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London Symphony Orchestra 2024-25 Review: La Rondine

Operawire Staff — Tue, 17 Dec 2024 20:08:28 +0000

(Photo: Mark Allen)

Puccini called his work “La Rondine” a “commedia lirica,” effectively COMIC opera, but I consider it a TRAGEDY that this work isn’t performed more in the opera house.

“La Rondine” comprises some of the most exquisite, emotive music the maestro ever penned. Alas, devoid of the dramatic impact and impetus of his more famous, regularly performed works, it is scarcely deemed worthy of staging by impresarios, given its lightweight theme: a doomed romance with no histrionic turn of events or tragic deaths.

Maestro Sir Antonio Pappano gave no thoughts to such trivial matters as he took to the podium at the Barbican in London however, where he commanded the London Symphony Orchestra (LSO) and a cast of singers in a concert version of the work.

Mainly obscured, as he invariably was in the opera house pit, it was a joy to see him, literally, under the spotlight and in full view. It is indeed a sight to behold, watching him at work, an elite marionettist pulling ALL the strings of his players, gesturing here, pointing there, driving his charges, dancing, gesticulating, prancing, at times so animated that I feared he would lose his footing and fall from his small, confined podium. That he is a musical genius is inarguable. The passion for what he does emanates from his very being, an almost tangible aura surrounding his enthusiastic, vibrant form.

The LSO itself, led by Pappano since September of this year, were quite majestic; again, the experience enhanced somewhat by virtue of being on full view, turning out Puccini’s score with exquisite care and attention.

Whether or not the lack of any requirement to concentrate on staging positions or real direction served to enhance or focus the singing performance of the artists, I can not say, except to state that this proved to be a euphonious delight, vocally.

Spectacular Singing

Nadine Sierra was penned in to perform the role of Magda, but she is in recovery from a medical procedure. Instead, Bolivian-Albanian soprano Carolina López Moreno performed the role of Magda and positively shone here as the Parisian courtesan. She may have been a stand-in, but she had no need to refer to the score, singing with glorious aplomb. She possesses a shimmering tone, often voluminous, with a radiant, top. She delivered an exquisite “Ore dolci e divine” and her signature aria “Chi il Bel Sogno di Doretta?” was sublime, receiving much deserved applause.

Her chief admirer, Ruggero, was performed by the renowned American tenor Michael Fabiano who cut a rather studious, serious first impression with his bespectacled form. Vocally, seemingly hesitant in the early stages with his “Parigi! È la città dei desideri,” he soon blossomed to produce a fine and very sweet accompaniment in “Nella dolce carezza della danza” before producing a most sudden, unexpected and ardently pressed kiss that appeared to even take Carolina by surprise!

His powerful line and silvery top came into further prominence in the “Bevo al tuo fresco sorriso” quartet where his piercing tone cut through both the orchestration and eager chorus. He impressed throughout the evening, delivering a contemplative “Dimmi che vuoi seguirmi” which managed to avoid the usual, overly saccharine sentimentality. His “Ma come puoi lasciarmi se mi struggo in pianto” where he begs Magda not to leave him was genuinely moving and, for me, was one of the key highlights of the evening.

By contrast, the other lovebirds in the equation, supercilious poet Prunier and his secret on/off lover Lisette, maid to Magda, performed by American tenor Paul Appleby and Italian soprano Serena Gamberoni respectively, ham it up for laughs. Appleby has a fine, shiny bright tenor instrument with which he impresses throughout the whole first act. In fact, until Ruggero makes his entrance later in Act one, he holds the pivotal role as the lead tenor. He sets the stage and to a degree, the characters on it. His “Forse, come la rondine” was especially warm and enchanting, but his triumphs lay in his melodramatic yet witty retorts, along with the comedic squabbles with his girlfriend Lisette.

Gamberoni has a strong, expressive soprano and combined with her jocoseness, probably epitomized to perfection what Puccini meant by “commedia lirica”. Whether entering or exiting the stage, she did so with comical gusto.

More Performance Highlights

British baritone Ashley Riches takes on the role of Rambaldo, Magda’s wealthy ‘protector’. Cutting a very tall figure, he is suitably austere and constraining and sings his lines with rich, dark resonance.
Sarah Dufresne, Angela Schisano and Marvic Monreal are the essential party girls who give the whole show the requisite, essential sparkle, beauties for the eyes as well as the ears. I have frequently pondered why; after having seen her excel on a number of occasions now, Canadian soprano and former Jette Parker Alumna Sarah Dufresne has not been contracted to perform more substantial roles in the house. She has a voice of pure crystal, exquisitely polished, clarion and attention grabbing and I am always left wishing I could hear more of her.

