The holiday spirit resonated powerfully at the Elbphilharmonie’s recent Christmas-themed concert, a year-end highlight crafted by the Monteverdi Choir and the English Baroque Soloists. Christophe Rousset’s much-anticipated debut as guest conductor, stepping in after Sir John Eliot Gardiner’s departure as artistic director, brought a fresh sense of artistic renewal and festive splendor. Drawing from the rich traditions of French and German Baroque music, Rousset and the ensemble took the audience on an enchanting musical journey, showcasing their exceptional artistry and energy. 

By pairing Charpentier’s “Messe de Minuit” with “Noëls sur les instruments,” Rousset crafted a well-balanced first half through thoughtful programming. The graceful carols served as a charming prelude, while faster-paced pieces after the mass added a spirited finale. This structure not only created a satisfying musical arc but also subtly referenced the tradition of earlier parody masses, where compositions were built on pre-existing tunes. 

Rousset’s direction emphasized dynamic interplay between choir and instruments, highlighting Charpentier’s masterful use of Baroque orchestration. The orchestra’s jubilant tones—especially from the violins, flutes, and basses—captured both the spiritual depth and intricate beauty of the Baroque style. While the positive organ was more limited in tonal range than a grand organ, its rich resonance filled the acoustically stunning Elbphilharmonie. 

Standout Vocalists

The vocalists were standout, blending clarity and expressiveness with remarkable finesse. Their “Kyrie” and “Gloria” radiated festive joy, with soprano lines soaring above the rich choral harmonies. The soloists brought dramatic contrast to the following movements, their voices intertwining with heartfelt precision. A particularly striking moment came with the soprano’s tender “Quoniam tu solus Sanctus,” full of lyrical warmth. The choir’s dynamic control and nuanced articulation shifted the mood effortlessly from the solemn “Crucifixus” to the exuberant “Agnus Dei,” leaving the audience deeply moved by Charpentier’s seamless blend of sacred and popular traditions. 

The second half showcased the young soloists’ brilliance. It opened with Bach’s “Schwingt freudig euch empor,” BWV 36c, a cantata bursting with joy and energy. The oboe d’amore’s lively solo set a cheerful tone, seamlessly leading into the choir’s bright and powerful entrance. Soprano Hilary Cronin’s aria offered a moment of contrast; her voice diverged from the ascending melody, followed by a thoughtful pause that highlighted the interaction with the instruments. Tenor Ruairi Bowen, warmly supported by the oboe d’amore, delivered an emotionally resonant performance. Each soloist sang with clarity and expression, balancing introspective passages with jubilant outbursts.

Rousset’s Inspiring Interpretation

The concert concluded with Bach’s “Unser Mund sei voll Lachens,” BWV 110, a festive cantata composed for Christmas Day 1725. The French-style overture, featuring flute, trumpet, and timpani, set a celebratory tone from the first bar. The choir’s fugal entry filled the hall with joyous energy, drawing appreciative murmurs from the audience. The young soloists embraced a more operatic style in this secular cantata, vividly portraying characters from the joyful to the contemplative while maintaining a dynamic connection with the listeners. Mezzo-soprano Rebecca Leggett conveyed deep introspection and doubt in her aria, offering a reflective counterpoint to the exuberant bass aria. In the latter, Florian Störtz’s commanding voice soared over bold trumpet fanfares and dazzling coloraturas, stirring the crowd. The final triumphant chorale faded, the concert hall erupted with enthusiastic cries of “Merci!” from Rousset’s devoted French fans, adding a heartfelt and spontaneous touch to the evening’s celebration. 

Though the concert faced a conductor change, Mr. Rousset’s debut with the English Baroque Soloists more than made up for any initial disappointment. For devoted Baroque enthusiasts who might have attended Sir Gardiner’s performance with his newly formed ensemble, The Constellation Orchestra, just a week earlier—featuring a similar program—this was a rare opportunity to compare the artistry of two distinguished early music specialists. Ultimately, Rousset’s interpretation stood out for its vitality, elegance, and emotional depth, leaving a lasting impression on all present.

The post HamburgMusik 2024-25 Review: English Baroque Soloists / Monteverdi Choir / Christophe Rousset appeared first on OperaWire.

For the purposes of this article only vocal performances are featured.

Concerts

First Prize winner of the 2020 Cesti International Singing Competition Margherita Maria Sala performs works by Galuppi, Marcello, Vivaldi, Ristori, and Handel. Sala is accompanied by the Ensemble Locatelli led by Thomas Chigioni.

Performance Date: August 1, 2025

Céline Scheen performs with La Chimera under the musical direction of lutist Eduardo Egüez in “The Queen’s Lover.”

Performance Date: August 2, 2025

Carlotta Colombo, Žiga Čopi, Paul-Antoine Bénos-Djian, and Marco Saccardin present the concert titled “Scarlatti!” They are joined by Accademia Bizantina conducted by Ottavio Dantone.

Performance Date: August 11, 2025

“Wonder Women” features music by and about women including the works of Barbara Strozzi, Francesca Caccini, Isabella Leonarda, Maurizio Cazzati, and Andrea Falconieri. Céline Scheen, Benedetta Mazzucato, Luciana Mancini, and Vincenzo Capezzuto serve as soloists. Christina Pluhar leads L’Arpeggiata.

Performance Date: August 13, 2025

“Shakespeare’s Songbook” is performed by the early music folk ensemble The Playfords.

Performance Date: August 15, 2025

Ana Vieira Leite and Eva Zaïcik solo in “Im Zauberwald” with Le Concert de la Loge led byJulien Chauvin.

