute), Purcell Quartet.

FRIDAY

link to the 18.00 programme

Donald Macleod investigates the mystery of why the elderly Vivaldi chose to abandon his home in Venice, ending his days poverty-stricken in a foreign land.

Concerto in F, RV574. King’s Consort, director Robert King.

Concerto funebre in B flat, RV579. Europa Galante, director Fabio Biondi.

Griselda (excerpt, Act II). Carla Huhtanen (soprano: Costanza), Lynne McMurtry (mezzo: Roberto), Jason Nedecky (baritone: Corrado), Aradia Ensemble, conductor Kevin Mallon.

Concerto in C, RV558. Academy of Ancient Music, director Andrew Manze.

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White Shirt Weekend …….. Clever Captions 3

CLEVER CAPTIONS   3

Anja Harteros as Alcina. Taken from the Alcina DVD by Arthaus Musik 2011

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Yes, it’s that production again!

Here is an image of Anja Harteros as Alicina.

Can you think of a witty caption to brighten everyone’s weekend?

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Whether you are peering through the mists of time or not …

HAVE A WONDERFUL WHITE SHIRT WEEKEND

( Which may or may not involve quality time with Alcina herself ! )

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CAPTIONS SO FAR

Why shouldn’t one leave a soprano to her own device in the make up room?

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“. …. when your heart’s on fire
You must realise –
smoke gets in your eyes”

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Ruggero! Ruggero!
“When shall we two meet again? In thunder, lightning, or in rain…”

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Morgana had burnt the toast yet again. It seemed that Big Sister would have to have words with her!

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Live from ROH. Gounod’s Faust. Gheorghiu, Pape, Hvorostovsky, on BBC radio

Do not forget that this is showing in many cinemas

on WEDNESDAY 28th September 2011

Details at the bottom of this page

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LIVE from the Royal Opera House, Covent Garden.

The revival of David McVicar’s production of Gounod’s Faust

Saturday 24th September 2011 at 18.45 uk time

World time converter in the side bar  - >

photocredits: Catherine Ashmore / The Royal Opera 2011

BBC iPlayer time now expired

In the words of the BBC -

Granted, the plot’s not up to much. Cursed by her brother, the virginal Marguerite is left pregnant, miserable, mad and seemingly beyond redemption by the ageing Faust who’s made a devilish pact to exchange his soul for youth. All’s well that ends well though, because by close of play Marguerite has been borne up to heaven by a chorus of angels. But when has an implausible story ever been a problem for an opera? Because what matters about Gounod’s ‘Faust’ (and what has kept it in the repertoire for over 150 years) is a succession of showstoppers, including solo numbers (the famous Jewel Song among them), ensembles and choruses. What ‘Faust’ needs is a stellar cast, which is what we get in this revival of David McVicar’s Royal Opera House production broadcast live from Covent Garden. It’s led by Angela Gheorghiu as Marguerite who’s joined by a trio of fetching men. The young Italian tenor Vittorio Grigolo plays the vile seducer of the title role, the charismatic bass René Pape is the diabolical Méphistophélès who makes Faust an offer he can’t refuse, and smouldering Russian baritone Dmitri Hvorostovsky is Valentin, the brother Marguerite could live without.

Composer  Charles-François Gounod

Original Director David McVicar

Revival Director
Lee Blakeley

Set designs
Charles Edwards

Costume designs
Brigitte Reiffenstuel

Lighting designs
Paule Constable

Choreography
Michael Keegan Dolan

Revival choreography
Daphne Strothmann

Conductor
Evelino Pidò

Faust ….. Vittorio Grigolo (Tenor)

Méphistophélès ….. René Pape (Bass)
Marguerite ….. Angela Gheorghiu (Soprano)
Valentin ….. Dmitri Hvorostovsky (Baritone)
Siebel ….. Michele Losier (Mezzo-soprano)
Martha Schwerlein ….. Carole Wilson (Mezzo-soprano)

Conductor ….. Evelino Pidò
Orchestra and Chorus of the Royal Opera House, Covent Garden.

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This live production is available to watch in cinemas in many countries

on Wednesday  28th September.

