President Obama and Prime Minister Brown have been smiling from the front
pages of all the newspapers after the G20 London Summit, and London’s
parks are looking their vernal best in warm April sunshine. Enough to put even
the dourest music lover in a good mood? Perhaps, but not remotely necessary
after two consecutive evenings of exhilarating vocal accomplishment in the
capital, and both times with singers with their careers still in front of
them.
The ever-stimulating London Handel Festival has always been a launch pad for
young singers just starting out on that difficult phase of their careers
between graduate studies and professional contracts, and their annual opera at
the Royal College of Music’s Britten Theatre this week, Handel’s
Alessandro, this year came up trumps with no less than four very
impressive young artists.
William Relton’s lively, almost cocky, production set in an Oxbridge
in the mid 1930’s was full of sexual and political energy, not to mention
tongue-in-cheek humour, and the young performers carried it all off with aplomb
with some nicely detailed acting from both major and minor roles (the rugger
scrums to freeze-frame strobes particularly effective). But with Handel it must
always be the singing, the singing, and the singing that matters most and it
was the high vocal standards that kept the very long first Act spinning along
in a way that defied the clock.
At the bottom of the vocal scale was the warm, dark, yet agile bass baritone
of James Oldfield, who brought both a calm dignity and emotional depth to his
role as the loyal but morally-troubled captain, Clito. He was matched in vocal
expression and stylish singing by the two rival princesses for
Alessandro’s love, the sopranos Susanna Hurrell (Rosanne) and Sarah-Jane
Brandon (Lisaure). Hurrell has a soubrettish clarity and pin-accurate style
that revelled in the virtuosic coloratura, whilst Brandon displayed an
impressively warm, creamy tone with power in reserve that will, with care, take
her far.
These two soprano roles were of course sung at the premiere in London in
1726 by the Royal Academy’s famous “rival queens”, Cuzzoni
and Bordoni, but they didn’t have all the hype and publicity to
themselves as the title role was sung by the equally celebrated alto castrato,
Senesino. The role of Handel’s soldier-king Alessandro (Alexander the
Great whose empire reached to India in the east) takes some singing, and at
first sight the young (he looks about sixteen, but obviously isn’t)
American countertenor Christopher Lowrey seemed mis-matched to the role. That
is until he opened his mouth, and started to dominate the stage. This young
singer has that rare quality in this voice-type: a properly produced, strong
warm tone, with no hint of that archetypal “English” hooty and
constrained sound that is still too frequently found. His top seems limited at
this stage, but his mid-range is well-supported and capable of some beautiful
sounds. Perhaps just as important for any future operatic career is his obvious
delight in being on stage and his ability to hold the eye – not always
obvious in other young singers at this level. A Handelian star in the making
one hopes.
Sarah-Jane Brandon (Lisaura), Christopher Lowrey (Alessandro) and Susanna Hurrell (Rossane) with cast [Photo by Chris Christodoulou]
The supporting roles were all competently and affectingly sung by Ben
Williamson, Rosie Aldridge (a notable “revenge” aria in Act Two)
and John McMunn, and the Chorus made the most of their rugby-as-warfare
opportunities. All were supported throughout by the resident London Handel
Orchestra under Laurence Cummings, who played with verve and style,
notwithstanding some dynamic imbalance in the wind section in Act Two.
London Handel Singing Competition
Turning to singing as a blood-sport, each year Handel’s own church of
St. George’s, Hanover Square, fills with a crowd of dyed-in-the-wool
Handelians anxious to assess this crop of Finalists, and even more determined
to match their skills against those of the official Jury. As ever, this
included the cream of English baroque specialists past and present – John
Mark Ainsley, Christian Curnyn, Catherine Denley, Gillian Fisher, Michael
George and, as Chairman, Ian Partridge.
![Ruby%20Hughes%20web[1].gif](http://www.operatoday.com/Ruby%2520Hughes%2520web%5B1%5D.gif)
Ruby Hughes, winner of the London Handel Singing Competition [Photo courtesy of London Handel Festival]
In recent years, the standard of singing has risen consistently with some
outstanding young artists emerging to confirm burgeoning careers: Andrew
Kennedy, Iestyn Davies and Lucy Crowe to name just three. This time around
there was a fascinating imbalance in the voice-types reaching the semi-finals
which may indicate merely a quirk of fashion, or may be something to worry
about: where are all the tenors and baritones? We know that Handelian tenor
roles of note are less than numerous, but surely there are ample opportunities
for a good low voice to enjoy? This year it seems, the sopranos and
countertenors ruled the roost.