Performance Date: August 16, 2025

Ana Vieira Leite and Concerto 1700 directed by Daniel Pinteno present works by Handel in “Harmonie.”

Performance Date: August 18, 2025

La fonte musica presents the concert “Combattimento,” led by Michele Pasotti.

Performance Date: August 20, 2025

The Chor der Stiftsmusik Stams perform with Paluselli Consort Stams under the musical direction of Jannik Trescher in “Musik im Gottesdienst.”

Performance Date: August 24, 2025

Claire Lefilliâtre is the soloist in “Tag und Nacht” with Les Épopées led by Stéphane Fuget.

Performance Date: August 24, 2025

“Choral & Kontrapunkt” is presented by Vox Luminis. Lionel Meunier conducts.

Performance Date: August 26, 2025

“Salonmusik”stars Jiayu Jin and Akademie für Alte Musik Berlin.

Performance Date: August 28, 2025

Andreas Scholl and Ottavio Dantone give a concert of works by Henry Purcell and Georg Friedrich Händel.

Performance Date: August 30, 2025

The festival concludes with the 16th annual “Pietro Antonio Cesti” competition.

Performance Date: August 31, 2025

Opera

Marie Lys, Shakèd Bar, Neima Fischer, Lawrence Kilsby, Carlo Vistoli, Martin Vanberg, Filippo Mineccia, and Giacomo Nanni star in Caldara’s “Ifigenia in Aulide.” Ottavio Dantone conducts.

Performance Dates: August 8 – 12, 2025

Vivaldi’s “Il Giustino” is presented by Justina Vaitkute, Maximiliano Danta, Thoma Jaron-Wutz, Lucija Varšić, Jiayu Jin, Sarah Hayashi, Benedetta Zanotto, and Massimo Frigato, with Talenti Vulcanici led by Stefano Demicheli. Claudia Isabel Martin directs.

Performance Dates: August 17- 22, 2025

“Ifigenia in Tauride” by Traetta is performed by Rocío Pérez, Alasdair Kent, Karolina Bengtsson, Owen Willetts, and Suzanne Jerosme, along with NovoCanto and Les Talens Lyriques. Nicola Raab directs and Christophe Rousset conducts.

Performance Dates: August 27-29, 2025

The post Innsbruck Festival of Early Music Announces 2025 Lineup appeared first on OperaWire.

As an opera composer Nicola Antonio Porpora gained advantage over his rivals by tailoring his works to the singers’ voices, and he gained popularity among singers because he was a well-known voice teacher. Even today, when experiencing Porpora’s opera “Ifigenia in Aulide” at Bayreuth’s Baroque Opera Festival, one cannot ignore the skill with which Porpora illuminated every singer’s voice, making them the highlight of every single moment. However, the nuances of Porpora’s work may reflect the times in which he wrote as much as they indicate his individual skill as a composer. This was especially true for the castrati of Porpora’s operas – those male singers whose soprano voices were the result of castration.

In the 17th and 18th centuries castrating young male singers as an “act of combating poverty” fostered hopes that one day they would become the next famous castrato. While there was—and still is—a great deal of appreciation for a singer’s commitment to the highest degree of their craft, one cannot overlook the severity of this practice. The 1994 biographical drama film “Farinelli,” directed by Gérard Corbiau and filmed at the Margravial Opera House (the location of the Bayreuth Festival), tells of the psychological toll that such an experience could take. Extreme measures such as castration were all too common ways to secure a young voice’s future. A voice teacher could become the “power that be” who persuaded young singers with the allure of fame into sacrificing their body to their craft. Such a professional climate created the cultural environment that first made “Ifigenia in Aulide” a success.

Porpora’s Perspective

Porpora’s first opera, “L’Agrippina,” premiered in 1708 in Naples. The beginning of his international career as a composer also catalysed his rivalry with George Frideric Handel, making Porpora even more enticing for followers of the drama of the opera world. But what put Porpora ahead of Handel, as their rivalry heightened, was Porpora’s well-known—and often feared—career as a vocal teacher. He instructed some of the most influential singers of the time. His pupils included, but were not limited to, Farinelli (the subject of the aforementioned 1994 film), Caffarelli, and Porporino. All were trained through his “tyrant-like” vocal exercises that stemmed from Porpora’s “Elementi di canto.” Such intense practices arguably set his singers up for success, as it put them in the running to become the next “greatest singer in Europe.” But in reality these successes were far and very few between. So many young male singers who trained under Porpora never made it: and of course there were those who did not even make it through the surgery to begin with.

Bayreuth Baroque Opera Festival’s revival of Porpora’s “Ifigenia in Aulide,” composed in 1734 for the Opera of Nobility in London, intends to celebrate the beauty of this work, however difficult the lives were of the castrati who made the opera initially famous. Musical director Christophe Rousset illuminates a new reality for baroque singers where they are front and center stage of the Margravial Opera House.

Rousset Leads Singers Forward

Christophe Rousset is the founder of the Ensemble Les Talens Lyriques and a world-renowned harpsichordist who values rediscovering European musical heritage through “the time machine of baroque music.” OperaWire were able to visit Rousset while in Bayreuth, and discussed what rediscovering this music means to him and, most especially, what it means for the singers.