The London Symphony Orchestra chorus made invaluable contributions here, not just with their delightfully engaging swaying during certain passages, but especially during the final passages of the “Bevo al tuo fresco sorriso” where the sheer wall of sound produced, quite literally, took one’s breath away. Possibly not surprising, given that their numbers were close to NINETY strong!

Whoever labelled “La Rondine” a “poor man’s ‘Traviata’” never lived, and certainly never loved. For what makes this underplayed mini-masterpiece so special is, frustratingly, the very reasons it is seldom staged. It is devoid of all the overly-melodramatic, theatrical murders, suicides and completely improbable tales of woe that are the hallmarks of most operas. Yet in its uncomplicated, simple story of near-tangible heartbreak, it is all the more potent for it. It is genuine. Real. TRUE verismo.
It’s NOT a “poor man’s Traviata.” It’s pure, unbridled richness for everyone.

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Best of 2024: OperaWire’s Team on the Best Performances of the Year

OperaWire — Mon, 16 Dec 2024 05:00:14 +0000

There’s been a lot of opera in 2024. And quite frankly, there’s been a lot of good opera.

So as has become our tradition, here is a look at some of OperaWire’s editorial team’s picks for their personal favorite performances of 2024.

Matt Costello: Act three of “Götterdämmerung” – Tanglewood

It’s always a tricky thing to think about one’s “Performance of the Year.” Especially challenging when there were a great number of remarkable performances – for which, at this end of year – I am certainly thankful.

But for this exercise, I used some helpful criteria. First, was it extraordinary? Obvious one that. Then: were all the elements of the performance at the same or similar wonderful level? And finally, is there something perhaps surprising about it….even unexpected? And with that, it was easy to make a choice. This year, during their always fantastic summer season, Tanglewood and the Boston Symphony Orchestra programmed Act three of Wagner’s tetralogy finale, “Götterdämmerung.”

Extraordinary? Well, the BSO, under Andris Nelsons, always hits that mark. And the performers, remarkable as well, led by Christine Goerke’s Brünnhilde and Michael Weinius’s Siegfried. But the entire ensemble was simply wonderful.

And the surprise? That in a summer concert series, people picnicking on the lawn, candles and bubbly often spotted, such a weighty piece was scheduled, and then pulled off. And with such intense drama…despite no sets and mostly minus props, and yet riveting. Totally compelling – and I say this having been to the mecca of Wagner performances, Bayreuth.

Bernardo Gaitan: “Il cappello di paglia di Firenze” – Teatro alla Scala

This is undoubtedly one of the best shows of 2024, showcasing a fresh revitalization of a little-known gem from the operatic repertoire. This hilarious contemporary farce by Nino Rota—a prolific yet often unperformed composer in the operatic realm—shone brightly in an impeccable production that perfectly captured the work’s light and sophisticated essence.

The true triumph lay in the extraordinary cast of young singers from the Accademia della Scala, who dazzled not only with their vocal prowess but also with their acting skills. They managed to master the complex art of comic timing, offering performances full of charisma and precision that fully convinced despite not having any famous names on the marquee, but only promising students.

Moreover, Teatro alla Scala brilliantly merged the nostalgic charm of this piece with a modern and dynamic staging, resulting in a vibrant and unforgettable experience. This production not only celebrated Rota’s operatic brilliance but also left audiences with an enduring smile.

Mike Hardy: “Andrea Chénier” – Royal Ballet & Opera

2024 was a wonderfully opera-enriched year for me, making it very difficult to pick a single outstanding moment. The amazing Aigul Akhmetshina performed two brilliant stagings of “Carmen,” at the ROH and at Glyndebourne and the incredible Aida Garifulina performed a breathtaking Violetta in the ROH’s “La Traviata.”

Alas, pride of place must fall to the ROH’s production of “Andrea Chenier.” It saw superstar tenor Jonas Kaufmann return to something like his former best after a series of illnesses, not least one which clearly rendered him struggling just two weeks prior to this performance when he took part in the concert celebrating 22 years of Sir Antonio Pappano at the ROH. But this night surely must belong to the wonderful Sondra Radvanovsky who sang the most heart-rending Act three aria, “La mamma morta,” where her character, Maddalena, recounts the death of her mother. Her genuinely tear-inducing rendition was made all the more poignant by virtue of Radvanovsky still mourning the loss of her own Mother in 2022. After the performance, she told me that the last time she had sung it, her mother had been in the audience, and that getting through the aria was a huge, personal struggle.

