What with everything, I missed the Gen Sale for the return to Wagner at ROH (oh, no!). The Ring Cycle is back this Autumn, with Pappano at the helm. I may look up returns for Stemme’s sake (aka, best intentions). Otherwise, we have the following:
Solomon in concert with Zazzo in the title role
Verdi’s Requiem with Jamie Barton and Stoyanova; sold out at this point
Simon Boranegra… for those of strong Verdi constitution (but where there is Wagner, there is also Verdi and there will be another production for the hardcore Verdians soon; an opera we know and I love to make fun of, because a recent new production at ENO clearly was not enough)
The Queen of Spades = must not forget
Traviata for the casual goer – it’s still the much loved production
Katya Kabanova – I’ll probably go
Così returns but don’t count me in
Insights Masterclass with soprano Angel Blue who’s doing a stint of Traviata this season
La forza del destino 😉 yep, that one, in Loy’s vision; with Trebs and the Alvaro of our times
Faust – hm, I might go, see how Damrau is holding up, PLUS it’s got Abrahamyan in her ROH debut (!) as Siebel (let’s all lament the fate of very good mezzos). On the downside, Ettinger conducts.
Billy Budd conducted by Ivon Bolton – the all male cast opera, let’s check it out…
Andrea Chenier – NOT with the Alvaro of our times but with Alagna and Radvanovsky! How can we resist that offer?!
Tosca with Opolais/Grigolo/Terfel but the last show brings Draculette back to her rightful territory so yay for those who care.
Boris Godunov still with Terfel but without Ain Anger; so soon? Maybe because they were short of money for a new production…
Carmen, because we’d already missed her, this time with Margaine, and Pisaroni as Escamillo, ha!
Figaro after a couple of seasons, because there are only 3 operas and 1/2 by Mozart; this is the season with Kimchilia Bartoli as Cherubino but also unusually with Gerhaher as Figaro plus Keenlyside as the Count. You know it might actually be worth revisiting and weirdly enough, for the men.
La fille du regiment returns once more, now with Devieilhe, and Camarena will show us his 3283576 high C in a row. Then again, Pido conducts.
In conclusion, some interesting turns but generally a rather meh year ahead for yours truly’s taste.
La damnation de Faust – a Richard Jones production, so it could be much fun
Rusalka – nah
Il barbiere – see below
Die Zauberflote – I’ll have to see it at some point, don’t know that this is that point; however, Agathe, David Portillo is Tamino 😉
Cendrillon – usually a spectacular mezzo-mezzo borefest, now with DeNiese and the ever trouserable Kate Lindsey; I mean, they had to make up for the music…
Rinaldo with DeShong in the title role. A bit of a strange choice IMO, but to be honest I have not heard her live and in Handel to boot. I was proven wrong before.
Fantastic ROH news:
During this extended period there will be 2 (yes, two) new Handel productions! The very brand new one by Kosky! The other one – new to ROH – you know and love by Loy (not that one, the other one). Scroll down 😉
Tl;dr: this is turning into a really excting period at ROH and not just because of Handel (but especially). I am also expecting Poppea cca Januray 2020, after the first two Monteverdi instalments. Very low on Mozart, though. You know there is more to him than the DaPonte stuff (and Mitridate).
It’s that time of the year people are eager to find out what’s coming up, so here are some updates from the ever reliable source. I put a NEW next to the information that’s transpired since my last post on the subject:
late 2018 – 2019
Katya Kabanova (Janacek)
NEW Fall 2018 | Production: Richard Jones all the Janacek! from Jones!
The Queen of Spades (Tchaikovsky) Co-Production with De Nederlandse Opera | Production: Stefan Herheim
NEW January 2019 | Polina: Anna Goryachova <- will they keep the trouser role scene?
La Forza Del Destino (Verdi) February 2019 | Conductor: Antonio Pappano
Production: Christof Loy <- Leo gets a white shirt?
Don Alvaro: Jonas Kaufmann
Leonora: Anna Netrebko
Fra Melitone: Alessandro Corbelli
NEW Das Liebesverbot (Wagner) coproduction with Teatro Real-Madrid
Spring 2019 | Director: Kasper Holten
NEW Billy Budd (Britten)
Conductor: Richard Farnes | Director: David McVicar hm, why not?
NEW Le nozze di Figaro (Mozart)
2019 La Contessa: Julia Kleiter
NEW March 2019 | Marguérite: Diana Damrau I might go
NEW Otello (Verdi)
Desdemona: Ermonela Jaho
Andrea Chénier (Giordano)
NEW Spring 2019 (pushed back)
2019 – 2020
NEW Jenufa (Janacek)
Director: Claus Guth
Kostelnicka: Karita Mattila yes to more Mattila and more Janacek. Hope Guth will be on form.
Death in Venice (Britten)
Conductor: Mark Elder | Production: David McVicar
Production: Barrie Kosky ❤ you know you want to come to London!
