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]
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 ❤
Nobody1 quite knows why, but for Un ballo in maschera Verdi concocted a trouser role. It’s written for a high soprano (or at least that’s what I always heard it as – always meaning the 2-3 times I listened). Every one of those times I rolled my eyes at the perky soprano prancing around rather like a cheerleader (they were all way girly, too) than what I would normally imagine as the king’s secretary (someone like Annio, I guess?). But here comes Tim Albery with a slammed production for Opera North:
having the king’s secretary, Oscar (Tereza Gevorgyan) change from his suit into an evening dress for the final scene is hard to rationalise and rather undermines Verdi’s idea of making it a trousers role for a coloratura soprano in the first place. – Andrew Clements for The Guardian
That’s kind of interesting for a change. Maybe Albery felt like me. Maybe he just wanted to highlight the ambivalence of trouser roles. If the king’s secretary is going to be a chirping coloratura soprano, what does that mean? To me it means he’s quicksilver gender-wise, so why not go full circle? I mean trouser-role wise I rate Verdi very low (I’m still bitter he changed Ernani the bandit from trouser mezzo to tenor) but he did make an (ill-conceived?) effort here and must’ve wanted something with it.
- I learned today Ballo is supposed to be a bit comedic, so maybe that’s one of the reasons. I don’t really get Verdi humour, so it had to be spelled out to me. But it’s progress! ↩
July is the time when the ROH audience checks on the house’s young artists to see how they’ve grown. I found this year’s programme rather ambitious and the results mixed.
Verdi: I due Foscari, Act II (duet)
Conductor: David Syrus
Lucrezia Contarini: Vlada Borovko
Jacopo Foscari: David Junghoon Kim
This is the kind of opera that kept yours truly aloof from the art form for so long. I couldn’t wait for the overwrought scene/duet to be over. If you can’t pinpoint it in your mind, imagine the typical belcanto duet between important/main characters who are about to be parted by fate. It’s mainly Italian angst, with moments of gloomy recit, ominous shredding from the string section for the moments when ghosts are mentioned (one of the characters is ever on the brink of a breakdown, the other one tries more or less feebly to be their rock but it’s obvious they are also suffering) then a cheerful tune gets shoehorned in (so that the audience can draw a breath) and is explained in the dialogue by “outdoors sounds” such as the gondolier, good moment for the whinger to draw attention back to their plight, so that the hand wringing can start anew and continue for another 15min. Kim is on the right track for this kind of thing and has a beautiful tone but he’s obviously too young for the finer details this 19th century brand of Italian neuroticism needs.
Nowadays they simply have women either dressed in an updated version of ’80s powersuits or as lalala bohemians. Borovko looked utterly in charge in her suit which I dare say was curious for
Amelia Lucrezia. Then again, I despise this opera so much that I might have missed something essential. I doubt it, Romantic opera womenfolk were utterly decorative.
Upon return home I realised this was not Simon Boccanegra.
Massenet: Cendrillon, Act II (duet)
Conductor: Matthew Scott Rogers
Cendrillon: Kate Howden
Prince: Angela Simkin
Massenet, eh? Poor mezzos, he wrote for them but alas, I don’t like his saccharine stuff. For once I would’ve like the mezzo singing the trouser role to wear sensible shoes but it was not to be. Aside from that, Howden and Simkin’s interaction was not bad at all. Sometimes when I see mezzos and sopranos singing to each other of love I feel the interaction is actually helped by them both being (straight) women. It’s almost like they think whew, it’s just her, I won’t get distracted by wayward hormones, I can focus on the notes I’m supposed to sing and when I have some free time I can glance at her in a chummy manner – which masquerades surprisingly well as young love. Howden covered for an indisposed Emily Edmonds and I can’t complain about anything, but then again, Massenet. Simkin had more of a moment here than as Isolier later on, obviously since this is a duet, and though I again have no complaints, I also didn’t feel particularly wowed by her tone.
Mascagni: L’amico Fritz, Act I (duet)
Conductor: David Syrus
Suzel: Francesca Chiejina
Fritz: Thomas Atkins
I find it a bit odd that I enjoy Mascagni quite as much as I do (Cavalleria) but there you go, I liked this duet as well. You might ask wait, how is this any less fluff than Massenet above? It’s not but it’s much more enjoyable music to my ears. Atkins and Chiejina had rather nice chemistry going and were well suited vocally. Plus, there was a really big bucket of cherries on stage and a hot summer day outside. Chiejina’s cutely colourful maid outfit exemplified what I said above about the lalala bohemian vs powersuit.