Alan Neilson: “Il Trionfo del Tempo e del Disinganno” – Göttingen International Händel Festival

By chance, all the best performances I attended during 2024 occurred over a couple of months during the summer. All were festival productions. It was a production of Händel’s oratorio “Il Trionfo del Tempo e Disinganno,” however, that stood out. The work, although being defined as an oratorio, has received many fully staged performances over the years, albeit with mixed results; the main problem is that its lack of physical action often leads to uninteresting, static productions. Göttingen’s Händel Festival opted for a concert performance, yet the innovative approach of director Ilka Seifert and Folkert Uhde’s staging managed to create a dramatically strong reading through the use of live intimate video projections that captured the emotional depths of the characters. There were no costumes or scenery, but it did not matter; the large screen behind the orchestra focused the audience’s attention on the emotions etched on the singers’ faces in a way that was far more convincing than one finds in a normal staged performance.

The four soloists, sopranos Anna Dennis and Emöke Baráth, countertenor Xavier Sabata and tenor Emanuel Tomljenovic, produced superb readings that captured the stunning beauty of Händel’s music while revealing the essence and emotional dimensions of their characters. The Festspielorchester Göttingen, under the masterful direction of George Petrou, produced a sensitive and exquisitely fashioned performance that brought out the work’s elegant beauty along with its full emotional charge. All the elements came together perfectly to create a truly memorable performance.

Jennifer Pyron: “El Niño” – The Metropolitan Opera

Metropolitan Opera debuted John Adams’s “El Niño,” with libretto based on original sources by Peter Sellars and John Adams, to a sold out house of past, present, and future opera goers on Tuesday, April 23rd, 2024. “El Niño” is unlike anything John Adams has done before and the historical timing of this debut is uncanny. This was his fourth work to be performed at Met Opera, including “Doctor Atomic” (2008), “Nixon in China” (2011), and “The Death of Klinghoffer” (2014).

History was made on this night because the majority of the cast made their own debuts, including director Lileana Blain-Cruz, conductor Marin Alsop, soprano Julia Bullock, baritone Davóne Tines, countertenors Key’mon W. Murrah and Siman Chung, set designer Adam Rigg, lighting designer Yi Zhao, projection designer Hannah Wasileski, puppet designer James Ortiz and choreographer Marjani Forté-Saunders.

Director Lileana Blain-Cruz’s dedication to building her own creative team took this production to the new heights that Met Opera dreams about, making this the best performance of 2024. Met Opera will debut John Adams’s newest opera in 2024-25, “Antony and Cleopatra” (2022), which also stars Julia Bullock in the titular role of Cleopatra.

David Salazar: “Ainadamar” – Metropolitan Opera

Some quick shoutouts to Lisette Oropesa in “La Sonnambula” in Rome and Benjamin Bernheim in “Roméo et Juliette” at the Met Opera – two of the most vocally exquisite performances I heard all year. After watching a rather shockingly messy opening performance of “La Gioconda” at Napoli, I was not looking forward to round two. But the team came together and delivered a true knockout, a testament to the beauty of live theater and the second chances it provides. Then there’s the cast of “Die Frau ohne Schatten” at the Met, a true miracle of modern opera. Finally, Teatro Grattacielo’s production of “Beyond the Horizon” was emblematic of how new opera can truly flourish an independent scale.

But as far as THE performance of the year… I saw three of them. And they were all “Ainadamar.” Every single one of these three shows was truly mesmerizing and special. All of them different experiences. All of them revelatory. If you wanted to show people what opera could be and is, this is the perfect piece with which to do it. Because it’s more than opera. It’s a work that pushes the boundaries of what the artform can do. An opera that is truly inclusive not only in its content but in its form – it is opera, theater, flamenco, experimental art, poetry, all wrapped into one. Given the times we live in, we need the Met to champion more works like this.