Click here for details

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Review from Musical Criticism.com

Review from The Arts Desk

Review and wonderful photos from Intermezzo

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Eyes on the conductor.

RESPECT

Picture the scene …..

A wonderful man in Moscow makes a documentary film about mezzo Vesselina Kasarova visiting his city to rehearse and perform  a concert with the Russian National Orchestra. Having a generous spirit he puts it up on YouTube for Frau Kasarova’s fans to enjoy. People from all over the world have a field day watching, listening, admiring and comparing notes and thoughts. The film covers the rehearsals and gives a rare and extraordinary insight into a world class artist at work with a highly regarded orchestra. There is also footage of Frau Kasarova enjoying the sites of Moscow, giving press conferences and graciously meeting her fans after the concert.

 Frau Kasarova speaks from the heart to a lucky fan.

Arashi tells of her experiences at the concert here in her blog.

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So. What’s not to like?

Like most Kasarova fans, especially those who rarely, if ever, get to see her perform live, I consumed these videos hungrily and at length, relishing the opportunity to see the latest endeavors of our favourite singer. But, dear reader, a strange thing happened to me – I became immensely, blazingly angry and the air became blue with expletives. “Whaaat!  Oh for heaven’s sake.  Look at her, you stupid man.  What are you doing you ******! ”  And the focus of this ire and wrath? …. Thomas Sanderling, the conductor of the rehearsals and concert. Just as I was settling to really enjoy the rehearsal process my eye and ear was constantly drawn by the way this conductor treated his guest soloist.
Example 1.
We all know that orchestra budgets are tight but surely the orchestra could have had a preliminary run through to iron out any problems. Observe here how the soloist is constantly stopped in mid flow so that the phrasing in the orchestra can be addressed. Furthermore, note the way that, towards the end of the clip Frau Kasarova fixes the conductor with a piercing gaze. She is wanting a rapport with him but ends up looking puzzled and shrugging in a defeated manner.

Interruptions

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Rehearsals can be long and tiring but they do NOT need to be tedious. With the right direction and a spirit of cooperation between soloist, orchestra and conductor they can be fun, exciting, exhilarating and deeply moving.

Example 2

The conductor should listen to the delicate phrasing of the soloist and make sure the orchestra plays sympathetically. Observe here how Frau Kasarova sculpts her phrases and looks to the conductor to mirror this – even marking the  stresses with her hand movement. It does not happen. This moment of musical vandalism is unforgivable.

Match my phrasing – for goodness sake!

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Conductors have a duty of care – for the music, for the soloist, for the orchestra.

I see no caring here.

Example 3.

The conductor should listen and observe carefully how his chosen tempo for an aria is affecting the singer. This conductor has chosen a particularly slow tempo for  ”Mon cœur s’ouvre à ta voix” an aria which requires sustained legato singing over a wide range. It is fairly obvious that, although coping, Frau Kasarova would prefer it to move along in places. She is breathing more often than she otherwise would and indicates physically and vocally that she wants more rubato, more urgency as the phrase progresses. Observe a rare smile at 0.30. It is blindingly obvious that singers need to be comfortable with the tempi otherwise they cannot perform as they would wish.

Move along please

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You may like to compare this tempo to that of  ”Mon cœur s’ouvre à ta voix” which Frau Kasarova sang in Berlin in May of this year – the aria starts at 1.35. Or to the version which she sang when recording “Dramatic Arias” – start at 1.37. or better still, enjoy the whole video

Example 4.

If the conductor does not inspire confidence in the soloist, especially one with firm ideas and a strong will, then he risks that soloist taking things into her own hands as Frau Kasarova does here. I have to say she would make an excellent conductor – I have rarely seen a more effective, though extravagant pause, preliminary beat and down beat!

Actions speak louder than words

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Again the shrug of the shoulders at the end.