Strauss: Arabella, Act III (final duet)
Conductor: David Syrus
Arabella: Jennifer Davis
Mandryka: Gyula Nagy
Jennifer Davis has a surprisingly large voice for her age, definitely able to cope with a Strauss orchestra as conducted by Syrus, and has a rather fearless attitude about attacking the highs and a good technique to back that. I could see from the Don Giovanni bit after the interval that Syrus was unusually careful in helping his singers do their best, so I suppose he was here as well. As far as the finer parts, well I guess that’s where both nature and experience come in. I remember the fairly recent (sometime last year) Bayerische livestream of Arabella with Harteros in the title role, which I loved, so I think that’s a good goal to keep in mind for aspiring Strauss singers.
Nagy sounded a bit stiff to me in what I imagine is a very tricky role. Aside from the livestream, my experience with Arabella is rather limited so I don’t as yet have a good idea about who Mandryka is supposed to be, aside from a vaguely wild force, personification of sexual desire as experienced by virginal women? Anyway, one needs a bit of stage and life experience to make that work.
Rossini: Le Comte Ory, Act II (final scene)
Conductor: James Hendry
Countess Adèle de Formoutiers: Francesca Chiejina
Isolier: Angela Simkin
Count Ory: David Junghoon Kim
This hilarious trio/scene elicited a lot of mirth, as it usually does, even though I dare say none of them are natural Rossinians, and thus the finer details did not shine. Hendry must’ve got a bit too much into it and, perhaps skewed by Strauss volume levels, let the orchestra rip which often covered the singers. But they were mostly funny, especially Kim who got into the nun act. The bed cover looking like something from Pylones added to the silliness.
Mozart: Don Giovanni, Act II (from Zerlina finding Masetto to end)
Conductor: David Syrus
Fortepiano continuo: Nick Fletcher
Donna Anna: Vlada Borovko
Donna Elvira: Jennifer Davis
Zerlina: Haegee Lee
Don Ottavio: Thomas Atkins
Don Giovanni: Gyula Nagy
Leporello: David Shipley
Masetto/Commendatore: Simon Shibambu
As I was saying earlier, Syrus did a really good job with the volume here, definitely one of the better ways to approach DG that I have heard at ROH, where conductors seem to think this is early Verdi. The singers were properly cradled and it showed once again how good Mozart is for young singers regardless of what voice type their future has in store. It was easily the best moment of the evening.
Thomas Atkins as Don Ottavio got the most applause. It’s true he has a very fine tenor that works with many things and he coped pretty well with Il mio tesoro, a bold choice to be sure. Let’s say I’d rank my ROH Don Ottavios like so: Antonio Poli, Atkins, Villazon. Nagy was much more at ease with the Don than with Mandryka and I think he makes quite a dashing figure; I see this role in his future, he has it all going for him. ROH says he is a baritone but I felt he was rather a bass-baritone or he will be one soon.
Generally I was impressed with the density of the basses and the baritone voices on display – proper stuff. To that end, Shibambu divested himself well of the lugubrious DON GIOVANNI! cry one expects from the statue. He needs a bit more projection for the big stage but otherwise smooth sailing. Btw, I noticed he constantly gets to wear a military uniform but then I guess that’s the lot of basses, what with their authority figure repertoire. Shipley as Leporello was pretty good, too, not overly funny but his interaction with Nagy’s Don was on the money.
Borovko returned as Donna Anna. Now that I’ve seen her recently in a big role I can say this: her top is very good and her coloratura ace but the cloudiness from the middle down seems constant. I don’t know what others hear but if this is simply how her voice sounds I can’t see myself getting excited in the future. Or perhaps she needs to find herself very high roles and stick with those? How about contemporary opera, then. Davis as Donna Elvira wasn’t bad at all, coping very dutifully with all required, though I still think Strauss is where she needs to aim. This Donna Elvira was abjectly in love with the Don but I think Davis got her – tricky for the contemporary mind – preoccupation with saving DG’s soul from eternal damnation.
