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.

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The Trinity Boys Choir has announced Nicholas Mulroy as the new director.

The tenor took to social media and said, “Very excited and fortunate to work with these amazing youngsters in this wonderful school/dept, and to build on the extraordinary legacy of the great.” 

Mulroy was a chorister at the city’s Metropolitan Cathedral and has sung at the Sydney Opera House, Symphony Hall, Carnegie Hall, the Royal Albert Hall, Berlin Philharmonie, and the Salzburg Festival. He has collaborated with Sir John Eliot Gardiner, Lars-Ulrik Mortensen, and John Butt, among others and has appeared at the Opéra Comique, Glyndebourne, Opéra de Lille, and the Grand Capitole in Toulouse.

The Trinity Boy Choir is a versatile ensemble that has collaborated with the BBC Symphony Orchestra, the London Philharmonic Orchestra, the Cleveland Orchestra, and the Lucerne Festival Orchestra, among many ensembles.

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The new ensemble, The Constellation Choir and Orchestra, will feature some of Europe’s most distinguished musicians and singers alongside special guest soloists.

The ensemble will be led by Gardiner in a series of concerts at five venues in Germany, France, Austria, and Luxembourg this December.

The tour is Gardiner’s response to direct personal invitations from the venues to assemble musicians and singers and the program will open at the Elbphilharmonie in Hamburg followed by concerts at the Wiener Konzerthaus, Philharmonie Luxembourg, Konzerthaus Dortmund, and Chateau de Versailles. There will also be a tour in 2025 and 2026.

In a statement, Gardiner said, “It gives me great pleasure to announce the foundation of Springhead Constellation, a unique new project embodying a vibrant collective of musical ensembles, creative artists and makers. Our flagship groups, The Constellation Orchestra and The Constellation Choir will produce ambitious, multidisciplinary performance projects that tour around the world. Our aspiration is to create accessible, engaging and educational performances that resonate across all generations and geographies. Since my return to conducting in Montpellier in July, I have been deeply moved and inspired by the extremely warm and enthusiastic messages of support I have received from musicians, presenters and promoters alike. I made clear when I parted company with the MCO earlier this summer that I was not in any sense ready to retire. I said I would be focussing on a rich variety of new projects. Springhead Constellation and this tour – which will be the first of many – represents the realisation of that commitment and I am hugely energised about what we can go on to achieve together. More than anything else, I am so excited and grateful to be working with such exceptional musicians once again, not forgetting the important lessons I have learnt and needed to learn from the past year.”

Earlier this summer Gardiner announced his resignation from Monteverdi Choir and Orchestras. The conductor announced in February that he was extending his leave of absence following an August 2023 incident in which Gardiner attacked bass William Thomas backstage during a performance of Berlioz’s “Les Troyens” because he exited the podium on the wrong side after the first part of the opera. The incident caused Gardiner to apologize publicly and cancel all public performances.

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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.

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In a recent poll, members of the ensemble were “deeply saddened” by the decision of his exit and had “no desire to sever ties.”

According to the Standard, the musicians polled 173 members (the organization employs 360 in total), and 96 percent of those polled were in favor of Gardiner being reinstated.

The statement read, “Contrary to recent suggestions in the press, we have no desire to sever ties with John Eliot. A recent poll of 173 of our musicians indicated 96 percent support for his return to conducting us. We fully uphold MCO’s commitment to hold John Eliot accountable for his actions and create a safe working environment, but we believe that this was achievable with him returning to the helm.”

The statement added, “However, we regret that, while implementing policy designed to ensure dignity and respect in the workplace, the views of musicians were ignored. We extend our heartfelt gratitude to John Eliot for over 60 years of extraordinary music-making and look forward to many more opportunities to join him in the future.”

Gardiner resigned on July 24 in a statement that noted, “After a long period of deep consideration and reflection, I have decided to step down as leader and Artistic Director of the Monteverdi Choir and Orchestras (MCO) with immediate effect. The MCO, which I founded in 1964, has been the proudest and most inspiring project of my life, and I have arrived at this decision with a heavy heart after six decades of remarkable collaborative achievement.”

