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Sad Glyndebourne Tito news

Edit: seems Coote is still singing tonight 😉

Edit at the intermission: all went well! In fact better than well, it was pretty much great! Echoes of the classic Salzburg production so I’m happy 🙂 everybody sounding great. Lots of fun and cake for Team London.

Just heard Alice Coote won’t be able to sing Vitellia tonight due to a very serious sounding stage injury. I really hope she’s doing as well as it can be expected 😩 and I wish her a speedy recovery. Glyndebourne has not updated their Tito page yet so I don’t know anything else, since as you know I live under a rock outside Twitter-world.

It just so happens that tonight is the night Leander, Baroque Bird and I have tickets to Tito, so stay tuned for other (hopefully better) news from the Glyndebourne lawn and auditorium.


OMG Tito moment and update on Glyndebourne livestream date

Cast update I somehow have missed:

Tito: Richard Croft

Be still my beating heart! ❀ ❀ ❀ Did I mention ❀ ❀ ❀ ?

Sesto: Anna Stephany

Wait, whatever happened to Lindsey? She’s not showing for the Proms either. It’ll have to do. I’m sure Stephany can sing it (in a pretty manner), not sure at all about her acting.


Date and time: 6pm GMT on 3 August, on the Glyndebourne page. In the event this isn’t working, try and look for Tito. If you miss it/can’t make it, come back to the page and watch if for 1 week after the broadcast date.

You can see it at the cinema on the same date.

The Proms date is still 28 August (7pm), which you will be able to listen to here.

Full cast as of now:

Vitellia Alice Coote
Sesto Anna Stéphany
Annio MichÚle Losier / Rachel Kelly (19, 21 August)
Publio Clive Bayley
Tito Richard Croft
Servilia Joélle Harvey

Alice Coote Handel recital (3 September, Proms 2015)

Thadieu and I had a lot of fun listening (each on our side of the Atlantic) to Coote’s Handel recital (with the English Concert) at the Royal Albert Hall via Radio 3. I don’t know if you can find it on the i-player (I couldn’t) but it would be a shame if it wasn’t stored.

She started with a few teasing bars from Myself I shall adore then broke into a playful Sta nell’Ircana. A rather balanced Scherza, infida and a very slow He was despised were also there, as was the entire Myself I shall adore, with the orchestra sounding particularly buoyant, but I think the star of the night was Dopo notte.

Since it’s my favourite Ariodante aria I’ve heard a good number of renditions, with many making an impact – from fierce (Fagioli) and muscular (VK) to gently joyous (Hallenberg), bubbly (JDD) or quietly resonant (Blythe). Coote’s is closest to Hallenberg’s, more introverted than hers yet luminous – very much in keeping with (how I see) the character. Needless to say, I loved it, as I enjoyed the just right tempo.

There were also several times during the recital when I was reminded why I like the mezzo voice: intimate, warm (of course), soft yet intense. Something that I’ve long thought specific to Coote’s voice is a darkness not so much of timbre as of feeling. She can convey searing hurt just by adding pressure to a syllable.

Alice Coote on gender via trouser roles

ffwHere‘s a very insightful look into gender via opera from mezzo Alice Coote. I’ll leave you with two quotes from the article:

Some directors find it preferable not to even try to create the illusion of maleness, and want me to play a transparently “female” male, a choice which actually throws up many more nuanced and interesting questions than those faced by a female actor playing as close to a male as is possible.

This reminds me of biopics and actors doing a very pedantic impression of some historical figure vs. films that re-imagine reality and go into the spirit of the character rather than their concrete being. Depends on what you’re exploring, the person or the character.

More crucially when I am alone and not relating to men or women, do I define myself as female or as a rather more neutral being? Just because I have a female body is that the largest part of my identity?

Alice Coote’s trousers

I’ve never been in the vicinity of Alice Coote’s trousers but – as luck would have it – I will be within 50 yards in October. The curious are welcome to return in 3 months for a full report. Until then it might be wise hitting a white shirt friendly blog. But just so you don’t think I don’t care, here’s a video where Alice Coote’s trousers get a bit of attention:

You may have gleaned the title refers to another search term that led a lucky someone to my site. I hope the beard post worked in the absence of anything on trousers as such 😉

Scherza, infida…

This is the rendition that opened my ears to the stark greatness of this aria. Although it’s much praised and although I liked Ariodante’s other arias a lot, somehow I never got it before. It’s proof of Coote’s great skill at expressing emotional abyss. Ariodante is an elusive, tricky character and not many get him right. He comes off as a lot more introverted and emotionally vulnerable than other opera seria knights.