Francisco Salazar: “La Forza Del Destino” / “Die Frau Ohne Schatten” – Teatro alla Scala / Metropolitan Opera

Picking a best performance is always hard, especially when there are so many memorable performances in a year. How could I forget Lisette Oropesa’s show-stopping “Sonnambula” in Rome and Asmik Grigorian’s heartbreaking “Madama Butterfly” in her Met debut? And what about the amazing production of “La Gioconda” at the Teatro San Carlo directed by Romain Gilbert, who brought opera back to its glory days? And then there was Ailyn Perez and Lucas Meachem giving it their all at the Houston Grand Opera in “Il Trovatore.” And of course, there was Freddie De Tomasso’s Met debut as Cavaradossi. But the best of the year was by far “La Forza del Destino” at the Teatro alla Scala and “Die Frau Ohne Schatten” at the Metropolitan Opera, reminding us that there is still a golden age of singers and opera.

At La Scala, Riccardo Chailly led a skillful and heartfelt performance demonstrating the many colors of Verdi’s music while Leo Muscato gave us a production of Verdi’s work that connected many periods and showed how war is essentially similar no matter the time. Anna Netrebko demonstrated a sincere musicality that was enhanced by her expressiveness, especially in her arias “Son Guinta” and “Pace Pace Mio Dio,” while Ludovic Tezier gave us a Don Carlo that was both virtuosic in its technique but also musically incisive. Brian Jagde demonstrated some gorgeous high notes and true chemistry with his colleagues, while Vasilisa Berzhanskaya, Alexander Vinogradv, and Marco Filippo Romano were exceptional in their supporting roles

At the Met, Lise Lindstrom, Elza Van den Heever, and Nina Stemme were just spectacular as the trio of divas. Nothing could prepare you for the power of these voices and the naturalism they have for this repertoire. By contrast, Micahel Volle gave a subtle and moving performance as Barak, while Russell Thomas showed that he is a tenor to look out for in this repertoire. Ryan Speedo Green was fantastic in his role and Yannick Nezet-Seguin proved to be a worthy conductor of Strauss’ music. Finally, the production by Herbert Wernicke continues to be the masterpiece of the Met and the only production this season that really deserved an HD and sadly is still not recorded for the history books.

Rudolph Tang: “The Savage Land” – China Conservatory of Music

Rudolph submitted a video in which he explains why he loves “The Savage Land.”

John Vandevert: “Khovanshchina” – Berwaldhallen

My favorite performance of 2024 would have to be Berwaldhallen’s “Khovanshchina.” With a highly adept taste for sophistication, each and every one of the soloists performed with exceptional degrees of nuance and tact. However, the star of the night was undoubtedly Nadezhda Karyazina, a brilliant actress and singer who did not express empty gestures for the sake of drama, vocal or otherwise. A stupendous performance and one that was as marvelous as it was inspiring, it was my favorite of the year.

Mauricio Villa: “Adriana Lecouvreur” – Teatro Real

I had the unique opportunity of not only attending what I consider the best performance of the year, but one of those performances which will never be forgotten. What’s the reason of this magical theatrical achievement? The combination of two astounding artists who stole the show completely and electrified the audience.

I have said many times that due to her impressive characterizations and vocal portrayal I could never be sure if Jaho is an excellent opera singer with extraordinary acting skills or an impressive dramatic actress with a depurated vocal technique and a unique personal timbre. Elīna Garanča is just beautiful – her voice, her looks, her phrasing – making her one of the best mezzo sopranos of this generation. Her stage presence is hypnotic.

And despite all the difficult singing numbers the highlight of the performance was in Act three, when the countess (Garanča) is mocking and teasing Adriana (Jaho) with signs of indifference and hate, while Adriana stands up to this attack. There was ballet happening at the back of the stage, which was crowded with the choir and soloist, but the two female artists attracted all the attention. Furthermore, they were not singing, which is even more incredible considering they were performing an opera. It was just pure acting. The strong connection and the deep realistic interpretation is something rarely achieved and very difficult to see. The confrontation of these two theatrical monsters during the whole opera was magical, hypnotic, and moving.

Christina Waters – “Partenope” – San Francisco Opera

San Francisco Opera’s production of George Frideric Handel’s “Partenope” showcased the electrifying coloratura of French soprano Julie Fuchs. In a season of operatic hits, e.g. SFOpera’s “Carmen,” as well as misses, e.g. the Stefan Herheim “Der Ring des Nibelungen” in Berlin, the Partenope production was almost flawless. In elegant 1920s costuming, in visually playful performative hijinks, and in diamond-edged vocals giving fresh energy to this comedic caper by Handel. The updated Baroque creation, featuring a trio of lovers vying in stealthy fashion for the hand of the Queen of Naples, provided virtuosic trills, runs, leaps, and embellishments with apparent and impossible ease.