During the production it became clear that Rousset’s intuitive balance between the ensemble and the singers was his main focus, and would set the standard for this review’s focus throughout the night. The singers were fully engaged with Rousset’s careful direction and graceful leadership. There was an underlying deep respect for every artist on the stage and in the orchestra pit. This gave Rousset all the leverage he needed to bring forward the singers’ voices in even the most difficult passages. “Ifigenia in Aulide” is like the Olympics for a singer’s voice, no matter what role they may be in. Experiencing this opera live was at times overwhelmingly beautiful and even exhausting. But no matter how tumultuous the drama appeared to be, Rousset’s ability to remain consistently calm and collected steered everything in the right direction.

The Margravial Opera House Bayreuth

The Margravial Opera House Bayreuth is an exquisite surviving example of baroque theater architecture. It was inscribed by UNESCO on its World Heritage List in 2012. It was originally built between 1744 to 1748 for Margravine Wilhelmine and her husband Margrave Friedrich III of Brandenburg-Bayreuth. Margravine Wilhelmine was the daughter of the Prussian king Fredrich Wilhelm I and the sister of Frederick the Great. She was a gifted librettist, composer, instrumentalist, and actor. The opera house was constructed for the wedding of her only daughter Elisabeth Friederike Sophie to Duke Carl Eugen of Württemberg in 1748. It drew attention from national courts and made Bayreuth the destination for baroque artists that it remains today.

Intense Drama & Production

“Ifigenia in Aulide” was the perfect opera for this extremely extravagant space. Artistic director, producer, and singer Max Emanuel Cencic (who also performed the role of Agamennone) made the most of Margravial Opera House’s dramatic setting in this production, in collaboration with set and costume designer Giorgina Germanou.

The opera is based on “a myth originated at a time when the Greeks were fighting the Phoenicians for supremacy – both political and moral. Baal versus Zeus, if you like,” says Cencic in the program notes. This heightened drama made the two opposing worldviews all the more radical, and the baroque musical interpretation took on another spectrum of complexity. For a beginner opera-goer, this might be the most over-the-top production one could imagine. Even the opening scene included male dancers, nude from the waist down, rotating in circles about the stage as if performing a ritual sacrifice, reminding one of the bodies that adorn Classical Greek plates, bowls, and vases. The production had a rounded aesthetic thanks to Germanou’s keen eye for balancing classical and contemporary complexities. Through her eyes the opera became a rich tapestry of opulent excess compacted into a designer’s fantasy world of mythology-meets-modern day. A taxidermied stag displayed at the opening gave one a hint as to how far-reaching, challenging, lush, and boundary-breaking the drama would become.

Lighting designer Romain De Lagarde did an excellent job illuminating every detail of this production, especially the singers. Bravo!

Stellar Cast of Singers

Soprano Jasmin Delfs as Ifigenia was brilliantly mirrored by a silent actress, Marina Diakoumakou. Delfs’s costume dress was wondrously completed by black antlers, detailed ornamentations that glittered black in the light, and an embellished mask of museum-worthy quality. Her acting was spectacular and captivated the audience the entire night. No one wanted to take their eyes off Delfs, and waited holding their breath in anticipation for what she would do and sing next. Delfs commanded the stage with her powerful presence and soaring voice of spectral range.

Male soprano Maayan Licht as Achille was profound in his portrayal of a character convinced of his faith in the goodness and rationality of the gods. Licht’s voice and vocal technique elevated this entire opera to another level of enriching vocal quality. His arias cast spells on listeners as they fell into the dreamworld his character would weave. Licht’s physical endurance was that of an Olympic athlete. His breath support was that of a body ready for action at any given moment, enjoying the act of singing the most challenging phrases with ease and pure delight. Licht made singing look and sound fun! For one of opera’s most seriously dramatic productions and in one of the world’s most intensely dramatic houses, Licht radiated freedom as a singer apart from the limiting critical/historical expectations of the past or present. I want to see and hear Licht perform again in the future.

More Cast Highlights

The duet between Achille and Riccardo Novaro as Calcante, highlighting Novaro’s baritone, was another memorable moment of this production. Novaro’s voice roared into the hall with fury and finesse. His acting was also spot on, and he looked remarkable in his red robe and makeup. He was the true villain of the night.

Mezzo-soprano Mary Ellen Nesi as Clitennestra was vocally less intense than her castmates. Her voice resonated at a sweeter and more gentle timbre. Her costume was completed with a high-coiffed wig that towered overhead.

Countertenor Nicolò Balducci as Ulisse sang with a brightness and clarity that made his vocal palette more soprano. His vocal technique was extraordinary and the amount of breath support he conjured to make his voice sound pure and effortless was unmatched. Balducci’s voice was like a breath of fresh air.

An Ensemble of Talented Musicians

The Ensemble Les Talens Lyriques absolutely made this opera what it was musically with their intelligently placed dynamics, intuitive phrasing that brought forward the singers’ voices, and their obvious joy for playing. There were many moments where my eyes fell onto the players in the pit just to look at this group of musicians that genuinely love what they do and do what they love. This was the highlight of the night for me.

The post Bayreuth Baroque Opera Festival 2024: Ifigenia in Aulide appeared first on OperaWire.

Mezzo-soprano Ambroisine Bré serves as soloist in Les Talens Lyriques’ “The Sound of Music in Versailles.” Christophe Rousset accompanies at the harpsichord and conducts.

Performance Date: November 12, 2024

“We’ll Be There! American Spirituals, Black and White, 1800–1900” is presented by Boston Camerata. Anne Azéma directs.

Performance Dates: January 30 & 31, 2025 

 In Bocca al Lupo performs the concert, “Mundus Inversus.”

Performance Dates: February 28 – March 2, 2025 

The Quicksilver Baroque Ensemble performs “Early Moderns: Extravagant New Music from the Seventeenth Century.”

