English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.
This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).
Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.
The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.
'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.
‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.
The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.
The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.
With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.
Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.
"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
This year the festival offers Handel’s seductive masterpiece Semele, Debussy’s enigmatic Pelléas et Mélisande, Mozart’s Le nozze di Figaro, Rossini’s Il turco in Italia and will conclude with Silver Birch, a large-scale work for a professional cast with local community participants of all ages, commissioned by Garsington Opera, from leading British composer Roxanna Panufnik and librettist Jessica Duchen. The JLT Group is the season’s sponsor for the fourth consecutive year. As part of the Garsington Opera for All programme, funded by Arts Council England and run in partnership with Magna Vitae, Semele will also be screened free of charge in Skegness, Ramsgate, Burnham-on-Sea and Grimsby.
Semele is a love story in which the god Jupiter is captivated by the beauty of the all-too-human Semele; these dramatic and colourful mythological characters inspired Handel’s most memorably beautiful arias. The title role will mark the British debut of American soprano Heidi Stober, an established favourite at some of the world’s most important opera houses, including San Francisco Opera, Deutsche Oper Berlin, the Vienna Staatsoper and the Metropolitan Opera, New York. Singing the pivotal role of Jupiter is Robert Murray with Christine Rice singing his spurned wife Juno. They are joined by Jurgita Adamonytė (Ino), David Soar (Cadmus & Somnus), South African countertenor Christopher Ainslie (Athamas) and Leonard Ingrams Foundation Award winner Llio Evans (Iris). Leading early music specialist Jonathan Cohen will conduct the Garsington Opera Orchestra and Chorus and Annilese Miskimmon, Artistic Director of Norwegian National Opera will direct, in collaboration with designer Nicky Shaw.
Pelléas et Mélisande, Debussy’s only opera, and often considered to be one of the most original in the history of music, is full of shimmering beauty creating a work of intense hypnotic allure. It will feature established French bass-baritone Paul Gay (Golaud) and two rising stars taking the title roles - Jonathan McGovern (Pelléas) and American soprano Andrea Carroll (Mélisande) making her British debut, with Brian Bannatyne-Scott (Arkel) and Susan Bickley (Geneviève). Jac van Steen returns (Strauss Intermezzo 2015) to conduct the Philharmonia Orchestra in its first year of partnership with Garsington Opera. Michael Boyd (director) together with Tom Piper (designer) return following their acclaimed production of Eugene Onegin last season.
Il turco in Italia will be a revival of Garsington Opera’s joyous 2011 production directed by Martin Duncan with designs by Francis O’Connor. Three members of the original cast return - Mark Stone as the poet Prosdocimo, Quirijn de Lang as the dashing Turk Selim, and Geoffrey Dolton as the devoted but dull husband Geronio. They are joined by renowned British soprano Sarah Tynan as the dazzling and flirtatious Fiorilla and rising star Katie Bray as Zaida. Italian tenor Luciano Botelho returns as the love-lorn Narciso. Rossini doyen David Parry will conduct the Garsington Opera Orchestra and Chorus in this glittering musical score.
John Cox’s legendary production of Le nozze di Figaro, first seen at Garsington Manor in 2005, will be recreated for the opera pavilion at Wormsley. Written at the height of his genius, this is one of Mozart’s finest works. Australian born Joshua Bloom (Leporello, Don Giovanni, 2012) will sing the title role with the exciting soprano Jennifer France (Leonard Ingrams Award winner) as Susanna. The Canadian singer Kirsten MacKinnon will make her UK debut as the Countess with Duncan Rock as the Count andMarta Fontanals-Simmons as Cherubino. Stephen Richardson (Bartolo), Janis Kelly (Marcellina), and Timothy Robinson (Basilio) join the vibrant young cast. Douglas Boyd will again conduct this highly acclaimed production with the Garsington Opera Orchestra and Chorus. In June the principals and chorus of Garsington Opera will travel to the Théâtre des Champs-Élysées in Paris to give a semi-staged concert performance of Figaro with the Orchestre de Chambre de Paris conducted by its Music Director Douglas Boyd.
Roxanna Panufnik ’s Silver Birch is a commission for Garsington Opera's Learning & Participation programme with Jessica Duchen as librettist. The production will see over 180 community participants aged 8-80, including recruits from the local military community, performing as dancers, singers, actors, instrumentalists, as well as student Foley artists from Cressex Community School under the guidance of Pinewood Studios Sound Designer Glen Gathard. They will perform alongside favourite Garsington professionals in the cast and orchestra. The story explores the extraordinary power of love within the devastating context of war and makes use of Siegfried Sassoon's poetry from WW1 (some of which was written while staying at Garsington Manor). The creative team isKaren Gillingham director, Rhiannon Newman Brown designer, and Garsington Opera’s Artistic Director Douglas Boyd joins them to conduct. The professional roles will be performed by Sam Furness (Jack), Victoria Simmonds (Anna), Darren Jeffery (Simon), Bradley Travis (Sassoon), Sarah Redgwick (Mrs Morrell) andJames Way (Davey) and the Garsington Opera Orchestra will be playing.
Garsington Opera: inside the auditorium.
GARSINGTON OPERA AT WORMSLEY
For the Handel, Debussy, Rossini and Mozart operas, patrons are invited to arrive from 3.30pm to enjoy the gardens and deer park of the Wormsley Estate before performances begin in the early evening. Those arriving early are able to take a short trip in a vintage bus to the 18th century walled garden. On their return, they can enjoy traditional afternoon tea overlooking the cricket pitch, admire the spectacular views across the deer park and lake from the Champagne Bar, or stroll around the opera garden. In the long dinner interval patrons can dine in the elegant restaurant marquee overlooking the famous cricket ground or have a picnic by the lake, in the garden or in one of the private picnic tents. Performances resume as the evening light begins to fade and end by 10.15pm. A minibus service connects with High Wycombe station, a half hour train journey from London.
DIARY OF EVENTS AT WORMSLEY
Semele (new production) 1,3,9,15,24,30 June, 4 July start time 5.55pm
Le nozze di Figaro (recreation) 2,4,8,10,17 June, 3,6,9,11,14,16 July start time 5.25pm
Pelléas et Mélisande (new production) 16,18,22,25,27 June, 1,7 July start time 5.55pm
Il turco in Italia (revival) 26, 29 June, 2,5,8,10,13,15 July start time 5.55pm
Silver Birch (new commission) 28,29,30 July start time 7.30pm (no interval)
Tickets £135 - £200 including suggestion but non-obligatory donation of £70
Public booking opens 28 March www.garsingtonopera.org
Telephone 01865 361636