And, in the final clip – the mark of a considerate professional. It was obvious from the video footage that Frau Kasarova was not always in agreement with Mr. Sanderling but, apart from the attempts she had at mutual musical understanding by means of facial expression, physical movement and the occasional exchange of words, she saved her main argument until they were both in the dressingroom. Here they are “discussing” the phrasing of ”Mon cœur s’ouvre à ta voix”

The disagreement

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She tries to explain that she has put a lot of work into this particular aria. All she wants is more rubato so that the phrase she is illustrating is not in 4 strict beats but a delay on the third before moving off on the final 3 quavers. Is that too much to ask? You can see how frustrated she is getting that he won’t listen to logical argument. He really does not want to discuss this and keeps fobbing her of by saying that it was OK on the second rehearsal. Can he not treat her as a musician on an equal footing rather than as a child ( you noticed the “paternal” hug to end the conversation? ) Is this agism, racism, sexism or laziness?

Has he heard of the word respect?

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It is remarkable the change in Frau Kasarova’s demeanour when she has eye contact and rapport with someone. In the following clip she communicates to someone in the body of the hall – possibly the wonderful Denis? There is a smile, a wink, a joke and she becomes more relaxed. She then goes to sing the rest of the aria to the orchestra who, interestingly, also do not look at her ( at least the players we can see ) Are they so afraid to look away from their music? Are they reluctant to enjoy themselves? Is it just another day at the office? or do they react differently under different conductors – that is a distinct possibility. I found this rehearsal under Russian conductor Mikhail Pletnev  and you can immediately see that the orchestra, by their synchronised movements, seems to be in complete accord with this conductor. The reserve is gone. They are involved. So, the detached approach during Frau Kasarova’s rehearsal and concert would seem to be a direct consequence of  ”The Sanderling Effect”

Tancredi – Di tanti palpiti

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I wish to make it clear that these are personal thoughts and reactions and I am well aware that some may not agree. Some may think that Sanderling is a very good conductor. But if  the most unique and fiercely individual force of nature is singing 2m away from you and you do not watch, listen, cooperate, empathise and love then you are no musician but a flinty combination of stone and ice. How many of you could experience this woman singing the words “Ah! réponds à ma tendresse! “ warmly and passionately and remain inflexible, unmoved and unresponsive?

My main observations of this conductor’s work in this context:

• He rarely takes his eyes off the score. Everyone has the ability to use the language of the eyes and the face – not everyone does.
• His gestures are pedantic, inflexible, quite clear in the strict tempo music but singularly unhelpful in rubato passages. He just hangs around in mid-air rather than subdividing the beat – this is more clearly seen in the video of the concert. Luckily the orchestra could hear the soloist and could go with her during these moments.
• He seems to inspire no respect from the orchestra if one can judge from their attitude. I may have this wrong though. I was not there and can only go on gut feeling from the available visual evidence.

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Большое спасибо

My thanks, along with those of every Kasarova fan,  go to Denis Zakharov who has graciously given me permission to edit and use his videos. He has written on his blog full details of the days spent with Frau Kasarova ( is he not just the luckiest man on the whole planet? ) and all the videos can be seen in full on his Youtube channel or on Smorg’s playlist. There are videos also of the concert posted by Dolchev and Krelena2009

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Denis Zakharov is a journalist, writer, and a playwright.  He was born in Russia on April 27th 1978 into a family of literary workers. In 2000 he graduated from Russia State Social University (Moscow) with a degree in journalism, and in 2002 he was awarded a secondary degree of master of historical sciences.  Denis worked for a long time as a scriptwriter for a popular television talk shows and political programs.  In 2005 he graduated a screenwriter’s course with the Russo-American production company “Amedia & Sony Picturies” (sitcom production).  Since 2005 he has been working in PR, promoting theater and film projects in the Russian market. He has collaborated with Dmitry Khvorostovsky, Nikita Mikhalkov on the film “12″ (Golden Lion 75th Venice Film Festival 2007), Yegor Konchalovsky film “Conserves”, and Andrei Eshpai on the film “Ellipsis” (winner of the CICAE Award, Locarno International Film Festival in 2006).   In 2006, he accompanied the Brazilian writer Paulo Coelho (The Alchemist) on a tour of Russia as a press attache.  In April 2007, his novel “Hitting God” hit the Russian book market and has 50 thousand copies in circulation, lasting for 3 weeks on the Russian best-seller list. He has been engaged in writing plays since 2005. He currently lives in Moscow.

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And finally – if you are a White Shirt click here !

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Post script.

