I met with Iestyn Davies at 1330 hours precisely, on the steps of the Hippodrome theatre, Bristol, England, where he was singing the role of Hamor in Welsh National Operaís riveting production of Handelís ìJephthaî.
Category: Commentary
Fabulous Mister Fat Belly
He’s a terrible old rogue – but to opera composers, he’s irresistible. Tim Ashley on the deathless appeal of Falstaff
LA Times: A sense of adventure lost. And found.
Conservatism is once more on the rise in the orchestral world but the starchy old Met, under new boss Peter Gelb, is trying to buck the trend.
The Guardian Interviews Violeta Urmana: ‘My voice decides what’s good for me’
First she was forced to sing mezzo roles. Then she was invited to be president of Lithuania. Violeta Urmana tells Tim Ashley why she prefers life as a soprano
Remembering Schumann
According to Charles K. Moss, “Robert Schumann was one of the driving forces of the young Romantic movement in Germany. And like many in his generation, Schumann did not seem destined to become a composer, let alone one who would be so influential in the development of a new style. But music became all-important to Schumann, and he displayed multiple talents as a performer, composer, and literary exponent of Romanticism, championing new composers and their works and influencing the musical tastes of a generation.” This year marks the 150th anniversary of Schumann’s death.
The truth about Shostakovich in his centenary year
Dmitry Shostakovich survived Stalin’s rule by the skin of his teeth. But is his music really the Soviet propaganda that many people claim?
Rosie Millard on the price of tickets at Covent Garden
The Royal Opera House is publicly funded – so why does it charge more than £100 per seat, asks Rosie Millard