At the center of the manic stage action was Fuchs, elegant and sexy in the Armani-inspired suits and satins with which she wiped the floor with her many suitors. Fuchs was joined by a brilliant ensemble, notable Alek Shrader as a Man Ray-style photographer, and superb countertenor Italian countertenor Carlo Vistoli, who made his company debut a romantic package of physical drama and liquid velvet timbre. A resounding success in this, and any season.

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London Symphony Orchestra Announces Cast Change for ‘La Rondine’

Francisco Salazar — Wed, 04 Dec 2024 20:38:38 +0000

The London Symphony Orchestra has announced a cast change for “La Rondine.”

The orchestra said, “Nadine Sierra has had a recent medical procedure, the recovery from which is taking longer than anticipated. She has therefore had to withdraw from the LSO’s performances of ‘La Rondine’ on 10 and 12 December. The role of Magda will now be sung by Carolina López Moreno.”

Moreno has performed at the Puccini Festival Torre del Lago, Carnegie Hall, the Metropolitan Club, the Berliner Philharmonie, the Jugendstil-Festhalle Landau, and Cambridge University in England, among others. She has performed the works of Offenbach, Verdi, Mascagni, Leoncavallo, Mercadante, Poulenc, Puccini, and Nino Rota.

Moreno is set to join a cast that includes Serena Gamberoni, Michael Fabiano, Paul Appleby, and Ashley Riches. Sir Antonio Pappano conducts the London Symphony Orchestra.

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Caterina Sala, Lawrence Brownlee, Gerald Finley & Pavol Breslik Lead New CD/DVD Releases

Francisco Salazar — Fri, 04 Oct 2024 19:14:27 +0000

Welcome back for this week’s look at the latest CD and DVD releases in the opera world.

This week audiences will get a chance to listen to rarely performed works from some of the great operatic composers in the world. There are also many world premiere recordings as well.

Lucie di Lammermoor

Dynamic releases Donizetti’s French version of “Lucie de Lammermoor” from the 2023 Donizetti Festival. Recorded at the Teatro Sociale on December 1, 2023, the cast includes Vito Priante, Patrick Kabongo, Julien Henric, David Astorga, Roberto Lorenzi, and Caterina Sala. Pierre Dumoussaud conducts the new production by Jacopo Spirei.

Donizetti Song Project

Opera Rara releases the first two volumes in its Donizetti Song Project recording cycle. Vol. 1 features 28 tenor songs performed by Lawrence Brownlee, and Vol. 2 features 26 baritone songs sung by Nicola Alaimo.

Both artists are accompanied by Opera Rara’s Artistic Director Carlo Rizzi who spearheaded the multi-year initiative upon hearing of the company’s Repertoire Consultant, Roger Parker’s lockdown project four years ago.

Mendelssohn: Elijah

LSO Live marks the beginning of its 25th anniversary year with the release of Mendelssohn’s “Elijah.” Sir Antonio Pappano conducts a recording that features Gerald Finley, Sarah Connolly, Masabane Cecilia Rangwanasha, and Allan Clayton.

The Light of Paradise

Berlin Classics releases the new album by the Zurich Chamber Orchestra, conducted by Christian Erny. The album features the piece by Paul Mealor which was commissioned by the Zurich Chamber Singers, and composed based on the writings of medieval mystic Margery Kempe.

Leoš Janáček: The Excursions of Mr. Brouček

Supraphon releases a recording of Janáček’s rarely performed opera. The cast includes Jaroslav Březina, Aleš Briscein, František Zahradníček, Alžběta Poláčková, Jiří Sulženko, Roman Janál, Helena Tattermuschová, Jiří Brückler, Martin Šrejma, Josef Moravec, Doubravka Součková, and Stanislava Jirků. Jaroslav Kyzlink conducts.

Walter Braunfels: Jeanne d’Arc – Scenes from the Life of Saint Joan

Capriccio will release Braunfel’s opera in three parts and one prelude. This new recording stars Juliane Banse, Martin Gantner, Pavol Breslik, Johan Reuter, Ruben Drole, Thomas E. Bauer, Michael Laurenz, and Tobias Kehrer Manfred Honeck conducts the Salzburger Bachchor, Salzburger Festspiele und Theater Kinderchor, and ORF Vienna Radio Symphony Orchestra.

