It’s official, thadieu and I have our tickets for the very silly L’incoronazione di Dario at Torino’s Teatro Regio, where we’ll see this badarse cast under Dantone’s (who else? He loves this one) baton:
|Dario, che viene incoronato re dei persiani tenore||Carlo Allemano|
|Statira, principessa semplice, primogenita
di Ciro contralto
|Argene, sorella minore di Statira contralto||Delphine Galou|
|Niceno, filosofo baritono||Riccardo Novaro|
|Alinda, principessa di Media, amante
di Oronte soprano
|Oronte, nobile perfetto, pretendente
di Statira mezzosoprano
|Arpago, pretendente di Statira soprano||Veronica Cangemi|
|Flora, damigella di corte, confidente delle due
|Ombra di Ciro tenore||Cullen Gandy|
So we know the contraltos but what of the baritone? He was also in the original recording as well as at Festival de Beaune:
And here’s Sr Novaro singing not Vivaldi but spinning rather well on that horse statue:
Whilst scratching my no so cosmopolitan head regarding things to do in Torino other than watching contraltos and friends, a buddy reminded me of the famous shroud.
Why of course! Who wouldn’t want to see that? Except, upon investigation, it turns out that it’s not that often on display. 9/10 times you’re likely to see a copy. Which means you see a copy of a… fantasy. About right for the post truth era 😉 Though we hope all the above musicians show up in old skool real fashion.
Kidding 😉 but she looked so often in my direction I could’ve been fooled. I rather enjoyed the thought – who wouldn’t want Tornami a vagheggiar directed at them?!
Have you ever noticed how cheerful these Baroque-leaning singers are? Gauvin came out with the “crew” and sat down quietly for most of the first half. Well, aside from the times when she was singing, when the wink was on almost from the getgo.
All Handel programme
Karina Gauvin soprano
Le Concert de la Loge, director: Julien Chauvin violin
Giulio Cesare in Egitto HWV17
Da tempeste il legno infranto
Suite in F major ‘Water Music’ HWV348 (excerpts)
Ombre, piante, urne funeste
Organ Concerto in B flat major Op. 4 No. 2 HWV290 (excerpts) something heavy on dueting oboes ❤ lots of fun, Mr and Ms Oboe and team
Will the sun forget to streak
Scherza in mar la navicella
The melisma fest that is Da tempeste is an excellent intro by my standards (more is more where coloratura is concerned) but although it fits Gauvin’s strongest bit of the range very well, I noticed some nerves and a bit of caution with volume (I actually though her voice was tiny but eventually she filled in). Also, whilst I’m noting the minuses, her voice is rather cloudy at the bottom end and support fails her on occasion. There’s also that bit about diction, what diction? However, her playful stage presence and the way she handles her strengths make for a very entertaining evening in her company. There are certain (not very high) notes at the top that are simply gorgeous and full.
I didn’t know Scherza in mar la navicella but it was the right choice to end the first half. By the end Gauvin was positively beaming with joy that I couldn’t supress a chuckle. The first time of the night where I made sure to lead the applause.
Never heard Le Concert de la Loge before (well, they just got together in 2015) but they was tight! Very nice job working together, though on occasion the string section had to catch up with Gauvin.
Tornami a vagegghiar <- as misspelled by Wiggy 😉
Ah, mio cor, schernito sei
Suite in G major ‘Water Music’ HWV350 (excerpts) (not sure about the order of these bits as I wasn’t quite paying attention when the announcer said there had been some changes in the order and placement of the instrumentals (them instrumental bits!))
Concerto Grosso in G major
Mio caro bene Rodelinda
Lascia ch’io pianga Giulio Cesare
I hereby nominate this second half start of a recital as the best ever! You might remember I wrote a post in praise of Gauvin’s Tornami a while ago and last night I had the chance to hear it live 😀 This take was somewhat faster and less lyrical – a good tempo as far as I’m concerned.