Sopranos: Vlada Borovko, Francesca Chiejina, Jennifer Davis
Mezzo-sopranos: Angela Simkin, Kate Howden
Tenors: Thomas Atkins, David Junghoon Kim
Baritone: Gyula Nagy
Basses: Simon Shibambu, David Shipley
If you think I was a bit hard on the young singers, bear in mind that I somehow managed to get there two hours before the start of the show (I thought it started at 16:30 instead of 6:30. I know, getting old…), after which I decided to wander around and (re)discovered what a consumerist Mecca Covent Garden is. Let’s start with the hapless straw hat “boy with guitar”, whom I was this close to pay a fiver to shut up for a few minutes. Worse even than a Verdi dirge is a wounded bohemian pop tune. You know the kind, something from the late seasons of Dr House. Try stepping into a shop, they all play music – your choice is now bubblegum pop with nondescript teen voices. Then there was the obligatory curly haired musician setting up his amp to blast what sounded very much like gentle Shoreditch downtempo cca 2003. I guess these moves are savvy, it’s touristy as all getout around there and all of the above are now part of the pop psyche.
I couldn’t take it anymore so I scurried into a book shop (where I knew they don’t play any music) to read Andrew Eames’ account of getting morbidly bored on a barge on the lower Danube. What was he thinking, right? Muddy water, catfish, poplars and weeping willows, engine fuel, moody sailors – a proper circuit party.
But the Comte Ory trio got stuck in my head for days, so things righted themselves to an extent.
So, it’s finally out!
Let’s start with Mozart:
Mitridate (26 June–7 July 2017)
Shagimuratova, then. I won’t be expecting complex characterisation, just very precise singing in an alluring voice, which is what people seem to endlessly equate Aspasia with (super difficult singing – yea, but so what?). Don’t know Anett Frisch but Spyres and Mehta are (same old) known quantities in their respective roles. Excuse me while I stand bitterly disappointed after the definitive-looking Paris production. Doesn’t mean I won’t go see it for Mozart.
Così fan tutte (22 September–19 October 2016)
Conducted by Byckhov, of all people! I loved his Die Frau ohne Schatten, what will he do here?
Fiordiligi – Corinne Winters
Dorabella – Angela Brower
Ferrando – Daniel Behle
Guglielmo – Alessio Arduini
Don Alfonso – Johannes Martin Kränzle
Despina – Sabina Puértolas
Brower is known to me as the multitalented Annio from the circus/cult Tito (Munich) production. The one with unicorn hair 😉 and the lovely tone, who accompanied himself for the Act II intro recit with Sesto. Will they have her do something out of the ordinary here as well?
We have dates for Adriana Lecouvreur (7 February–2 March 2017), woohoo! Must start saving now (sigh). I have never heard of the alternative soprano. But yay Finley as Michonnet!
Adriana Lecouvreur – Angela Gheorghiu (except 21 Feb, 2 Mar) / Hrachuhi Bassenz (21 Feb, 2 Mar)
Maurizio – Brian Jagde
Abbé di Chazeuil – Krystian Adam
Princesse de Bouillon – Ksenia Dudnikova
Prince de Bouillon – Bálint Szabó
Michonnet – Gerald Finley (except 27 Feb; 2 Mar) / Alessandro Corbelli (27 Feb; 2 Mar)
Mlle Jouvenot – Vlada Borovko
Mlle Dangeville – Angela Simkin
Poisson – Thomas Atkins
Quinault – Simon Shibambu
And now for something I didn’t expect: Röschmann returns! In an opera I severely dislike but such is life. I will follow the Röschmann compass:
Otello/Verdi (21 June–15 July 2017)
Otello – Jonas Kaufmann (21, 24, 28 Jun, 2, 6, 10 Jul) / Gregory Kunde (8, 12, 15 Jul)
Desdemona – Maria Agresta (21, 24, 28 Jun, 2, 6, 10 Jul) / Dorothea Röschmann (8, 12, 15 Jul)
Iago – Ludovic Tézier (21, 24, 28 Jun, 2, 6, 10 Jul) / Željko Lučić (8, 12, 15 Jul)
Cassio – Frédéric Antoun
Roderigo – Thomas Atkins
Emilia – Kai Rüütel
Montano – Simon Shibambu
Lodovico – In Sung Sim
So no JK for me then (boohoo 😉 ). Might as well see how Kunde sounds live. My recent discovery Simon Shibambu (King of Scotland in the RCM Ariodante) will be there too. Please cross your fingers for me, last time I tried to sit through this one I couldn’t cope with more than 1 1/2 acts. It was a few years back…
Der Rosenkavalier (17 December 2016–24 January 2017)
Marschallin – Renée Fleming (17, 20 Dec, 8, 11, 14 Jan) / Rachel Willis-Sørensen (22 Dec, 17, 24 Jan)
Octavian – Alice Coote (17, 20 Dec, 8, 11, 14 Jan) / Anna Stéphany (22 Dec, 17, 24 Jan)
Sophie von Faninal – Sophie Bevan
Baron Ochs – Matthew Rose
Faninal – Jochen Schmeckenbecher
Valzacchi – Wolfgang Ablinger-Sperrhacke
Annina – Helene Schneiderman (except 8, 11, 14 Jan) / Angela Simkin (8, 11, 14 Jan)
Italian Singer – Giorgio Berrugi
Marschallin’s Major Domo – Samuel Sakker
Faninal’s Major Domo – Thomas Atkins
Marianne – Miranda Keys
Inn Keeper – Alasdair Elliot
Police Inspector – Scott Connor
Notary – Jeremy White
New production by Carsen but apparently it’s the one from Salzburg? Or something. Anyway, it’s the ‘kavalier, I’m going no matter who’s in it (within reason and mostly depending on Octavian. I’d like a more adventurous choice for Die Marschallin but, hey, big house. And if it‘s the one time I’m seeing Fleming live this is probably the best bet).