Performance Date: March 24, 2025 

Up next is “Home Away from Home,” performed by Ensemble Affect.

Performance Dates: March 28-30, 2025 

The season closes with Ensemble Constantinople’s performance of “Traversées.”

Performance Dates: May 9-11, 2025 

The post San Francisco Early Music Society Announces 2024–25 Season appeared first on OperaWire.

This week audiences will get to hear one of the great tenors of his generation alongside some of the greatest sopranos in one album dedicated to Puccini. There are also world premiere recordings of new works and one debut album. Here is a look.

Robeson

In a statement, Tines said, “This album is my most personal artistic statement to date. I’ve endeavored to compare and contrast my journey as an artist with that of my artistic ancestor and hero, Paul Robeson, the unparalleled singer, actor, and activist. Standing on his beliefs of egality for the disenfranchised led to governmental and public attacks that almost ended his life. This album is the fever dream of the universal journey to battle internal and external persecution in order to find one’s self and decide what you need to say the most now that you’ve survived.”

Bach: Arias for Alto

Zoltán Daragó makes his long-awaited album debut showcasing the countertenor in 11 arias from well-known and lesser-known cantatas by Johann Sebastian Bach. Les Talens Lyriques and Christophe Rousset are featured on the album.

The post Jonas Kaufmann, Anna Netrebko, Davóne Tines, Sonya Yoncheva & Zoltán Daragó Lead New CD/DVD Releases appeared first on OperaWire.

Bayreuth Baroque Festival has been awarded “The Best Festival of 2024” by Germany’s Oper! Awards. The first season began in 2020 with a staged production of Nicola Antonio Porpora’s “Carlo il Calvo”, and an opera in concert version of “Gismondo, Re di Polonia” by Leonardo Vinci and libretto by Francesco Briani’s Il Vincitor Generoso. The orchestras in residence have included Armonia Atenea (2020, 2021), {oh!} Orkiestra Historyczna (2022), Concerto Köln (2023), and this year’s Les Talens Lyriques (2024). 

OperaWire attended this year’s festival and had the opportunity to visit more with Christophe Rousset, the Musical Director and harpsichordist of Les Talens Lyriques, about Bayreuth Baroque’s new production of Porpora’s “Ifigenia in Aulide” and what makes this year most exciting. 

As stated in their bio, the ensemble Les Talens Lyriques takes its name from the subtitle of Jean-Philippe Rameau’s opera Les Fêtes d’Hébé (1739) was formed in 1991 by the harpsichordist and conductor Christophe Rousset. Championing a broad vocal and instrumental repertoire, ranging from early Baroque to the beginnings of Romanticism, the musicians of Les Talens Lyriques aim to throw light on the great masterpieces of musical history, while providing perspective by presenting rarer or little known works that are important as missing links in the European musical heritage. This musicological and editorial work, which contributes to its renown, is a priority for the ensemble.

Christophe Rousset has been nominated for eight awards in the Opera and Gramophone Awards this 2024-25 season. His musical engagements at both local and international levels feature rare works evolving and baroque as something to be rediscovered and expanded upon today.  

OperaWire: What are you most excited about being here at Bayreuth Baroque Opera Festival?

Christophe Rousset: I have a long story with Max Emanuel Cencic. He says that I introduced him to opera on stage with “L’incoronazione di Poppea” a long time ago in Toulouse and I’ve always had a nice relationship with him and I was very touched when he asked me to do this production. But not only the production of the opera but also all the concerts, including the one with Sandrine Piau and my recital with Anna Prohaska. So it’s a real honor for us. I didn’t know about Bayreuth at all unless I’ve touched Wagner, just very recently, but I never was a devotee to Wagner so I never made the trip to Bayreuth and it’s not that easy to reach, really, as you’ve probably noticed. So that was the opportunity to finally see this historical theater which is absolutely perfect. It’s such a beautiful place. There is kind of a link with this theater through “Farinelli” the film. We’ve (Les Talens Lyriques) done the soundtrack, but the images are from this theater. Unfortunately, I was not asked to conduct in the film, but I did conduct the soundtrack. But, you’ll see how incredible this theater is. It’s a real jewel. It sounds like the historical theaters I know, that’s to say it’s a little dry, but very clear and very inspiring. 

Max created the staging of it and he knows this stage quite well because it’s the fifth year of this festival and he knows that if you put the singer too far away upstage, it doesn’t sound at all. So, mostly the arias are front, downstage, and it helps with the balance with the orchestra. The pit of course is at a fixed level, so you can’t really adapt. You have to adapt with the dynamics of the orchestra.   

OW: How would you musically describe Porpora’s “Ifigenia in Aulide”?

CR: It’s a real rediscovery. It has never been performed in modern times. So, it’s quite an interesting piece based on “Iphigenia in Aulis”. We know this from the Greek tragedy. But the music is sometimes very dramatic and sometimes just bel canto. So you have to accept that opera seria is the place for nice coloraturas and beautiful tunes. This opera was written for London when Porpora was in competition with Händel, at exactly the same year as “Alcina”. People were raving for Porpora, actually, more than for Händel. This is the moment where Porpora took all the star singers of the troupe of Händel. And when Porpora arrived in London they all moved to Porpora’s because Porpora was the singing teacher of all those stars. So it was like a devotion to the master, going back to him. 