As already shown in ‘navicella, Gauvin has a strong flirty side to her personality and rocked this favourite of mine (and of many) to levels where I wasn’t so unhappy when it ended as my pulse was racing. I wouldn’t mind keeling over to something like Tornami but not just yet 😉 give me another 2-3 decades and we’ll talk. It was my pleasure to lead the applause – I have now worked it out just when it’s ok to start clapping as soon as an aced aria ends (the cheerful ones, not the dirges where it’s respectful to give a few moments before the surge).
But that wasn’t all! The oboes, especially lead oboe, were fantastic (through the night) in this. I lucked out by sitting on the side of the winds1 so I heard the details even better than usual. The duet voice-oboe was buttah, playful, really on the beat, lovely communication, directly at fault for my palpitations. And what a sweet tone for those true cult oboes! Just superbe.
I can’t end before mentioning the smooth cellist with the funky crushed velvet trousers, slender hands and sexy dark curls (and Baroque bow). Ahem. You can see why I was hyperventilating between Gauvin’s kittenish charm, Mr Oboe and her. I’m sort of glad I couldn’t upgrade even closer to the stage. I was there for the music! (I swear).
Ah, mio cor was intense enough but I’ve already established that I think Gauvin is at her best when things are more lighthearted or downright foaming at the mouth. That would be Furie terribili! which she once again rocked. That’s another fine piece of Handel-writing. Some people would complain that he writes within a very cliched frame but, come on, how spot on is that fuming piece? You get the gist of it even if your Italian is 0. I saw a bit of that overly dramatic (to self parody heights) Vitellia of a couple of years ago in this. She turned around in her electric blue dress and pointed at the crowd. We were all shaking in our boots 😉 or giggling. Speaking of the dress, nice choice of colour for her and also shoulders. And that just fucked hairstyle suits her.
When she returned for the encores she jauntily said she wouldn’t want to leave us on quite that note (people laughed and I shouted that note was very fine, thank you very much. You shouted?! you might ask, but yes, the atmosphere was the relaxed one Baroque singers usually exude and that loosens yours truly’s tongue to alarming levels). We got the soft and playful (there are soft moments in Rodelinda?! Who knew!) and Lascio, which isn’t a favourite but I already got a good chunk of those and she did it lovely.
All in all, an excellent evening in all kinds of ways. I almost went backstage to tell Gauvin and the cellist that I was accepting marriage proposals 😉
- shoutout to Baroque Bird who hooked me up with a ticket at the right edge of row W from where I shot up to row I (right aisle) when the lights dimmed 😀 Edge of the row tickets are obviously the way to go when you want the option of upgrading. I thought about upgrading to centre aisle but the best thing about aisle edge seats is direct line of view (no heads! The singer can look into your eyes 😉 ). ↩
Written on Skin had its premiere at the Aix-en-Provence Festival in 2012 and ran at ROH in 2013 under the baton of the composer (so we can settle what the composer really wanted in this case). This month it had its first ROH revival, also conducted by Benjamin.
Though I’m not a contemporary opera afficionado I do enjoy keeping abreast at least partially with what’s being written these days. When I first heard it I didn’t like it; not because I found it unlistenable (it’s not); I just didn’t like the vibe. The lack of visuals didn’t help. I wasn’t going to see it this time around either although I really wanted to see Barbara Hannigan live in anything modern and when her date at Wiggy went MIA last Autumn I was at a loss. John suggested this was a good opportunity for just that so I booked a ticket. At £19 what’s one got to lose?
The Protector: Christopher Purves
Agnès: Barbara Hannigan
Angel 1 / The Boy: Iestyn Davies
Angel 2 / Marie: Victoria Simmonds
Angel 3 / John: Mark Padmore
Conductor: George Benjamin | Orchestra of the Royal Opera House
A co-commission and co-production with Festival d’Aix-en-Provence, Netherlands Opera Amsterdam and Théâtre du Capitole de Toulouse
I know by now that there are operas you like just by listening to the music, others where you need visuals to spur you on and some yet that you might only appreciate if you get your arse into the designated space for this type of entertainment. This is one of them (for me). I liked the performance/production a lot; I was not bored for a moment but I don’t know that I’d rush to just listen to it again. I would go see it again but not tomorrow.