Joachim Raff: Die Eifersüchtigen

Raff’s opera in three acts will be released by Naxos. The recording stars Serafina Giannoni, Mirjam Fässler, Raìsa Ierone, Benjamin Popson, Matthias Bein, Balduin Schneeberger, and Martin Roth. The Orchestra of Europe is conducted by Joonas Pitkänen. This album marks the opera’s world premiere recording.

Coups de Roulis

André Messager, Albert Willemetz, and Maurice Larrouy’s operetta will be released by LBM. The recording features Jean-Baptiste Dumora, Philippe Brocard, Christophe Gay, Irina de Baghy, and Clarisse Dalles. The Frivolités Parisiennes Orchestra and Choir is conducted by Alexandra Cravero.

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Q & A: Soprano Masabane Cecilia Rangwanasha on Verdi, Great Conductors & How Her Mother Inspired Her Artistic Journey

David Salazar — Tue, 25 Jun 2024 16:26:13 +0000

After years at the University of Cape Town followed by a stint as a Young Artist with the Cape Town Opera and a 2019 audience award at the International Hans Gabor Belvedere Singing Competition, soprano Masabane Cecilia Rangwanasha shone in the spotlight of the 2021 BBC Cardiff Singer of the World Competition, becoming the first African to win the coveted Song Prize.

Since then, Rangwanasha has seen her star rise, taking home the 2024 Herbert von Karajan Prize after booking major engagements with such organizations as the BB Proms, Bühnen Bern, the Royal Opera House, Wigmore Hall, the Accademia Nazionale di Santa Cecilia, the Berwick Festival Opera, and Staatsoper Hamburg, among many others.

Now she heads to the Ravinia Festival where she performs on an opening night performance with the Chicago Symphony Orchestra and Marin Alsop. OperaWire spoke to the soprano about her artistic journey, taking on Barber’s famed “Knoxville: Summer of 1915” in Ravinia, and the composer she feels most at home with.

OperaWire: You will be performing in the opening night performances at Ravinia. What excites you most about participating in an event this special?

Masabane Cecilia Rangwanasha: This is my first visit to the Ravinia Festival and like all firsts, that is exciting in itself – a new venue and a new audience to entertain. I am particularly looking forward to performing under the baton of Marin Alsop and the Chicago Symphony Orchestra once more.

OW: You will be performing Barber’s famous “Knoxville: Summer of 1915.” How does this piece speak to you and how has your relationship to it changed over the years? Why do you believe it remains a major staple of the orchestra repertory?

MCR: I first sang Barber’s “Knoxville” in a staged production of Anthony McDonald at the Royal Opera House Covent Garden where I got to work in-depth and explore James Agee’s text. I think Samuel Barber has perfectly composed the vocal line to match the orchestra which makes an outstanding and unique monodrama.

OW: For this concert, you will work with conductor Marin Alsop, an icon. In your experience, how do great conductors help singers grow in their understanding of the work at hand? Who have been some of your personal favorite conductors that have had a major impact on your career, and why?

MCR: Great conductors like Marin Alsop share their deep understanding of the repertoire and guide singers to achieve their best performance. I have been privileged to work closely with Sir Antonio Pappano and Sir Mark Elder, both at Covent Garden, Rome, Salzburg, and Manchester. They have been an immense influence on my career and I have benefited from their infinite knowledge and great musicianship.

OW: You are a former winner of the Song Prize at the BBC Cardiff Singer of the World Competition in 2021. What was the experience of participating in an event of that magnitude?

MCR: It was a privilege to be amongst the wonderful finalists and to win the BBC Cardiff Singer of the World Song Prize was a bonus. The week in Cardiff was quite intense with TV interviews, radio, and performing for the judges – but the most nerve-wracking moment was waiting for the result! The Cardiff management was a great support, which helped enormously.

OW: How did you know you wanted to become an opera singer?

MCR: As a young person, I had not heard of opera – I had a natural singing voice and sang in my church and school choir but at this point, I had no exposure to the world of opera. My mother was the one who encouraged me to study music because she said that she saw how much I liked to sing. It was then at the opera school that I got to know about opera and was the first point that I could imagine a career in singing.

OW: Do you have favorite operas or roles that you enjoy performing most? Which are they and what makes them so special to you?