“Ifigenia” is quite demanding for singers. It’s difficult to cast. And you can recognize what is for Farinelli with wonderful spinato, with wonderful pieces. So, you have beautiful recits and incredible virtuosi for Diana and she has the biggest part of the arias in the opera. So, you have a trio, you have a duet for bass and a soprano which is quite unusual. You have accompanied recits, as I said, and some incredible numbers. For instance, there is a pastoral in the beginning of the third act sung by Achilles with flutes and oboes. It’s an atmosphere that’s really unique. It’s Porpora genius. So, we don’t know much about operas by Porpora, do we? I don’t know how much you know about Porpora. If you’ve seen the film, “Farinelli”, there’s a wonderful aria “Alto Giove, è Tua Grazia” which is now a hit for all the countertenors. But here you have new hits for the singers. 

The drama is really going towards this terrible end which involves sacrifice, when Diana appears as the ex-machina and she solves the whole thing. But, the tension is quite interesting because the paths of the priests are very important in that piece. It is quite demanding vocally, but also the place in the libretto, that really says that religion should be “the law”, and Achilles is against him and says that reason should be the law. So, it’s a real fit between them and the priest also says we can manipulate the people so easily, with religion. So it’s quite terrible, and this is really what the libretto is about. This fight between religion and reason. Which is quite actual, actually. But, also something important in the 18th century. 

OW: How do you feel that the music accompanies the hall itself? What aesthetically are you discovering while having the music of this opera in the Margravial Opera House Bayreuth? What feels new to you?

CR: What’s new is actually the music because it’s a rediscovery and I’m surprised by every note, even the recitative secco. It’s unusual for us, not exactly what we are used to. But also, of course, performing in that special place really drives you in a special direction. I must say that the staging is quite nice because it doesn’t really give you an idea of time, but it is tribal and gives something very strong. It goes very well with the music and beautiful costumes, and some nudities. Also, the whole thing is done very well.   

OW: What is your story behind creating your ensemble Les Talens Lyriques in 1991? 

CR: We have more than 30 years of existence now, so it’s quite something. We’ve been quite honored this year, especially in Germany. I had a Händel prize in Gotenna. I was the privileged artist in Gertsberg, the Mozart Festspiele. And now here in Bayreuth, it’s quite an achievement. I am very proud of all those honors in Germany. I keep trying my best to find the finest and most honest way of interpreting this music. It’s nice because with age my ideas are very clear. So, we had more than seven days of orchestra for this opera and in two days we were ready. So, the rest was for the staging. The members of my ensemble are used to my way of working and they know exactly where I want them to go. So, it’s very efficient. And this is a big satisfaction.

OW: What educational projects for school children does Les Talens Lyriques offer? How do you feel music education of young persons affects the future of local communities? 

CR: We offer many things, actually. We’ve started the youth educational project because we were looking for places to rehearse in Paris. This is really a difficult matter in Paris, to find places where my group could rehearse. So, I thought maybe let’s go to schools and have the spaces there and make this music exist for those young people. And then the project developed, so they are now participating a lot through education so they can play as an orchestra with tablets. So, one has the violin part, one has the viola part, and they play together along with a conductor giving the top to start. There is also education for composition and improvisation on harpsichord. There are some orchestra classes, too, where we teach them to play and experience the instruments. This is very important so they understand how much you have to be concentrated and devoted to an instrument to be able to produce. They can come to rehearsals, maybe in theaters as well. Some of the young people actually followed us in Vienna, last season. They had contact with the local students. When we performed “The Magic Flute” once, they organized a show with all the figures of the opera with classes in theater as well. They’ve interviewed us and once there was a broadcast on France Musique radio. So, it’s quite rewarding for them. They’ve also filmed us, so there are many possibilities and many collaborations with different classes. Literature of course, and Italian or German classes, history. There is quite a lot of interest in our actions and it’s very touching. Sometimes they come very close to us, so we rehearse and you might have a student right next to the flute or the harpsichord, next to the cellos. And then they have a different way of receiving music, of course. All of these moments are very touching, I must say. And I think they have an impact on those young people as well, so that’s quite nice.

OW: What can you tell us about your experience with music as a child? When did you know that this was for you?

CR: I didn’t start that young. I was ten when I started. But, it was for me more a matter of aesthetics. I’m interested in archaeology. That was my first passion when I was very young. Then I went towards baroque aesthetics. So, it was about painting, theater, architecture and the music came quite late. But it was very clear that the harpsichord was the instrument for me because it was a kind of time machine. I could really dive into this world. 

OW: What projects do you have planned for the remainder of this year?

CR: I’ve been asked to conduct the Monteverdi Choir Orchestra. I was so impressed with this invitation. It was quite unexpected and I’m very enthusiastic about it because I’ve been a big admirer for this group for many years. It has influenced my way of being with this music. So, it’s quite something for me. Plus there are two Bach cantatas and one piece by Charpentier. I am very happy about this! It’s a big tour with seven concerts, including Germany, England, Italy. I have a lot of things to do in the future with Händel, a lot of Händel. And a US tour, along the west coast and then in Canada. It’s also quite varied, sometimes oratorio, chamber music, opera on stage, so it’s a wide panel of activities. Two operas by Händel, “Orlando” and “Giulio Cesare”. It’s one of my first loves in baroque music. I remember when I was a child growing up in Aix-en-Provence and I had the chance to attend the rehearsals and I remember the first Händel piece I heard there and it was a big shock. So I always keep Händel next to my heart. When we travel to the US as an ensemble we also try to give the “French touch” of music. French music is a big part of our activity. This is why when we go to the states we try to put a big part of French repertoire, including Rameau, Lully, and Montéclair. Those composers in the medium sized orchestra with a mezzo. And, we try to make American audiences travel to Versailles with us through the time machine of baroque music.