In August of 2023, Gardiner hit bass William Thomas backstage during a performance of Berlioz’s “Les Troyens” because he exited the podium on the wrong side after the first part of the opera. The incident caused Gardiner to apologize publicly and cancel all public performances.

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In a statement, he said, “After a long period of deep consideration and reflection, I have decided to step down as leader and Artistic Director of the Monteverdi Choir and Orchestras (MCO) with immediate effect. The MCO, which I founded in 1964, has been the proudest and most inspiring project of my life, and I have arrived at this decision with a heavy heart after six decades of remarkable collaborative achievement.”

He added, “I have done a great deal of soul searching since the deeply regrettable incident at the Festival Berlioz at La Côte-Saint-André last August and have apologised repeatedly and unreservedly for losing control in such an inappropriate fashion. I have undergone extensive therapy and other counselling over the past 11 months and have learned a great deal about myself and my past behaviour, but I have reached the conclusion that the best way forward for both myself and for the MCO is to accept that a clear change in our relationship is necessary now for the good of both parties. After extensive discussions with the MCO board, I, therefore, feel that in the interests of the institution and its richly talented players – many of whom I value as close personal friends – the time has come for us to go our separate ways.”

The statement concluded, “For the avoidance of doubt, I am not in any sense ready to retire. I will be focussing on a rich variety of other activities including guest conducting, recording, writing, creative and education projects (to which I am deeply committed) as part of a lighter, lower pressure schedule. I truly feel energised and excited about the future and fully intend to commit wholeheartedly to carrying on the work that I remain passionate about and which is forever part of my DNA. My profound thanks go to the musicians, singers, sponsors and patrons of the MCO for all of their dedication, creativity and generous support. It has been a magnificent journey.”

The news comes after Gardiner announced in February that he was extending his leave of absence and said, “I am extending my time away from public music-making until later in the year in the wake of last August’s incident – something for which I have accepted full responsibility and profoundly regret.” In August of 2023, Gardiner attacked bass William Thomas backstage during a performance of Berlioz’s “Les Troyens” because he exited the podium on the wrong side after the first part of the opera. The incident caused Gardiner to apologize publicly and cancel all public performances.

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In anticipation of his debut, Vistoli spoke to OperaWire regarding the production.

OperaWire: What does it mean to debut at the San Francisco Opera?

Carlo Vistoli: Making my debut at the San Francisco Opera is first and foremost a great honor. It will also be an opportunity to present myself to the American public for the first time in a more complete manner. Although I have already had opportunities to sing in several American cities with conductors such as William Christie and John Eliot Gardiner, these were always concerts or operas in concert form. Therefore, I am very happy to make my stage debut in this beautiful theater, with such a wonderful team of artists, and in this production by Christopher Alden, which we can already call historic.

OW: Tell me about performing Händel’s “Partenope.”

CV: First of all, the role of Arsace is really a massive one. If we count the musical numbers, we see immediately that it is one of the most demanding roles that Händel wrote for a castrato, even longer than that of Giulio Cesare – with arias of great abandon or broad melodic lines, and others with tempestuous coloratura. The character is marked by profound ambiguities, both on the emotional and political levels, torn between feeling and convenience, attraction and prestige, between love for Rosmira and desire for Partenope and what she represents (as a queen in the original plot and as a muse for artists in our modern setting). With Christopher Alden and Christopher Moulds, we are trying to bring out all the psychological nuances present in Handel’s music in this wonderful production set in the Paris of the surrealists and Dada in the 1920s, where Arsace will be portrayed not as the capricious yet heroic prince drawn by the “Caro Sassone,” but as a sophisticated and salon-going intellectual.

OW: How does it differ from other Händel works you perform?