I have just read that Sanderling’s father Kurt died on 17th September. As much as I disagree with his conducting in this instance, I now realise that Thomas may have been under some strain at the time. I am sorry for his loss.

Guardian obituary

Janáček – Káťa Kabanová on BBC radio.

BBC radio Thursday Opera Matinee

Janáček’s Káťa Kabanová recorded at the Vienna State Opera earlier this year

Thursday September 22nd at 14.00 uk time

World time converter in the side bar  - >

Marcus Pelz, Marian Talaba, Janice Watson and Deborah Polaski in

‘Katya Kabanova’ at the Vienna State Opera.

Photocredit:Viennese State Opera, Michael Poehn)

Link to BBC iPlayer for listen on demand for 7 days after broadcast

Ask any soprano for the most truthful portraits of women in opera, and somewhere near the top of their list will be Janacek‘s  Katya Kabanova. Janacek doesn’t seem to have been able to empathise with his own wife, but he had no problem doing so with his operatic heroines – and Katya, perhaps, most of all. A carefree young woman trapped in an oppressive society, and in a marriage with a decent man but a sadistic, domineering mother-in-law, Katya finds her own needs and feelings stifled at every turn. Can she find happiness?

Based on a nineteenth-century Russian play, Katya Kabanova is broadcast in conjunction with the Radio 4 focus this week on the twentieth-century Russian novel ‘Life and Fate’. This new Vienna State Opera production starts in a small nineteenth-century Russian village, but ends in ‘Little Odessa’ – the Russian enclave of New York City, after the Second World War.

Katya ….. Janice Watson (soprano)
Kabanicha ….. Deborah Polaski (contralto)
Tichon, her son ….. Marian Talaba (tenor)
Dikoj ….. Wolfgang Bankl (bass)
Boris, Dikoj’s nephew ….. Klaus Florian Vogt (tenor)
Varvara ….. Stephanie Houtzeel (mezzo-soprano)
Vanya Kudrjas ….. Norbert Ernst (tenor)
Kuligin ….. Marcus Pelz (baritone)
Feklusa ….. Donna Ellen (mezzo-soprano)
Glasa ….. Juliette Mars (mezzo-soprano)
Vienna State Opera Chorus and Orchestra
Franz Welser-Möst (conductor)

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Review from The Opera Critic

Synopsis and photos from World of Opera

Link to free scores

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Il Trittico live from ROH. BBC radio.

Puccini’s Il Trittico on BBC radio

SATURDAY 17th AUGUST at 18.20 uk time

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FRANCESCO DEMURO AS RINUCCIO AND EKATERINA SIURINA AS LAURETTA

photocredit: ROH/Bill Cooper

 Link  iPlayer time now expired.

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The Royal Opera House season begins with a production of Il Trittico, directed by Richard Jones and broadcast live. Puccini’s triple bill comprises three contrasting one act operas encompassing lust, murder, faith, romance and comedy. In Il Tabarro Eva-Maria Westbroek sings Giorgetta whose affair with a deckhand provokes her husband to murder. Then we move to the world of a convent where Suor Angelica sung by Ermonela Jaho has been banished for having an illegitimate child. Both these are new productions. Finally a revival of Richard Jones’ production of the farcical comedy where Gianni Schicchi, sung by Lucio Gallo, tricks a grasping family out of its inheritance.

Donald Macleod presents and is joined by Italian opera scholar, Roger Parker. Plus an interview with Elaine Padmore, the outgoing Director of Opera at the Royal Opera House.

Il Tabarro
Michele…..Lucio Gallo (Baritone)
Luigi….. Aleksandrs Antonenko (Tenor)
Tinca….. Alan Oke (Tenor)
Talpa….. Jeremy White (Bass)
Giorgetta…..Eva-Maria Westbroek (Soprano)
Venditore…..Ji-Min Park (Tenor)
Frugola….. Irina Mishura (Mezzo-soprano)
Lovers…..Anna Devin (Soprano)
…..Robert Anthony Gardiner (Tenor)