MCR: To date, I have enjoyed every character/role I have played. However, there are two roles in particular which were rewarding and enjoyable; the first was discovering and exploring the role of Mathilde in “Guillaume Tell” as it led me to explore my coloratura, and secondly Elettra in “Idomeneo” as it was a role which was such a dramatic contrast to any previous roles I have sung.

OW: What are some roles / operas that you would like to perform in the future that you have yet to take on?

MCR: There are many dream roles which I would like to perform in the future, but the roles that stick out are Desdemona in “Otello” and the title role in “Aida.” Verdi combines passionate storylines with lyrical music, creating heavenly arias. I very much look forward to singing these roles in the future.

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Royal Opera House Announces Cast Change for Japan Tour’s ‘Turandot’

Francisco Salazar — Thu, 20 Jun 2024 13:33:18 +0000

(Credit: Simon Pauly)

Update: “Following the first announcement of the cast change in the role of Turandot, we have further discussed with Artistic Director Antonio Pappano to find the best possible artistic solution for audiences in this situation. The title role will now be sung by two sopranos, Maida Hundeling (on 23 and 26 June) and Ewa Płonka (29 June and 2 July). We apologise to our valued audience members who have been anticipating the original casting, but appreciate everyone’s kind understanding. We hope you will enjoy the performances.”

The Royal Opera House has announced a cast change for its Japan tour.

The company said, “It is with great regret that Sondra Radvanovsky has had to withdraw from the title role of Turandot on The Royal Opera’s Japan tour due to a severe ear infection and sinusitis. She will be replaced, at the recommendation of Music Director Antonio Pappano, by soprano Maida Hundeling, who is scheduled to sing the same role with The Royal Opera in 2025/2026 season, gaining greater attention.”

Hundeling has performed with the Wernigeröder Schlossfestspiele, the Thüringer Nationaltheater in Eisenach, Houston Grand Opera, Utah Opera, Edmonton Opera, Opéra de Montréal, and at opera houses in Hamburg, Leipzig, Braunschweig, Wiesbaden, Freiburg, Saarbrücken, Dortmund, Bielefeld, Münster, Ljubljana, Vienna, Venice, Bolzano, Modena, Milan, Brno, Ostrava, and Bratislava.

The soprano is set to join a cast that includes Brian Jagde and Masabane Cecilia Rangwanasha. Sir Antonio Pappano conducts the opera which is set to be presented between June 23 and July 2.

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Royal Opera House 2023-24 Review: Celebrating 22 Years of Sir Antonio Pappano

Operawire Staff — Sun, 26 May 2024 17:14:05 +0000

A truly packed house, a cast of operatic luminaries and a program of works chosen and compiled by Maestro Pappano himself; a Gala, fit for a KING, surely? Which is just as well because His Royal Highness King Charles III was in the audience as a truly surprise guest of honor, courtesy of a massive covert security operation that even rendered the cast themselves clueless as to the King’s attendance, right up until 20 minutes before curtain-up! The rest of us were only made aware of a Royal presence when Pappano struck up the orchestra with the National Anthem, “God save the King” at the start of the evening.

The Monarch, who has been Patron of the Royal Opera House since 2009 and President of the Royal Ballet since 2003, was welcomed on stage at the cessation of the evenings proceedings by the conductor, where he was loudly cheered by all. His Majesty appeared most pleased, as well he might.

This was a night of celebration, a show of adulation and affection for the man who has been described as “the best thing that has happened to the Royal Opera in its lifetime.” Sir Antonio Pappano has served an exemplary 22 years as music director, conducting over 700 performances at Covent Garden, and guiding and mentoring some of today’s biggest names and rising stars, both.

Surprisingly, there was no Wagner on the menu, and the only Mozart was the “Marriage of Figaro” with which the Maestro elected to open the evening’s performance.

Amongst a star studded cast, there were no solo arias, Russian Mezzo Aigul Akhmetshina and British baritone Huw Montague Rendall getting the vocal proceedings underway with “Dunque io son” from Rossini’s “Barber of Seville.” Rendall, described by “Le Figaro” as “The Pelléas of his generation,” was both utterly charming, charismatic, and sonorously rich in voice. Akhmetshina, although suffering from a virus, displayed amazing versatility and a most athletic coloratura in this offering.

This was preceded by established artists, Lisette Oropesa and Carlos Álvarez, both in fine fettle, who performed a comedic turn in Donizetti’s “Pronta io son” from “Don Pasquale.”