However I can see why some have really got into it – it’s got a lot going for it – especially the libretto, with its very compact/concise style, which somehow mixes a lot of poetry in and because of this interesting combo it’s actually rather difficult to discuss. Characters speak as themselves as well as the narrator, modernity and old skool attitudes alternate when you least expect it, as if past and present are running at the same time whilst people live and watch themselves do the act of living.
It is good to see women taking control of their lives in opera, even when the only control they can have is over their own death. Or maybe I’m a miser here, Agnes did have her fun before that. I also liked that she didn’t want to live a lie.
The production, with its interesting mix of modern and ancient, which in this case is as according to the libretto, fits the mood of the work perfectly. (When I was at uni I used to work in the library, where I got to see how books are mended/made. As a result I developed a slight fascination with the process so I was very pleased to see it play an important role in this production.)
I like stage designs that compartimentalise the space because those compartments speak for themselves. Here we had the house where the couple lives (ancient) and the space where the book about them is being written (modern), plus “the woods”, which in some ways is the space where wild things brew.
This is an opera that heavily relies on acting – voice (in many ways it’s an ode to the written/spoken word) and movement alike. The high quality of the production relied on the choice of performers, some of whom have created the roles1. Right off the bat Benjamin’s writing for the voice reminded me of lieder. I bet you this cast is worth hearing in recital as well. It was gripping word drama. Hannigan had the most intense role – a woman awakening to herself – and her highly charismatic stage presence was captivating even in this half-ethereal role but the men + Simmonds (reprising her 2013 ROH role) were all in high form as well.
With a libretto so strongly focused on words, you notice things like diction and pitch and Hannigan’s were both impressive. Agnes, who is quiet and meek (and illiterate) to begin with but very soon blossoms, emboldened by desire – desire to know the world both physically and intellectually – is a refreshing female role.
Davies as The Boy was in very fine voice and he had no problems making himself heard in the amphitheatre over the slender accompaniment, which makes me think ROH can accomodate Baroque/voice all right. The Boy is another interesting role, as he entirely supportive of Agnes on her journey to personhood, as opposed to The Protector (the husband), who’s basically a backwoods bigot, the type who wants his woman barefoot in the kitchen.
He does commission the book The Boy writes/draws about their righteous life (bigots are usually righteous), which I guess means he’s interested in leaving a very good (albeit hypocritical) impression about himself to the rest of the world. So The Boy is somewhere between personal PR and investigative journalist, as he ends up digging the truth about the so-called righteous couple as is promptly assassinated. Purves as the villainous husband had just the right edge and the appealing lied-narration style fit his voice as well as his temper real well.
The performance ran for ~135min without an interval, save for a couple of breaks for scenery change, which the audience used to expel all the pentup coughing (an impressive amount, considering there were no extraneous noises during the performance; in fact the domino effect of dumping air via the mouth likely caused hilarity among the public). I often praise other houses for their atmosphere, but these breaks gave me the opportunity to remember just how enjoyable the ROH auditorium is as well. I do take it for granted and with good reason: it felt like an extension of my personal space.
- Purves and Hannigan. ↩
(Accidents happen or don’t buy opera tickets when very tired/distracted)
I set my alarm for 8am this morning then when the intro to ‘giardiniera started I kicked it and went back to sleep which tells you this ROH Spring brings slim pickings for me.