Suor Angelica
Sister Angelica….. Ermonela Jaho (Soprano)
The Princess…..Anna Larsson (Mezzo-soprano)
The Abbess…..Irina Mishura (Mezzo-soprano)
The Monitress…..Elena Zilio (Mezzo-soprano)
Mistress of the Novices…..Elizabeth Sikora (Mezzo-soprano)
Sister Genovieffa…..Anna Devin (Soprano)
Nursing Sister…..Elizabeth Woollett (Soprano)
Alms Sisters …..Gillian Webster (Soprano)and Kathleen Wilder (Soprano)
Sister Osmina…..Eryl Royle (Soprano)
Sister Dolcina…..Elizabeth Key (Soprano)

Gianni Schicchi
Gianni Schicchi…..Lucio Gallo (Baritone)
Lauretta…..Ekaterina Siurina (Soprano)
Rinuccio…..Francesco Demuro (Tenor)
Zita…..Elena Zilio (Mezzo-soprano)
Gherardo…..Alan Oke (Tenor)
Nella….. Rebecca Evans (Soprano)
Betto di Signa….. Jeremy White (Bass)
Simone…..Gwynne Howell (Bass)
Marco…..Robert Poulton (Baritone)
La Ciesca…..Marie Mclaughlin (Soprano)
Spinelloccio…..Henry Waddington (Bass)
Ser Amantio di Nicolao…..Enrico Fissore (Baritone)

Royal Opera House Orchestra
Royal Opera House Chorus
Conductor ….. Antonio Pappano.

White Shirt Weekend …… White shirt ‘n’ waistcoats.

White Shirts ‘n’ Waistcoats

My stay in Hay on Wye has been memorable not only for the amazing countryside, local hospitality, regional delecacies, and books, books , books but also for the antique markets. This is a collection of 26 dealers selling a feast of antiques, collectables, kitchenalia, jewellery and, joy of joys …vintage clothing. I found a fabulous array of Victorian, Edwardian and early 20th century clothes and accessories including white shirts. There were shirts with ruffles, with starched collars, with wing collars, Granddad shirts without collars, shirts with large cuffs, 3 button cuffs, ruffled cuffs

 … you get the picture?

There was also row upon row of neckties and cravats and a whole section devoted to vintage waistcoats, including my very favourite style – the one with the soft, silky,  satin back with the little belt fastener to make a snug fit.

 And SO tactile ..

photos are stills from Gluck’s Orphee. Bavarian State Opera, Munich, Studio Farao DVD. 

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Whether you are togged up in white shirt and waistcoat or not ...

HAVE A WONDERFUL WHITE SHIRT WEEKEND!

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I know my weekend will be good – I’ve got a date with Alcina!

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White Shirt Weekend …….. A postcard.

A White Shirt Postcard

Yes. White Shirts do take a break every now and then. Many go travelling, seeking out the joys of live opera – sometimes trekking right around the globe to do so. Thank goodness they do too, because the rest of us who must stay at home always benefit from their generosity in sharing their experiences. ( actually it’s often more like yelling from the rooftops “I’ve seen her” ! )

Myself, I’m sticking nearer to home and, for a while,  diversifying from music into books.

GUESS WHERE I AM?

There are books here ….

lots and lots of them  …

and a book festival here …

and even the old castle grounds are a book shop – with an honesty box.

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Yes. I’m in the Book Capital of the World …

HAY ON WYE

Never heard of it?  You would not be alone.

Hay on Wye is a small town on the Welsh side of the Welsh/English Border in the County of Powys, Wales. It is a tyical border town in that it was fortified, lies on the banks of a river and has had a varied history.On 1 April 1977, bibliophile Richard Booth conceived a publicity stunt in which he declared Hay-on-Wye to be an ‘independent kingdom’ with himself as its monarch. The tongue-in-cheek micronation of Hay-on-Wye has subsequently developed a healthy tourism industry based on literary interests for which some credit Booth. In 2005, Booth announced plans to sell his bookshop and move to Germany and on this occasion the  local MP was quoted as saying “His legacy will be that Hay changed from a small market town into a mecca for second-hand book lovers and this transformed the local economy”.