[edit: debuting in Munich this Summer with Coote in the title role and Fagioli and Davies as Nerone and Ottone]
edit 4 April 2019, due to the high traffic this post is getting:
Ariodante (Händel) -> instead of the above? I don’t know if I should complain; it’s Ariodante, after all, and with JDD. Why can’t we have both? Handel wrote most of his work in London. We should be swimming in Handel every other season.
Elektra (Strauss) 2020
Klytemnestra: Karita Mattila I’ll go see her!
Parsifal (Wagner) 2020
Conductor: Semyon Bychkov
Madama Butterfly (Puccini) Summer 2020
Conductor: Antonio Pappano
Goro: Carlo Bosi
NEW 2020 – 2021
Les Contes d’Hoffmann (Offenbach) Fall 2020
Hoffmann: Juan Diego Florez
So they’re chucking out their ancient Hoffmann? Good riddance! I hope Michieletto does something with this sexist story. On the other hand, there’s a lot of Hoffmann in just a few years, chap wrote other fun stuff (like his take of Orphee).
Hänsel und Gretel (Humperdinck)
Production: Antony McDonald I wonder if it’s replacing the cancelled Konigskinder?
4 new works inspired by Slavoj Zizek’s writings (Saariaho, Turnage, Francesconi, Widmann) heh, interesting idea
Librettist: Sofi Oksanen
Alcina (Händel) ❤ ❤ ❤
Production: Christof Loy (from Zurich)
Bradamante: Varduhi Abrahamyan ❤
I’m expecting everyone to London for an extended Alcina party!
Věc Makropulos (Janacek) ❤ Mattila, right? She sang it at Southbank a couple of years back ❤
Siurina’s partner, Charles Castronovo, was scheduled to perform but once again he eludes me. Instead we got to hear a young singer which we (I) remember from the 2014 JPYA at Royal Opera House Summer Show, in which he was (o mio) Fernando. Siurina is quite well known as for instance Adina in L’elisir d’amore, or Ilia in that Salzburg Idomeneo where Harteros chews scenery, but readers with similar tastes to mine might remember this image even better:
Indeed, I first came across her as dreamboat Servilia in the famous Paris “Potato” production of Tito. I looked up her Askonas Holt profile and it seems a Morgana and a Cleopatra are the works. Bring them on, I say.
Ekaterina Siurina soprano
Luis Gomes tenor
Iain Burnside piano
Suzel, buon di (L’amico Fritz)
L’alba separa dalla luce l’ombra (Quattro canzoni d’Amaranta)
La pastorella dell’Alpi (Les soirees musicales)
Malinconia, ninfa gentile
Giacomo Puccini (La Boheme)
Che gelida manina
Mi chiamano Mimi
O soave fanciulla
Temperamentally Siurina and Gomes are very different. He earnest and impetuous, she playful and cute as a button. If he came into his own with Che gelida manina, for which he has the passion and Italianate tone, her most memorable point before the interval was Rossini’s La pastorella dell’Alpi. Siurina’s gift for comedy and witty phrasing of the (very silly) coloratura were pure delight.
Me voila seule dans la nuit… Comme autrefois (Les pecheurs de perles)
Sergey Rachmaninov 1
Sing not to me, beautiful maiden/Ne poy, krasavitsa, pri mne (6 Songs Op. 4 No. 4)
In my Garden at Night/Noch’yu v sadu u menya Op. 38 No. 1
To Her/K ney Op. 38 No. 2
How fair this spot/Zdes’ khorosho Op. 21 No. 7
They Answered/Oni otvechali Op. 21 No. 4
A Dream/Son Op. 38 No. 5
Spring Waters/Vesenniye vodï Op. 14 No. 11
Charles Gounod (Romeo et Juliette)
Ah, leve toi soleil!
Va, je t’ai pardonne… Nuit d’hymenee
In terms of skill it was hard not to notice Gomes was the junior partner in this joint. Both of them have large enough voices to make your ears ring even when sat at the back of the hall. Driven by youthful enthusiasm, Gomes took every opportunity to soar as Italian tenor in full cry. There’s no doubt this is his path, a path that allows a good deal of shouting, but when he chose to sing one of the Russian songs entirely below full power it wasn’t unpleasant at all. A bit of variation in volume dynamics is a good thing even for his preferred repertoire. When in duets the both of them turned up the volume to the max the sounds became harder to distinguish, let alone the words. That’s a shame, because he has a beautiful, manly tone up and down the range which we want to hear and bask into.
For her part, Siurina showed a variety of dynamic approaches. Though not a small voice, hers it’s remarkably vibrato-less and still wonderfully flexible. I’m not sure whether the Russian songs were more uplifting than usual or it’s just her light hearted personality as she breezed through them. I’d say she doesn’t sound like the typical Russian soprano. In the Italian songs she balanced between a “relaxed” manner and a full on operatic one, which I thought was rather interesting and reminded me of Antonacci’s way of singing them.
Burnside accompanied but I have to say between each of the singers’ pizzazz I lost him. In any case, this was an interesting break into my Handel-fest. Will definitely make time for Siurina’s recitals in the future and perhaps I’ll catch Gomes when I venture into his repertoire.
- I don’t know if the Russian is correct, I copied it off Wigmore Hall’s site. ↩