But when I returned from work I decided to scavenge for anything cheap for The Exterminating Angel (I
don’t like didn’t like Bunuel when I was 19, but based on my very positive experience with Written on Skin I thought I’d try another comtemporary opera) and L’elisir d’amore because of secret soprano crush Kurzak (here with hubby Alagna)… and then I accidentally ended up with Yende and Villazon (they were team A but perhaps unsurprisingly team B sold faster). Now I was curious about Yende anyway but oh dear god, Villazon. Come on, Sr V, prove me wrong 😛
absurd panoply of foul-mouthed tenors, dominatrix mezzos, hell-raising basses and weak countertenor politicians
I’m on board with Ligeti 😉 but yea, Le grand macabre is a bit of a headache for the listener and apparently even more for the performer. Funny soprano Watts makes it all sound… well, not exactly easy but crackable. Yours truly considered attending one of the two Barbican dates but ended up prefering to read the story on account of one contemporary opera per month being about enough of a self-challenge.
ps: three Guardian references in one week? – well, yes, sometimes there are good articles on opera in the Guardian.
I’m often not on board with critics but this time I found myself ditto-ing the entire Clements review for the Guardian back in December (which I read today, so as not to influence my opinion). If you haven’t done so, you can read it here as I’m not going to go over all that since I agree. I’m not sure I have seen a Carsen production live before but this re-tweaked Salzburg one certainly hasn’t made me a fan.
There isn’t – at least in this ROH incarnation – anything wrong with it; it rather reminds me of the current ROH Traviata (also associated with Fleming): goodlooking, lavish and little else. Also as here Act III happens in a brothel, the insistent hammering of “young love is so cute” in the coda (Sophie and Octavian’s duettino is reprised for our pleasure… and because they’re cute, innit) falls flat to me. Then again, maybe I’m a prude and brothels are really romantic. Maybe I just don’t get the deeper meaning but the way the production unfolded I didn’t feel intellectually stimulated to look for one.
On the very bright side I came away with a heightened appreciation for Andris Nelsons. His handling of the ROH forces – with special attention to details (the sprightly, buoyant brass in the overture, ideally evocative of the unencumbered cheerfulness of youth, the excellent interventions of the winds throughout) – and a much welcome Mozart filter through which he saw this Strauss score was close to a revelation for me. Light footed but with energy and body – I really liked hearing it this way! The ROH Orchestra felt fresher than ever. There were some moments, though, when I questioned the slowness/languidity of the tempi. But I was in a funny mood.
Die Marschallin: Renée Fleming
Octavian: Alice Coote
Sophie von Faninal: Sophie Bevan
Baron Ochs: Matthew Rose
Faninal: Jochen Schmeckenbecher
Valzacchi: Wolfgang Ablinger-Sperrhacke
Annina: Angela Simkin
Italian Singer: David Junghoon Kim
Marschallin’s Major Domo: Samuel Sakker
Faninal’s Major Domo: Thomas Atkins
Marianne/Noble Widow: Miranda Keys
Conductor: Andris Nelsons | Choir and Orchestra of the ROH
Director: Robert Carsen
As ‘Rosenkavalier keen followers might remember, two years ago Coote spoke out for Tara Erraught when the Octavian media debacle happened around the Glyndebourne production. One thing is for sure: the costume department has learned the lesson taught by Glyndebourne. All Coote’s costumes, though not lavish, were studiously fitting. Good job ROH costume department! Keep up the excellent trouser role work!
That being established, through the evening I kept thinking about the 2014 Glyndebourne ‘Rosenkavalier production. For all its faults, that one had fizz and I feel it truly understood the spirit of farce so evident in the libretto. This one was overly lyrical and the comedy strangely demure. I wish we had that production with this conducting/orchestra work.
Though I like Strauss, the opera and Coote, the biggest attraction this time was Fleming in a Strauss role in which she has been very successful. I also considered that she isn’t so young anymore and we might not catch many chances to see her in full productions in the future.
My conclusion was manifold. As you know big diva sopranos aren’t my number one pull towards opera, thus I approached Fleming as someone rather exotic. There is indeed a diva air about her – the fur, the silk and, of course, she was bedazzling in jewellery for the grand finale (I genuinely can’t remember a time when I saw someone sparklier on a stage) – but it didn’t eclipse all around her.