In the 1960s, the first second hand book shop opened in Hay on Wye , and now the town has 30 bookshops selling mainly second hand books, with over a million books on different subjects on sale. An extension to this bookish activity is the Hay Festival of Literature, an annual event every May, where authors, writers, poets gather to talk and hear about literature. In recent years the festival has branched out to include music and entertainment as well as literature, although they always try to have some big name speakers from the world of literature.

photocredit: Martin Godwin via The Guardian

Hay is a traditional place with an old fashioned pace of living and good manners – a gentleman raised his hat when saying “Good morning” today. People smile and carry wicker shopping baskets.

I am enjoying myself.

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Wherever you are …..

HAVE A WONDERFUL WHITE SHIRT WEEKEND!

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PS. I’ve just heard from the person looking after my house that my Alcina DVD has arrived ….

  and I’m stuck in Herefordshire!

As a white shirt colleague would say …  WAAAAAAAAHHH !

The Last Night of the Proms 2011

 

This post refers to Proms in 2011

For The Last Night Proms 2012 click HERE

Saturday 10th September 2011

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That Great British Celebration of Music …

THE LAST NIGHT OF THE PROMS

photocredit: arts-graphics via The Telegraph

Radio

Listen live on BBC Radio 3 and in HD Sound on the website. Listen online for 7 days after broadcast.

Television & Red Button

iPlayer time now expired

Conductor Edward Gardner leads the traditional festivities of the Last Night of the Proms with performers including super-star pianist Lang Lang playing Liszt and soprano Susan Bullock singing Wagner. Gardner, who is the youngest Last Night conductor since Sir Henry Wood himself on the first Last Night in 1895, brings a youthful verve to the celebrations, and it’s an event he’s looking forward to greatly: “I was aware of the Last Night as a kid and to be involved is extraordinary.” He’s joined by leading dramatic soprano Susan Bullock who performs Brunnhilde’s famous ‘Immolation Scene’ which concludes Wagner’s epic Ring cycle, as well as leading the customary communal singing after the Interval. Super-star pianist Lang Lang – the man who’s inspired millions of Chinese children to take up the piano – performs Liszt, a composer who he describes as a “rock star” but also a “truly great musician” – words that could equally describe Lang Lang himself. But it’s the Prommers who give the Proms their special atmosphere. Standing night after night in the arena and the gallery their attentiveness and enthusiasm for the music inspires performers to produce exceptional performances. They also organise the nightly collection which raises thousands of pounds every year for musical charities. So it’s fitting that this year the party begins with a celebration of the Prommers with a new work by Peter Maxwell Davies commissioned by the Musicians Belevolent Fund who are one of the beneficiaries of the annual collection Sir Peter Maxwell Davies: Musica benevolens (Musicians Benevolent Fund commission – World Premiere) Bartók: The Miraculous Mandarin – suite Wagner: Götterdämmerung – Immolation Scene Liszt: Piano Concerto No. 1 in E flat major Interval Chopin: Grande Polonaise brillante, Op. 22 Grainger: Mo nighean dubh (My Dark-Haired Maiden) Britten: The Young Person’s Guide to the Orchestra Rodgers: The Sound of Music – ‘Climb ev’ry mountain’ Rodgers: Carousel – ‘You’ll never walk alone’ Elgar: Pomp and Circumstance March No. 1 in D major (‘Land of Hope and Glory’) Arne: Rule Britannia Parry(orch. Elgar): Jerusalem The National Anthem Lang Lang (piano) Susan Bullock (soprano) BBC Symphony Chorus BBC Symphony Orchestra Edward Gardner (conductor).

PROMS IN THE PARK

Last Night of the Proms celebrations spill out from London’s Royal Albert Hall, and people come together at venues across the UK to be part of the magic of the Last Night. Events are held in Hyde Park London, Caerphilly Wales , Bangor Northern Ireland and Dundee Scotland. Each show is centred around a live concert with its own high-profile artists, BBC orchestras and presenters. The evenings culminate in a live big-screen link-up to the Royal Albert Hall when all are invited to join Susan Bullock to sing the Sound of Music’s ‘Climb Every Mountain’ and Carousel’s ‘You’ll Never Walk Alone’. Big Screen Locations include: Belfast (City Hall)* Birmingham (Victoria Square) Bradford (Centenary Square) Bristol (Millennium Square) Cardiff (The Hayes) Coventry (Millennium Place) Derby (Market Place)* Dover (Market Square) Edinburgh (Festival Square) Leeds (Millennium Square) Leicester (Humberstone Gate) Manchester (Exchange Square) Middlesbrough (Centre Square)* Norwich (Chapelfield Plain) Plymouth (Armada Way)* Portsmouth (Guildhall Square)* Swindon (Wharf Green)* Waltham Forest (Walthamstow Town Square) Woolwich (General Gordon Place).