The post Q & A: Christophe Rousset on Porpora’s ‘Ifigenia in Aulide’ & Les Talens Lyriques Orchestra at Bayreuth Baroque Opera Festival 2024     appeared first on OperaWire.

CHORAL

• Delius – “Mass of Life” – Bergen Philharmonic, Sir Mark Elder (LAWO)
• Elgar – “The Dream of Gerontius” – Gabrieli Consort & Players, Paul McCreesh (Signum)
• Parry – “Prometheus Unbound” – London Mozart Players (Chandos)

EARLY

• Josquin – “Motets & chansons” – Cut Circle, Jesse Rodin (Musique en Wallonie)
• Obrecht – “Missa Maria zart” – Cappella Pratensis, Stratton Bull (Challenge)
• Schütz “Italian Madrigals” – Les Arts Florissants, Paul Agnew (Harmonia Mundi)

OPERA (sponsored by Mascarade Opera) 

• Bertin – “Fausto” – Karine Deshayes, Karina Gauvin, Ante Jerkunica, Les Talens Lyriques, Flemish Radio Choir, Christophe Rousset (Bru Zane)
• Janácek – “Káťa Kabanová” – Corinne Winters, Evelyn Herlitzius, David Butt Philip, Vienna Philharmonic, Jakub Hrůša (Unitel; DVD)
• Wagner – “Parsifal” – Jonas Kaufmann, Ludovic Tézier, Elīna Garanča, Wiener Staatsoper, Philippe Jordan (Sony)

SONG 

• Beydts – “Melodies & songs” – Cyrille Dubois, Tristan Raës (Aparte)
• Schubert – “Die schöne Müllerin” – Konstantin Krimmel, Daniel Heide (Alpha)
• “But I Like to Sing” – Carolyn Sampson, Joseph Middleton, Jack Liebeck (BIS)

VOICE AND ENSEMBLE 

• Puccini – “The Great Puccini” – Jonathan Tetelman, Prague Philharmonia, Carlo Rizzi (Deutsche Grammophon)
• “In the Shadows” – Michael Spyres, Les Talens Lyriques, Christophe Rousset (Erato)
• “Paysage” – Véronique Gens, Munich Radio Orchestra, Hervé Niquet (Alpha)

The winner in each category will be named  Oct. 2, 2024 and of those winners, one will be selected as “Recording of the Year.”

“This year’s shortlisted recordings reflect just what an extraordinarily exciting, vibrant and creative sector classical music is today,” Martin Cullingford, Editor of Gramophone, said. “It’s wonderful to see albums by musicians whose achievements we’ve celebrated for a number of years sitting side-by-side with some of the most thrilling and thoughtful artists just beginning their recording careers. Every one of these superb recordings more than justifies their place in our shortlist, and your time and attention as a listener, and collectively they couldn’t offer a more impressive celebration of everything that is most compelling about the art form.”

The post Jonas Kaufmann, Elīna Garanča, Jonathan Tetelman, Véronique Gens, Corinne Winters Among Nominees for Gramophone Classical Music Awards 2024 appeared first on OperaWire.

The awards ceremony is set to place at the Bayerische Staatsoper on Oct. 2, 2024.BBC Radio 3’s Petroc Trelawny will again host the awards ceremony. There will also be performances featuring opera stars and singers from the Bayerische Staatsoper Young Artists programme.

Here is a rundown of all the categories:

CONDUCTOR
– Thomas Guggeis
– Emmanuelle Haïm
– Enrique Mazzola
– Carlo Rizzi
– Christophe Rousset
– Simone Young

DESIGNER
– Gideon Davey
-Rufus Didwiszus
-Anna-Sofia Kirsch
-Etienne Pluss
-Rebecca Ringst
-Paul Zoller

DIRECTOR
-Claus Guth
-Christof Loy
-Jetske Mijnssen
-Louisa Muller
-Marie-Eve Signeyrole
– Benedikt von Peter

EQUAL OPPORTUNITIES & IMPACT
-Asian Opera Alliance
-NI Opera
-Opera Columbus: Crane Directing Fellowship
-Opera For Peace
-Streetwise Opera
-Teatro Regio di Parma: Manifesto Etico

FEMALE SINGER
-Elsa Dreisig
-Rosa Feola
-Aleksandra Kurzak
-Lisette Oropesa
-Anna Pirozzi
-Adela Zaharia

FESTIVAL
-Buxton International Festival
-Des Moines Metro Opera
-Garsington Opera
-Savonlinna Opera Festival
-Smetana Opera Cycle Ostrava
-Tiroler Festspiele Erl

MALE SINGER
-Benjamin Bernheim
-Cyrille Dubois
-Gerald Finley
-Pene Pati
-Jonathan Tetelman
-Klaus Florian Vogt

NEW PRODUCTION
-“Iphigénie en Aulide / en Tauride” (Festival d’Aix/Tcherniakov)
– Don Carlos (Grand Théâtre de Genève/Steier)
-“The Exterminating Angel” (Opéra national de Paris/Bieito)
-“Khovanshchina” (Staatsoper Berlin/Guth)
-“Die Meistersinger von Nürnberg” (Teatro Real/Pelly)
-“Death in Venice” (Welsh National Opera/Fuchs)

OPERA COMPANY
-Komische Oper
-National Theatre Prague
-Opéra national du Rhin
-Opera Philadelphia
-Opéra Royal de Wallonie-Liège
-Wiener Staatsoper