The voice is quite obviously in decline – and frankly I don’t know if it’s a voice I would’ve liked at the best of times – with quite acidic edges at the top. Most would agree she has never been a natural on stage, though she certainly has learned to walk across it without fear and with enough classic elegance as to hold an audience’s attention – at least in a role like this. It seemed to me like a woman who has quantified her strengths very realistically and built a career on this realistic assessment.
She also proved her undeniable Strauss qualities to me. Where it counts – in Marschallin’s long Act I monologue – her musicality and vocal control (the famous Fleming portamento, various dynamics) was truly top notch and fleshed out the beautiful voice-orchestra (oboe, flute etc.) dialogue Strauss has written. I thought to myself I can see/hear why she has excelled in Strauss, the voice and her musical temper is made for it. If there is one thing I’m taking with me from having heard Fleming live is this.
The monologue, though, infused the mood of the night to such a degree – and I’m not entirely sure how much of this is it being a vehicle for Fleming, or just the production in itself, or Nelsons’ fault of judgment, or my mood because I’m closing in on a certain age these days and might subcosciously want to stop the clocks too – that it really put a damper of the comedy. Without the score being conducted in a too Wagnerian manner – far from it – maybe perhaps due to an occasionally overly lingering languidity I actually dozed off at the end of Act II and almost fell face first into the bald spot of the chap in the row below.
Sacrilege! Act II is both sweet and funny and Rose as Ochs was very interesting of voice and campy-buffoon rather than uncooth. But one expects Ochs to be boorish rather than just ridiculous. I couldn’t see the country cousin in Rose, as much as I enjoy(ed) his gorgeous bass tone. I’m trying not to be closed minded and as such I’m not saying this winky-campy take was wrong per se. In a sense, with the Marschallin lacking any hint of desperation (she’s just lyrically musing about the passage of time with Octavian as a cute accessory) and Octavian coming off as a completely benign young man, this polished Ochs made sense. The production, too, is clean enough to accomodate a good chap (albeit lecherous) type of cousin.
I still dozed off.
Coote, as a perfectly tame boytoy, drew the few laughs of the night – as she should’ve. I don’t think it was her fault as much as the general mood I mentioned above and what the production gave her to work with. Any Octavian to Fleming’s Marschallin is going to be less of the zany, fart joke type. You’re actually a bit surprised he would consider cross dressing – and in this case that – the fact he genuinely enjoys pulling this erotically charged prank, whilst his ex-lover is dining with the ancient uncle Greifenklau – springs out more than ever and makes you think he is right to move on. I thought Fleming and Coote’s chemistry was good enough, but it felt like Octavian came to life less in her company than when he was caught up in his schemes of deceiving Ochs. Now this might be just it but usually my focus is on wishing for him to return to Die Marschallin in a fictitious Act IV. Though I don’t buy the brothel-located young love, this time I was convinced that Octavian and Sophie had a future together.
Vocally I was surprised how well Coote projected. Her voice has always had good heft but I have only heard her in much lighter fare so far. Her top notes are solid and not bad at all. So though I think I may like a brighter tone (or possibly more colourful, but I always like extra colours) for Octavian I had no problems. Now we shall see how Vitellia comes off later this year.
Bevan was Sophie. She’s making quite a career here in London and I myself have seen her in a number of roles but, sort of like with Lucy Crowe, I don’t feel her very much, without being dead set against her. I normally enjoy a more “bell-like” tone in this role, with some semblance of innocence. Lacking that, she pulled off very well the bits where Sophie tells Octavian how she would stand her ground and bitchslap anybody who “dissed” her and also in Act III where she tells Ochs to stuff his marriage certificate where the sun don’t shine.