* Big Screens Belfast, Derby, Middlesbrough, Norwich, Plymouth, Portsmouth and Swindon will be holding events to celebrate the Last Night of the Proms this Saturday. All other Big Screens will be screenings only, therefore local sound settings and switch off times will be in place.

Der Freischütz live from the Proms. BBC radio.

Weber’s opera Der Freischütz live from the Proms

Friday 9th September 2011 at 19.30 uk time

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photocredit: Chris Christodoulou

Live from the Royal Albert
Hall, London

BBC iPlayer time now expired

Sir John Eliot Gardiner and his team have recently been staging Berlioz’s rarely performed take on Weber’s Der Freischütz at the Opéra Comique in Paris. As originally composed, the work has spoken dialogue in German but, for the Paris production of 1841, Berlioz replaced the dialogue with recitative as well as adding the ballet expected by French audiences at the time. This is the most familiar part of his revision today, an orchestration of Weber’s Invitation to the Dance.

Tonight’s performance of the complete opera in Berlioz’s reconfiguration is its first outing at the Proms.

Carl Maria Friedrich Ernst von Weber ( 1786 – 1826) 

Der Freischütz

(French version, 1841, with recitatives by Berlioz; concert performance)

19.30 – Acts 1 and 2 

Andrew Kennedy (Max)
Sophie Karthäuser (Agathe)
Gidon Saks (Kaspar)
Virginie Pochon (Ännchen)
Matthew Brook (Kuno)
Luc Bertin-Hugault (A Hermit)
Christian Pelissier (Zamiel)
Samuel Evans (Kilian)
Robert Davies (Ottokar)
Monteverdi Choir
Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner (conductor).

Characters and synopsis from Opera Today

21.00 – The interval.  Conductor Sir John Eliot Gardiner talks to Tom Service about tonight’s performance of Der Freischütz by Weber in the version reimagined for French audiences by Berlioz. This work is rarely performed and is regarded as the corner-stone of German Romantic opera.

21.20 Act 3

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Link to free scores

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A rare and brief Kasarova treat. BBC radio.

Friday 9th September at 12.00 uk time

Extracts from Weber’s Oberon on BBC radio 3

BBC iPlayer time now expired.

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BBC radio 3 runs a spot called Composer of the Week at noon every weekday. This week’s composer is Weber and in this programme we will  hear excerpts from his operas Oberon and Euryanthe. This will tie in with the Prom on Friday evening which is Weber’s “Der Freischutz”
1826 saw Carl Maria von Weber in London. He was ill, close to death, and was desperate to do as much as he could to provide for his family in his remaining weeks. Donald Macleod tells the story of Weber’s final few months, including Oberon, his opera for London.

The Oberon recording used is RCA Victor Red Seal distributed by BMG Classics, with the original spoken dialogue in German.

• Carl Maria von Weber — Oberon – extract from Act 2

Conductor: Marek JANOWSKI P
Boje SKOVHUS – Bass (Scherasmin)
Inga NIELSEN – Soprano (Rezia)
Peter SEIFFERT – Tenor
Vesselina KASAROVA – Mezzo-soprano (Fatime)
German Opera Berlin Orchestra

• Carl Maria von Weber — Oberon – extract from Act 1

Conductor: Marek JANOWSKI
Inga NIELSEN – Soprano (Rezia)
Peter SEIFFERT – Tenor
Vesselina KASAROVA – Mezzo-soprano (Fatime)
German Opera Berlin Orchestra
German S O Berlin

Unfortunately there is no information about which extracts will be played so, just in case they are exceptionally brief here is the quartet from Act 2 which Smorg kindly posted some time ago.