Semi finalists:
David Allsopp counter-tenor
Michal Czerniawski counter-tenor
Gary Crichlow counter-tenor
Ruby Hughes soprano
George Humphreys baritone/bass
Anna Huntley mezzo-soprano
Annabel Mountford soprano
Sarah Power soprano
Alexandra Rawohl mezzo-soprano
Elinor Rolfe Johnson soprano
Kirstin Sharpin soprano
Luanda Siqueira soprano
Belinda Williams mezzo-soprano
Owen Willetts counter-tenor
Lisa Wilson soprano
Finalists:
Gary Crichlow counter-tenor
Anna Huntley mezzo-soprano
Ruby Hughes soprano
Luanda Siqueira soprano
David Allsopp counter-tenor
As it happened, on the night, all five singers had to work under some
difficulty as there was an unfortunate sudden collapse of an audience member
which necessitated urgent medical attention and held up proceedings for over 35
minutes. The eventual winner of both the Adair (First) Prize and the Audience
Prize (for once there was no difference of opinion) was clearly not a difficult
choice for the jury: young Ruby Hughes, soprano, showed a professionalism and
vocal finish in her programme which stood out head and shoulders above her
rivals. Her larger instrument, with a warm, bright tone that was even through
the range, enabled an expressive delivery that drew every bit of drama from her
choices from Theodora, Giulio Cesare, Jephtha and
Samson. Anna Huntley, mezzo-soprano, was the worthy second prize
winner and lacked just a little in volume and projection compared to Hughes,
despite some lovely detailed work and judicious use of vibrato.
Sue Loder © 2009.
image=http://www.operatoday.com/ChrisLowrey%26SusannaHurrell0.gif
image_description=Chris Lowrey (Alessandro) and Susanna Hurrell (Rossane [Photo by Chris Christodoulou]
product=yes
product_title=G. F. Handel: Alessandro (HWV 21)
product_by=Alessandro: Christopher Lowrey; Rossane: Susanna Hurrell; Lisaura: Sarah-Jane Brandon; Tassile: Ben Williamson; Clito: James Oldfield; Leonato: John McMunn; Cleone: Rosie Aldridge. Laurence Cummings, conductor. William Relton, director. Cordelia Chisholm, designer. London Handel Orchestra. Adrian Butterfield, leader
product_id=Above: Chris Lowrey (Alessandro) and Susanna Hurrell (Rossane [Photo by Chris Christodoulou]
Reasons to be Cheerful
President Obama and Prime Minister Brown have been smiling from the front
pages of all the newspapers after the G20 London Summit, and London’s
parks are looking their vernal best in warm April sunshine. Enough to put even
the dourest music lover in a good mood? Perhaps, but not remotely necessary
after two consecutive evenings of exhilarating vocal accomplishment in the
capital, and both times with singers with their careers still in front of
them.
The ever-stimulating London Handel Festival has always been a launch pad for
young singers just starting out on that difficult phase of their careers
between graduate studies and professional contracts, and their annual opera at
the Royal College of Music’s Britten Theatre this week, Handel’s
Alessandro, this year came up trumps with no less than four very
impressive young artists.
William Relton’s lively, almost cocky, production set in an Oxbridge
in the mid 1930’s was full of sexual and political energy, not to mention
tongue-in-cheek humour, and the young performers carried it all off with aplomb
with some nicely detailed acting from both major and minor roles (the rugger
scrums to freeze-frame strobes particularly effective). But with Handel it must
always be the singing, the singing, and the singing that matters most and it
was the high vocal standards that kept the very long first Act spinning along
in a way that defied the clock.
At the bottom of the vocal scale was the warm, dark, yet agile bass baritone
of James Oldfield, who brought both a calm dignity and emotional depth to his
role as the loyal but morally-troubled captain, Clito. He was matched in vocal
expression and stylish singing by the two rival princesses for
Alessandro’s love, the sopranos Susanna Hurrell (Rosanne) and Sarah-Jane
Brandon (Lisaure). Hurrell has a soubrettish clarity and pin-accurate style
that revelled in the virtuosic coloratura, whilst Brandon displayed an
impressively warm, creamy tone with power in reserve that will, with care, take
her far.