Speaking of other choices, has Catherine Naglestad ever sung Die Marschallin? I know she won’t be putting bums on seats in the way Fleming does (because the world is funny like that) but I’m having a bit of a Naglestad fest in my little world and I thought her Salome was way fine. And you might remember that semi-legendary (but severely cut) Alcina with Naglestad and Coote (daydream moment).
The customary belcanto bit – Il barbiere di Siviglia (13 September–11 October 2016)
Rosina – Daniela Mack
Count Almaviva – Javier Camarena
Figaro – Vito Priante (Sept) / Florian Sempey (Oct)
Doctor Bartolo – José Fardilha
Don Basilio – Ferruccio Furlanetto (Sept) / Carlo Lepore (Oct)
Berta – Madeleine Pierard
Fiorello – Gyula Nagy
For those like me who don’t habitually watch Cardiff Singer of the World (perhaps we should), here’s Daniela Mack singing obvious morsels like Pensa alla patria, Verdi prati and Amour, viens rendre a mon ame three years ago:
She’s agile but I’m not wowed by that voice. Too big too full too early? Not enough lyric quality. I guess Rossini fits her best out of that medley. She’ll be throwing babies into the fire before you know it.
More obvious belcanto – L’elisir d’amore (27 May–22 June 2017)
Adina – Pretty Yende (May, 3, 6, 11 Jun) / Aleksandra Kurzak (13, 16, 19, 22 Jun)
Nemorino – Rolando Villazón (May, 3, 6 Jun) / Ivan Magrì (11 Jun) / Roberto Alagna (13, 16, 19, 22 Jun)
Dulcamara – Alex Esposito
Belcore – Paolo Bordogna (May, 3, 6, 11 Jun) / Adam Plachetka (13, 16, 19, 22 Jun)
Giannetta – Vlada Borovko
But it’s Kurzak and hubby1 (cheers, no Villazón for me, though I would like to hear Yende) and enough with the Esposito, I bet he’ll make Dulcamara all menacing and whatnot. Eh. It’s a bloody comedy. Anyway, Kurzak!
Les Contes d’Hoffmann (7 November–3 December 2016)
Hoffmann – Vittorio Grigolo (except 28 Nov, 3 Dec) / Leonardo Capalbo (28 Nov, 3 Dec)
Four Villains – Thomas Hampson
Olympia – Sofia Fomina
Giulietta – Christine Rice
Antonia – Sonya Yoncheva
Nicklausse – Kate Lindsey
Spalanzani – Christophe Mortagne
Crespel – Eric Halfvarson
Four Servants – Vincent Ordonneau
Spirit of Antonia’s Mother – Catherine Carby
Nathanael – David Junghoon Kim
Hermann – Charles Rice
Schlemil – Yuriy Yurchuk
Luther – Jeremy White
Conducted by “my homie” Evelino Pidò. I recently had a weird moment with Hoffmann: I felt like it would be something I could sing. Not as in I can actually sing it, because I can’t even “actually sing” Row, row, row your boat, rather I could easily get into the spirit/rhythm/chord progression/Frenchness of it. A bit weird – French opera, of all things. Ok, let’s see Kate Lindsey in something she’s properly well known for. There’s a shitload of big names in it = more saving, and Yurchuk as well, lovely tone ex-Young ROH Squad baritone.