Supporting this production’s bent for elegance, the Italian Singer was (way) less awful than usual. David Junghoon Kim did a very smooth job in fact, possibly because he had the chance to step in for an indisposed Giorgio Berrugi. Well, good job, mister, in that case we can allow you to wow us with your chops for sacharine Italian tunes. He also lucked out when the Italian Singer was allowed to reprise his aria as a move on the director’s part – I imagine – to add even more pizazz to Marschallin’s morning audience, when the Italian Singer sees the Milliner’s beautiful models parading in front of Die Marschallin (really pretty dresses – the costume department did an ace job all around).
Much like Domingo, Fleming still pulls and this being a firm canon opera the hall was packed to the gills even this far into the run. The atmosphere was rather congenial, though in our tight quarters (aka, Upper Amphi) a fight almost broke out between over ’50s regarding knees touching shoulders once too often. I also had a revelation about the rather special self definition of class in this country whilst rushing (as ever) for my seat. What better opera to hammer home class distinctions?
Innkeeper: Alasdair Elliott
Police Inspector: Scott Conner
Notary: Jeremy White
Milliner: Kiera Lyness
Animal Seller: Luke Price
Doctor: Andrew H. Sinclair
Boots: Jonathan Fisher
Noble Orphans: Katy Batho / Deborah Peake-Jones / Andrea Hazell
Lackey/Waiters: Andrew H. Sinclair / Lee Hickenbottom / Dominic Barrand / Bryan Secombe
Mohammed: James Wintergrove
Leopold: Atli Gunnarsson ↩
(don’t fret, that’s not JDD as Vitellia… not yet)
It appears the tired old complaint (“Tito was written in haste”) hasn’t died a death yet. De Marchi has dedicated time and toil to the version popular at the turn of the 19th century – the one with Weigl, Mayr et all’s “bonus material” and presented it live in Innsbruck in 2013. The polished result of the revived version has now come out on CD (see the full cast).
Supposedly Tito’s arias weren’t good enough and the 1800s’ zeitgeist cried out for a Tito-Sesto duet. Well, the dehggi-geist always wanted another Sesto-Vitellia duet though the geist allows that’s not necessary feasible in a two act opera seria and an expressive Se al volto mai ti senti is almost as good. The Metastasio original contains a badass Tito-Sesto recit so I’m not sure what more a duet could add. Possibly overkill, with Deh, per questo instante solo and Se all’impero immediately after said recit. But I haven’t heard this thing yet. I like Allemano yet I’m in two minds about Aldrich. So I’ll wait – with some interest – until this appears in certain circles.
The past couple of months I skipped Titoness so here’s something I concoted a while back and never got around to posting:
One can go on elaborately when talking about what this or that opera is about – or one can boil it down to essentials by summarising each character’s arias:
Vitellia (hobby: shooting herself in the foot):
- Do as I say or else
- I’m screwed!
Sesto (excuses, excuses):
- She’s too hot to refuse
- Err, I didn’t really mean it…
Tito (Mr. self-analysis):
- Generosity is its own reward
- Happiness is honest people
- I’m a gentle chap
Annio (wise beyond his years):
- Dude, start grovelling
- Please forgive him, boss
Sevilia (not-so-secretly hates Vitellia):
- Do something, bitch!
Publio (secretly loves Tito):
- You’re too nice for your own good
London Handel Festival 2017, our usual chance to see rising local singers, looks shorter and will begin later this year, stretching between 20 March and 24 April. General booking starts on 31 January.
- The RCM students are doing a staged Faramondo on 20/21/23/25 March
- Opera Settecento continues the pasticcio journey with Ormisda on 28 March
- London Handel Orchestra under Laurence Cummings brings out Bach’s St Matthew Passion (hopefully with period oboe) on 14 April at 14:30
- Oratorio-wise, there’s an all star Joseph and His Brethren on 24 April
- Handel could spin some nice duets and this year we have opera,innit? favourite Emilie Renard and 2015 Bucharest Poppea Louise Adler work some magic with La Nuova Musica on 20 April
Come for Handel (and contemporaries), stay for pub grub 😉 I mean, sparkling conversation.