READERS’ AWARD
-Xabier Anduaga
-Ekaterina Bakanova
-Piotr Beczała
-Sara Blanch
-Arturo Chacón Cruz
-Asmik Grigorian
-Ermonela Jaho
-Ludovic Tézier

RECORDING (COMPLETE OPERA)
-Donizetti: “L’esule di Roma” (Opera Rara)
-Langgaard: “Antikrist” (Naxos)
-Bertin: “Fausto” (Bru Zane)
-Lully: “Thésée” (Aparte)
-Adams: “Girls of the Golden West” (Nonesuch)
-Meyerbeer: “Le Prophète” (LSO Live)

RECORDING (SOLO RECITAL)
-Aigul Akhmetshina: “Aigul” (Decca)
-Golda Schultz: “Mozart, You Drive Me Crazy!” (Alpha)
-Marina Viotti: “Mezzo Mozart” (Aparte)
-Michael Spyres: “In the Shadows” (Erato)
-Reinoud van Mechelen: “Legros, Haute-Contre de Gluck” (Alpha)
-Saioa Hernandez: “Il verismo d’oro” (EuroArts)

REDISCOVERED WORK
-Granville Bantock: “The Seal-Woman” (Scots Opera Project)
-Antonio Salieri: “Kublai Khan” (MusikTheater an der Wien)
-Thea Musgrave: “Mary, Queen of Scots” (Oper Leipzig)
-Ethel Smyth: “Der Wald” (Oper Wuppertal)
-Roman Haubenstock-Ramati: “Amerika” (Opernhaus Zürich)
-Carolina Uccelli: “Anna di Resburgo” (Teatro Nuovo)
-Augusta Holmès: “La Montagne Noire” (Theater Dortmund)
-Camille Erlanger: “L’Aube rouge” (Wexford Festival Opera)

RISING STAR
– Justin Austin (baritone)
-Charlotte Corderoy (conductor)
-Arnheiður Eiríksdóttir (mezzo-soprano)
-Duke Kim (tenor)
-Katia Ledoux (mezzo-soprano)
-Anthony León (tenor)
-Marina Monzó (soprano)
-Yaroslav Shemet (conductor)
-William Guanbo Su (bass)
-Jasmin White (contralto)

SUSTAINABILITY
-ARVIVA: Arts vivants, arts durables
-Finnish National Opera
-INSPIRE Project (Erasmus+)
-Opera North: Green Season
-Santa Fe Opera; Wild Arts

WORLD PREMIERE
-Talbot: “The Diving Bell & the Butterfly” (The Dallas Opera)
-Eötvös: “Valuska” (Hungarian State Opera)
-Foccroulle: “Cassandra” (La Monnaie De Munt)
-Čekovská: “Here I am, Orlando” (National Theatre Brno)
-Bilodeau: “La Reine-garçon” (Opéra de Montréal)
-Orth: “10 Days in a Madhouse” (Opera Philadelphia)
-Spears: “The Righteous” (Santa Fe Opera)
-Glanert: “Die Jüdin von Toledo” (Semperoper Dresden)
-Carretero: “La Bella Susona” (Teatro de la Maestranza)
-Manchado: “La Regenta” (Teatro Real)

The post Elsa Dreisig, Benjamin Bernheim, Aleksandra Kurzak, Jonathan Tetelman, Ludovic Tézier Among Major Nominees for 2024 International Opera Awards appeared first on OperaWire.

The Monteverdi Choir and Orchestras has announced that Christophe Rousset will lead the ensemble MCO for its upcoming Baroque Christmas tour.

Rousset will make his MCO conducting debut this December before leading concerts at the Teatro alla Scala and the ensembles’ home at St Martin-in-the-Fields.

Rousset’s appointment follows the announcement that conductor and MCO founder Sir John Eliot Gardiner would step down from the organization following an assault on bass singer Will Thomas at the Berlioz Festival at La Côte-Saint-André in France in August of 2023.

“I’m very proud to have sung in the choir for the last 23 years and we are really excited that this December the Monteverdi Choir will collaborate with Christophe Rousset,” Choir member Sam Evans said in an official statement. “It is going to be a thrill for the Monteverdi Choir to bring Christophe’s vision for these Christmas masterpieces to life in what is a new chapter for us going forward.”

Rousset added, “I felt very honored to receive the invitation to conduct a Christmas programme with the MCO. From an early age, I have been a great fan of this ensemble and its founder. Having the chance to work with this wonderful ‘instrument’ at my fingertips is a great privilege.”

Rousset specializes in the performance of Baroque music on period instruments and is the founder of the French music ensemble Les Talens Lyriques. He has guest conducted at the Gran Theatre del Liceu, Teatro San Carlo Naples, Teatro alla Scala, Royal Opera House, and the Orchestra of the Age of Enlightenment.

The post Christophe Rousset Joins Monteverdi Choir for Christmas Tour appeared first on OperaWire.

Raphaël Pichon will conduct “Vespro della Beata Vergine.” The work stars Perrine Devillers, Zachary Wilder, Robin Tritschler, Antonin Rondepierre, Nicolas Brooyymans, Etienne Bazola, and Renaud Brès.

Performance Date: Sept. 22, 2024

Lauranne Oliva, Juliette Mey, Léo Vermot-Desroches, and Halidou Nombre headline “Joyaux du bel canto.” Gaétan Jarry and Stefan Piewniak conduct.

Performance Date: Sept. 29, 2024

Victor Jacob conducted Fauré’s “Requiem.” Isaure Brunner and Jean-Gabriel Saint-Martin conduct.