The Nose (20 October–9 November 2016)
Platon Kuzmitch Kovalev – Martin Winkler
Ivan Iakolevitch/Clerk/Doctor – John Tomlinson
Osipovna/Pretzel Seller – Rosie Aldridge
The Nose – Alexander Lewis
District Inspector – Alexander Kravets
Old Lady – Susan Bickley
Iaryzhkin – Peter Bronder
Pelageya Podtotschina – Helene Schneiderman
Podtotschina’s daughter – Ailish Tynan
You know I said I was going to go although I thought the music was unbearable because I’m a
not so secret Gogol fan. Also Rosie Aldridge is in it and I really liked her in local Monteverdi and Handel. This is neither, I know, but I’m (and will be) very happy to see her on a big stage.
Now onto more Verdi, because ROH = big opera house and big opera house = trad repertoire until the cows come home:
Il trovatore aka Babies into the fire (4 December 2016–9 February 2017)
Leonora – Maria Agresta (Dec) / Lianna Haroutounian (Jan, Feb)
Manrico – Roberto Alagna (Dec) / Gregory Kunde (Jan, Feb)
Count di Luna – Quinn Kelsey (Dec) / Dmitri Hvorostovsky (Jan, Feb)
Azucena – Anita Rachvelishvili
Ferrando – Gábor Bretz (Dec) / Alexander Tsymbalyuk (Jan, Feb)
Inez – Jennifer Davis (Dec) / Francesca Chiejina (Jan, Feb)
Ruiz – David Junghoon Kim (Dec) / Samuel Sakker (Jan, Feb)
Ok, I want to hear Kelsey live so that settles it – though I liked Tsymbalyuk’s Commendatore and I’d like to hear Haroutounian just because her name is badass… but twice with the pirotechnic babies? A bit much.
Don Carlo (12 May–29 May 2017)
Don Carlo – Bryan Hymel
Rodrigo, Marquis of Posa – Ludovic Tézier
Elizabeth of Valois – Krassimira Stoyanova
King Philip II – Ildar Abdrazakov
Princess Eboli – Ekaterina Semenchuk
Grand Inquisitor – Paata Burchuladze
Frate – Andrea Mastroni
Voice from Heaven – Francesca Chiejina
Tebaldo – Emily Edmonds
Count of Lerma – David Junghoon Kim
Flemish Deputies – James Cleverton, Gyula Nagy, Simon Shibambu, David Shipley and Yuriy Yurchuk
Good chance to hear Stoyanova and Tézier (don’t know why I should hear him other than his name has been around for a while), also Abdrazakov (tongue twister ftw!). Heard Semenchuk’s Eboli on zetube, wasn’t that impressed. Maybe she’ll be better this time around.
The Exterminating Angel (24 April–8 May 2017)
Thomas Adès conducts a huge ensemble cast of world-class singers in the UK premiere of his latest opera, inspired by Luis Buñuel’s iconic film.
Leonora – Anne Sofie von Otter
Blanca – Christine Rice
Nobile – Charles Workman
Lucia – Amanda Echalaz
Raúl – Frédéric Antoun
Doctor – John Tomlinson
Roc – Thomas Allen
Francisco – Iestyn Davies… and many others
Look at the fine cast but ugh, Buñuel? I don’t know, I’m really unfamiliar with Adès.
Oreste (Wilton’s Music Hall) (8 November–19 November 2016)
George Frideric Handel
See the opera stars of tomorrow in a blackly comic production of Handel’s masterful pasticcio, in the atmospheric setting of Wilton’s Music Hall.
Whoa, look! ROH has sort of caught on to the Baroque craze for its young singers. Sounds like it could be fun. More chance to hear Shibambu’s deep bass voice and let’s see if these yougins measure up to our local baroque talent.
Tuesday lunchtime recital – 4 October at 1.30pm
Francesca Chiejina and Thomas Atkins perform art songs, accompanied by David Gowland.
Francesca Chiejina was the young and very promising soprano who made an impression in JDD’s Masterclass at Guildhall last year. Worth checking her out in recital.
…and of course there are other things that I am not interested in, though I may go see Barbara Hannigan in Written on Skin in a somewhat similar way I’ll put up with Otello for Röschmann.
- Though isn’t it a bit weird having real life couples sing lovers on stage? ↩