Cotroversial in everyday life and politics, 2016 was a good opera year for yours truly. I went to Vienna again and returned to Paris after two decades, lots of fun! London wasn’t too shabby either, with its mezzo/contralto traffic jams and my love affair with Wigmore Hall only intensified this year ❤ Last but not least, looking over the many shows that sign posted this year I had another opportunity to think about the fine people I shared some of these good times with. Thank you all and a much happier 2017!
11 Benjamin Appl | Wigmore Hall: a Schubert start to the year
20 L’Etoile | ROH: a bit of a weird romp, but a romp nonetheless (le romp francais). I hope whoever succeeds Holten at ROH sprinkles the seasons with wackiness of this sort.
14 Maria Ostroukhova | St George’s Hanover Sq: Cecca notte!
16 Ekaterina Siurina/Luis Gomes | Wigmore Hall: there is still Belcanto, lest we forgot about it
17 Berenice | St George’s Hanover Sq: hit and miss Handel
21 Boris Godunov | ROH: Terfel, the Welsh Boris(h)
23 Ann Hallenberg | Wigmore Hall: Il pianto di Maria
31 Elpidia | St George’s Hanover Sq: very good singing, so-so pasticcio
14 Lucia di Lammermoor | ROH: Damrau is no damsel in distress
27 Lucio Silla | Theater an der Wien: the Arnold Schoenberg Choir! with not that much to sing 😉
28 Il Vologeso | Cadogan Hall: proof that Jommelli rocks
30 Sandrine Piau | Wigmore Hall: super stylish Boroque with La Piau
08 Tannhauser | ROH: an opportunity to see Christian Gerhaher sing Wagner lyrically.
23 Ann Hallenberg | Wigmore Hall: 😀
26 Oedipe | ROH: almost as spectacular as Akhnaten
24 Werther | ROH: Pappano gets it
29 Sonia Prina | Wigmore Hall: the first of two shows this year; this is the feisty one.
02 Nathalie Stutzmann | Wigmore Hall: the smoothest contralto takes on Vivaldi
07 Il trovatore | ROH: Bosch brings his caravan to Verdi
17 JPYA | ROH: ROH students return
03 Bluebeard’s Castle | Proms/Royal Albert Hall: there are a few things I will always attend and this is one of them.
21 Demetrio (Hasse) | Cadogan Hall: musically not the most exciting
22 Cosi fan tutte | ROH: this one was a bit of a miss…
02 Nathalie Stutzmann/Orfeo 55 | Wigmore Hall: oh yea!
05 Anna Bonitatibus | Wigmore Hall: …and yea to Semiramide, too.
21 The Nose | ROH: between this and L’Etoile we covered Eastern and Western wackiness.
02 Juditha triumphans | Barbican: the mezzo/contralto fest of the year
05 Dorothea Roschmann | Wigmore Hall: dramatic Roschmann is here
07 Les contes d’Hoffmann | ROH: traditional tales of sexism (with mezzos)
13 Oreste (Handel) | Wilton’s Music Hall: the Atrides in Jack the Ripper’s neighbourhood
20 Luca Pisaroni | Wigmore Hall: Luca sings the Schubert
24 Stuart Jackson/Marcus Farnsworth | Wigmore Hall: more Schubert!
28 La Calisto | Wigmore Hall: Wigmore Hall goes kookoo-funny
30 La finta giardiniera | RCM Britten Hall: students being successfully silly
05 Don Giovanni | Theatre des Champs-Elysees: Don Leporello muses in the beautiful surroundings of TCE.
06 Sancta Susanna/Cavalleria rusticana | Opera Bastille: Sancta Susanna = the runner up in the badass production contest of the year
29 Sonia Prina/Roberta Invernizzi | Wigmore Hall: oh so quiet and gentle