CV: If we consider that Händel wrote most of the contralto castrato roles for Senesino, a true alto, we could say that the difference lies primarily in the writing and range. “Partenope” was composed in 1730 when Senesino was away from London, so the role of the leading man (primo uomo) was written for Antonio Bernacchi (who, by the way, was from Bologna, my same native region, Emilia-Romagna). For him, Händel had written the role of Lotario in the eponymous opera a year earlier. Compared to Senesino, who would later reprise this Partenope in a revival a few years later, making several modifications, we can note that Bernacchi had a wider range in the upper register and perhaps more flexibility in managing the different registers. The writing, while clearly for a contralto, often ventures into the extremes of the tessitura, reaching the soprano part in the choruses (something that never happened in operas where Senesino was the protagonist), suggesting a wide range that is confirmed by the arias other composers wrote for him or by certain variations written by himself, of which we have the manuscripts. I’ll sing a solo recital dedicated to this important castrato at the end of July at the Beaune Festival, in France.

Speaking more generally, we can say that “Partenope,” compared to Händel’s other “opera seria” works, has a distinctly lighter, almost ironic tone, especially evident in the recitatives: betrayals, disguises, gender confusion… against a backdrop of warlike events. What stands out is a plot with very modern connotations that, as in the case of our production, inspires a type of theater that is very dynamic and full of humor.

OW: What are the biggest challenges of the work and what are your favorite parts of the opera?

CV: The greatest challenge is undoubtedly to characterize and resolve each aria, from the elegiac ones to those of great virtuosity, trying to make each one a piece of a complex psychology in the character’s developmental arc. If I have to choose a couple of moments from the opera, I would say the aria “Sento amor con novi dardi,” in which Arsace feels his love for Rosmira, whom he had betrayed, rekindled within him, and the aria that ends the second act – the famous “Furibondo spira il vento” – a true adrenaline rush for me on stage that I hope to convey to the audience in the theater.

For those not in San Francisco for “Partenope,” the opera will be streamed on the company’s platform. Vistoli is also set to perform at the Wiener Staatsoper, Teatro alla Scala, and Teatro Regio di Parma.

Recordings

For more on Vistoli, audiences can hear his recordings “Semele,” “Artaserse,” “L’Orfeo” and “Il Ritono d’Ulisse in Patria.”

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Groves Artists has announced the addition of countertenor Alexander Chance to its roster.

The countertenor has performed with such organizations as the Teatro Real de Madrid, Palau de la Música Catalana, Berliner Philharmonie, Hamburg Elphilharmonie, Philharmonie de Paris, Concertgebouw Amsterdam, and Tokyo Opera City, among others. He has also worked with such conductors as including Sir John Eliot Gardiner, Masaaki Suzuki, René Jacobs, Masato Suzuki, John Butt, Laurence Cummings, Jonathan Cohen, Kristian Bezuidenhout, Marcus Creed, David Bates, and Lionel Meunier, among others.

“I’m very excited to begin this collaboration with Groves Artists. Jonathan Groves is one of the most respected figures in classical music management, and I am honoured to be joining a roster of some of the UK’s finest singers and conductors,” Chance said in an official press release.

Other artists on Groves Artists roster include Sophie Bevan, Sir Mark Elder, Nathan Gunn, Kiandra Howarth, Lothar Koenigs, Rowan Pierce, Rachel Nicholls, Ed Lyon, Roderick Williams, Ryan Wigglesworth, and Douglas Boyd, among others.

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Outlaw has performed several Mozart works including Leporello in “Don Giovanni,” Guglielmo in “Cosi fan tutte,” and Figaro in “Le Nozze di Figaro.” His interpretations have been praised for his “beautiful timbre and great projection.”

Here is a short interview regarding his upcoming role debut.

OperaWire: What does it mean to play this iconic character and to debut it in Boston?

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The famed concert hall announced the news via a social media post in which it showcased the mezzo’s name being engraved into the list of honorary members.

Garanča joins a list of artists that includes Martha Argerich, Teodor Currentzis, Wynton Marsalis, Sir John Eliot Gardiner, and Martin Grubinger, among others.

The mezzo-soprano last performed at the hall in January in a program that included music by Hector Berlioz, Charles Gounod, Jules Massenet, Camille Saint-Saëns, and Heitor Villa-Lobos, among many others. 

Up next, Garanča performs at the Teatro alla Scala in “Cavalleria Rusticana” and “Parsifal” at the Wiener Staatsoper. She also goes on tour with the Metropolitan Opera Orchestra this summer.

 

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