These two soprano roles were of course sung at the premiere in London in
1726 by the Royal Academy’s famous “rival queens”, Cuzzoni
and Bordoni, but they didn’t have all the hype and publicity to
themselves as the title role was sung by the equally celebrated alto castrato,
Senesino. The role of Handel’s soldier-king Alessandro (Alexander the
Great whose empire reached to India in the east) takes some singing, and at
first sight the young (he looks about sixteen, but obviously isn’t)
American countertenor Christopher Lowrey seemed mis-matched to the role. That
is until he opened his mouth, and started to dominate the stage. This young
singer has that rare quality in this voice-type: a properly produced, strong
warm tone, with no hint of that archetypal “English” hooty and
constrained sound that is still too frequently found. His top seems limited at
this stage, but his mid-range is well-supported and capable of some beautiful
sounds. Perhaps just as important for any future operatic career is his obvious
delight in being on stage and his ability to hold the eye – not always
obvious in other young singers at this level. A Handelian star in the making
one hopes.
The supporting roles were all competently and affectingly sung by Ben
Williamson, Rosie Aldridge (a notable “revenge” aria in Act Two)
and John McMunn, and the Chorus made the most of their rugby-as-warfare
opportunities. All were supported throughout by the resident London Handel
Orchestra under Laurence Cummings, who played with verve and style,
notwithstanding some dynamic imbalance in the wind section in Act Two.
London Handel Singing Competition
Turning to singing as a blood-sport, each year Handel’s own church of
St. George’s, Hanover Square, fills with a crowd of dyed-in-the-wool
Handelians anxious to assess this crop of Finalists, and even more determined
to match their skills against those of the official Jury. As ever, this
included the cream of English baroque specialists past and present – John
Mark Ainsley, Christian Curnyn, Catherine Denley, Gillian Fisher, Michael
George and, as Chairman, Ian Partridge.
In recent years, the standard of singing has risen consistently with some
outstanding young artists emerging to confirm burgeoning careers: Andrew
Kennedy, Iestyn Davies and Lucy Crowe to name just three. This time around
there was a fascinating imbalance in the voice-types reaching the semi-finals
which may indicate merely a quirk of fashion, or may be something to worry
about: where are all the tenors and baritones? We know that Handelian tenor
roles of note are less than numerous, but surely there are ample opportunities
for a good low voice to enjoy? This year it seems, the sopranos and
countertenors ruled the roost.
Semi finalists:
David Allsopp counter-tenor
Michal Czerniawski counter-tenor
Gary Crichlow counter-tenor
Ruby Hughes soprano
George Humphreys baritone/bass
Anna Huntley mezzo-soprano
Annabel Mountford soprano
Sarah Power soprano
Alexandra Rawohl mezzo-soprano
Elinor Rolfe Johnson soprano
Kirstin Sharpin soprano
Luanda Siqueira soprano
Belinda Williams mezzo-soprano
Owen Willetts counter-tenor
Lisa Wilson soprano
Finalists:
Gary Crichlow counter-tenor
Anna Huntley mezzo-soprano
Ruby Hughes soprano
Luanda Siqueira soprano
David Allsopp counter-tenor
As it happened, on the night, all five singers had to work under some
difficulty as there was an unfortunate sudden collapse of an audience member
which necessitated urgent medical attention and held up proceedings for over 35
minutes. The eventual winner of both the Adair (First) Prize and the Audience
Prize (for once there was no difference of opinion) was clearly not a difficult
choice for the jury: young Ruby Hughes, soprano, showed a professionalism and
vocal finish in her programme which stood out head and shoulders above her
rivals. Her larger instrument, with a warm, bright tone that was even through
the range, enabled an expressive delivery that drew every bit of drama from her
choices from Theodora, Giulio Cesare, Jephtha and
Samson. Anna Huntley, mezzo-soprano, was the worthy second prize
winner and lacked just a little in volume and projection compared to Hughes,
despite some lovely detailed work and judicious use of vibrato.
Sue Loder © 2009.
image=http://www.operatoday.com/ChrisLowrey%26SusannaHurrell0.gif
image_description=Chris Lowrey (Alessandro) and Susanna Hurrell (Rossane [Photo by Chris Christodoulou]
product=yes
product_title=G. F. Handel: Alessandro (HWV 21)
product_by=Alessandro: Christopher Lowrey; Rossane: Susanna Hurrell; Lisaura: Sarah-Jane Brandon; Tassile: Ben Williamson; Clito: James Oldfield; Leonato: John McMunn; Cleone: Rosie Aldridge. Laurence Cummings, conductor. William Relton, director. Cordelia Chisholm, designer. London Handel Orchestra. Adrian Butterfield, leader
product_id=Above: Chris Lowrey (Alessandro) and Susanna Hurrell (Rossane [Photo by Chris Christodoulou]