• Carl Maria von Weber — Oberon – extract from Act 2

Conductor: Marek JANOWSKI
Inga NIELSEN – Soprano (Rezia)

German Opera Berlin Orchestra

• Carl Maria von Weber — Oberon – extract from Act 2

Conductor: Marek JANOWSKI
Deon van der WALT – Tenor (Oberon)
Heidi PERSON – Soprano (Mermaid)
Hermine MAY – Mezzo-soprano (Mermaid)
Melinda PAULSEN – Contralto (Puck)
German Opera Berlin Orchestra
German S O Berlin

• Carl Maria von Weber — Die Drei Pintos – Entr’acte

Conductor: John GEORGIADIS
Queensland Philharmonic Orchestra

• Carl Maria von Weber — Euryanthe – Cavatina

Conductor: Marek JANOWSKI
Jessye NORMAN – Soprano (Euryanthe)
Dresden State Orchestra

The programme is repeated at 18.30 on the same day

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Beautiful Baroque concert on BBC radio.

Friday 9th September at 01.00 uk time

Yes, that’s 1 oclock in the morning ( but don’t forget good old iPlayer )

or – Thursday evening for the other side of The Pond

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A concert by Baroque specialists Il Giardino Armonico

image from Wiki Commons

 BBC iPlayer time now expired

 A concert by Baroque specialists Il Giardino Armonico including music by Telemann and Vivaldi.

( Their web site is currently under development )

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This is the wonderful orchestra which accompanied mezzo soprano Cecilia Bartoli on her Sacrificium CD and DVD.

If you scroll to bottom of the page there is an extract for you to enjoy, complete with theatricals,     and why not?  This is an excellent band and really deserves to be heard.

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1:00 am.
Giovanni Battista Fontana [c.1592-1631]
Sonata XVI, for 3 violins & continuo

1:06 am.
Tarquino Merula [1594/5-1665]
Ciaccona for 2 Violins and basso continuo (Op.12)

1:10 am.
Johann Heinrich Schmelzerc.1620-1680]
Sonata in D for 3 violins and continuo

1:17 am.
Georg Philipp Telemann, [1681-1767]
Sonata in F for 2 chalumeaux, violins and continuo (TWV 43:F2)

1:30 am.
Antonio Vivaldi [1678-1741]
Trio sonata for 2 violins & continuo (RV.63) (Op.1 No.12) in D minor ‘La Folia’

1:40 am.
Georg Philipp Telemann [1681-1767]
Concerto in D minor for 2 chalumeaux, Strings and continuo (TWV 52:d1)

1:53 am.
Vivaldi
Concerto in G minor for Strings and continuo (RV.157)

2:00 am.
Vivaldi
Concerto in C major, RV.444 for recorder, strings & continuo

2:09 am.
Merula
Ciaccona for 2 Violins and basso continuo (Op.12)

2:14 am.
Vivaldi
Largo from Concerto in C major, RV.444 for recorder, strings & continuo (encore)

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Cecilia Bartoli – Sacrificium.   Profezie, di me diceste - ANTONIO CALDARA

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video courtesy of vivusmusica

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ROH Thaïs with Renee Fleming. BBC radio.

Thursday 8th September at 01.00 uk time

Yes, that’s 1  o’clock in the morning in UK but don’t forget good old iPlayer!

A concert performance of Massenet’s Thaïs

recorded at the Royal Opera House, Covent Garden in June 2007.

Jonathan Swain presents a performance of Massenet’s Thaïs
with Renee Fleming in the title role, recorded at the Royal Opera House, Covent Garden .

Link to BBC iPlayer. Time now expired

Jules Massenet  -  Thaïs – comedie lyrique in 3 acts 

Renée Fleming (soprano) – Thaïs,

Simone Alberghini (bass) – Athaneal,

Robert Lloyd (bass) – Palemon,

Joseph Calleja (tenor) – Nicias,

Ana James (soprano) – Crobyle,

Liora Grodnikaite (mezzo-soprano) – Myrtale,

Claire Shearer (soprano) – Albine,

Nigel Cliffe (baritone) – Servant of Nicias,

Kiera Lyness (soprano) – La charmeuse),

Royal Opera House Chorus, Royal Opera House Orchestra, Andrew Davis (conductor).

Review of this performance from Intermezzo

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