Performance Date: Oct. 12, 2024

Stefan Plewniak conducts a production of “Dido and Aeneas” by Cécile Roussat and Julien Lubek. Sonya Yoncheva, Sarah Charles, Halidou Nombre, Attila Varga-Tóth, Pauline Gaillard, Arnaud Gluck, and Lili Aymonino.

Performance Date: Oct. 7 – Oct. 26, 2024

Andrès Gabetta conducts a recital featuring Marina Viotti.

Performance Date: Nov. 4, 2024

Jean-Baptise Nicolas conducts Charpentier’s “Messe à Quarte Choeurs. The soloists include Pauline Gaillard, Attila Varga-Tóth, Léo Guillou-Kérédan, Halidou Nombre.

Performance Date: Nov. 12, 2024

Camille Delaforge conducts Mozart’s “Le Devoir du Premier Commandement.” The work features the vocal talents of Gwendoline Blondel, Mathilde Ortscheidt, Julien Behr, and Jordan Mouaissia.

Performance Date: Nov. 16, 2024

Théotime Langlois de Swarte conducts Mozart’s Requiem starring Marie Prebost, Mathilde Ortscheidt, Bastien Rimondi, and Edwin Fardini.

Performance Date: Nov. 23 & 24, 2024

Porpora’s “Polfiemo” stars Franco Fagioli, Julia Lezhneva, Paul-Antoine Bénos-Djian, José Coca Loza, and Éléonore Pancrazi. Stefan Plewniak conducts and Justin Way directs.

Performance Date: Dec. 4 – 8, 2024

Eva Zaïck, Lucile Richardot, Victoire Bunel, Anas Seguin, Victor Sicard, and François Rougier star in “L’Uomo Femina.”

Performance Date: Dec. 13 – 15, 2024

Marco Angioloni conducts Händel’s “Sosarme.” Rémy Brès-Feuillet, Marco Angioloni, Éléonore Pancrazi, Nicolò Balducci, Logan Lopez Gonzalez, and Giacomo Nanni.

Performance Date: Dec. 16, 2024

Paul-Antoine Bénos-Djian performs in a concert conducted by Théotime Langlois de Swarte.

Performance Date: Dec. 20, 2024

Händel’s “Messiah” stars Marie Lys, Nicolò Balducci, Rémy Burnens, and Haliou Nombre. Gaétan Jarry conducts.

Performance Date: Dec. 21 & 22, 2024

Sonya Yoncheva performs a Christmas concert conducted by Stefan Plewniak.

Performance Date: Dec. 23, 2024

Mary Lys and Rémy Burnens will perform a New Year’s Eve concert with Stefan Plewniak conducting.

Performance Date: Dec. 30, 2024

Sonya Yoncheva leads the Gstaad New Year Festival in a couple of concerts conducted by Stefan Plewniak.

Performance Date: Jan. 1 & 2, 2025

Adèle Charvet and Éléonore Pancrazi headline “Carmen.” Julien Behr and Kevin Amiel star as Don José alongside Alexandre Duhamel, Florie Valiquette, and Vannina Santoni. Hervé Niquet conducts a production by Romain Gilbert directs.

Performance Date: Jan. 14 – 22, 2025 & March 20 – 30, 2025

William Christie conducts “Happy Birthday Bill!” The vocal soloists include Ana Vieira Leite, Juliette Mey, Rebecca Leggett, Bastien Rimondi, and Matthieu Walendzik.

Performance Date: Jan. 26, 2025

Stefan Plewniak conducts “Les Trois Contre-Ténors” with Samuel Mariño, Théo Imart, and Raphal Tomkiewicz.

Performance Date: Jan. 30 & Feb. 22, 2025

Emiliano Gonzalez Toro conducts Francesca Caccini’s “Alcina.”

Performance Date: March 3, 2025

Gaétan Jarry conducts Charpentier’s “Te Deum” and Händel’s “Coronation Anthems.”

Performance Date: March 14, 2025

Gaétan Jarry conducts and Jean-Romain Vesperini directs “La Fille du Régiment.” Gwendoline Blondeel, Enea Scala, Jean-François Lapointe, Éléonore Pancrazi, and Jean-Gabriel Saint-Martin star.

Performance Date: April 4 – 12, 2025

Marie Lys performs a concert, conducted by Gaétan Jarry.

Performance Date: May 5, 2025

Valentin Tournet conducts “Rameau: Les Fêtes de Ramire” with Mélissa Petit, Mathias Vidal, Nahuel di Pierro, Jehanne Amzal, Floriane Hasler, and David Tricou.

Performance Date: May 22, 2025 

Reinoud Van Mechelen conducts Clérambault’s “Te Deum – Histoire de la Femme adultère.”

Performance Date: May 23, 2025

Sébastien Rouland’s “Siegfried” with Tilmann Unger, Paul McNamara, Simon Bailey, Werner van Michelen, and Aile Asszonyi.

Performance Date: May 25, 2025

Lully’s “Prosperine” will star Ambroisine Bré, Véronique Gens, Jean-Sébastien Bou, Marie Lys, Nick Pritchard, Laurence Kilsby, Olivier Gourdy, and Olivier Cesarini. Christophe Rousset conducts.

Performance Date: June 15, 2025

Hande Kodja directs Vivaldi’s “La Senna Festeggiante.” Franciana Nogues, Rafal Tomkiewicz, and Timothée Varon star.

Performance Date: July 5 & 6, 2025

The post Sonya Yoncheva, Éléonore Pancrazi, Franco Fagioli, Julia Lezhneva, Enea Scala Headline L’Opéra Royal du Château de Versailles’ 2024-25 Season appeared first on OperaWire.