Not to be outdone in the comedy stakes, Jonas Kaufmann and Diana Damrau got to properly ham it up with the pocket watch duet, “Dieser Anstand, so manierlich” from Johann Strauss’s “Die Fledermaus” although Kaufmann appeared to be showing caution with his voice after his recent bout of the laryngitis that forced him to cancel a concert performance in Munich, little more than a week prior to this engagement.

The chorus of the Royal Opera House themselves were next up, performing a rousing and glorious rendition of Verdi’s “Va, Pensioro” from “Nabucco.” If there is a finer chorus in the world then I’d pay dearly to hear it.

MORE Verdi next, with the famous “Bella figlia dell’amore” quartet from “Rigoletto.” This time, Aigul Akhmethshina being joined by American soprano Nadine Sierra, Spanish tenor Xabier Anduaga and Mongolian baritone, Amartuvshin Enkhbat. This was a magical quartet with Anduaga in particular being a bright, polished, incisive force.

One of the evening’s highlights, for me at least, followed; a breathtakingly beautiful “C’est toi, mon pere” from Massenet’s “Thais,” performed by Albanian soprano Ermonela Jaho and Canadian Bass Baritone Gerald Finley. Jaho, in a white, flowing, ethereal ensemble looked like an angel, and she sure sang like one. Beautifully nuanced, coloured passages and a soaring controlled upper register made for a most emotive and beguiling piece.

MORE Verdi, with American-Canadian Soprano Sondra Radvanovsky and British-Italian tenor Freddie de Tomasso with “Teco io sto” from “Un Ballo in maschera.” Radvanovsky seems to get better with age, to my ear, accomplishing amazing feats of vocal gymnastics; a soaring, piercing resonance at one turn, exquisite pianissimos the next. De Tommaso contrastingly displays a stunning innate Italianate quality combined with a dark, rich, baritonal flavour. These are remarkable gifts that bely his youth.

Leading to the Interval, Welsh powerhouse Sir Bryn Terfel, accompanied here by the very promising Jette Parker artist Michael Gibson, performs “Te Deum” from Puccini’s “Tosca,” alongside the Royal Opera House chorus. Terfel positively oozes malevolence in this role, a finer Scarpia you will struggle to find.

After the break, MORE Verdi with “I Lombardi alla prima crociata”: firstly, the prelude performed by the remarkable Bulgarian violinist and conductor, Vasko Vasilev, a long standing work colleague and close associate of Pappano. His playing was majestic and he was later singled out by the Maestro to receive audience applause. After the prelude, Freddie de Tommaso with Ermonela Jaho and South Korean bass Insung Sim performed the “Qui posa il fianco” trio. Here, de Tommaso was more dominant, singing a more commanding line and showing off his dramatical skills, ably assisted by Jaho and a deep, velvet dark Sim.

“Rigoletto” next, “Signor ne principe” with Nadine Sierra, Xabier Anduaga, Jeremy White, Michael Gibson and another Jette Parker artist, mezzo-soprano Veena Akama-Makia. Again, Anduaga showing why he is being widely hailed as the ‘next great thing’. He has a supremely gifted lyric voice that soars effortlessly. Moreover, he has a commanding stage presence. Alongside Sierra, herself well known in the role here of Gilda, and also widely acknowledged for her sublime vocal gifts and musicality, together they created an irresistible force.

Another comedic interlude “Don Pasquele” next, from “Donizetti.” Huw Montague Rendall and Carlos Alvarez performing “Cheti, cheti, immantinente” with aplomb. Vocally commanding, reverberant, at times mellifluous, and totally chucklesome.

The final offering from Verdi was in the form of “La Forza del destino” firstly with Jonas Kaufmann and Amartuvshin Enkhbat in “Le minaccie, i fieri accenti” and then in the trio “Non imprecare umiliati” with Sondra Radvanovsky and Insung Sim. Kaufmann performed this role on this stage to huge, critical acclaim in 2019. His glorious, unique honeyed phrasing was still in evidence here, but it was also clear that he was still suffering from the malady that had rendered him inoperable mere days before this performance. I saw him turn his head and cough twice during his interactions here. Again, Radvanovsky was flawless, with Sim and Enkhbat providing stellar support.

It would be impossible to honour such a luminary as Pappano without heaping commensurate praise on those who enact his creativity and bear the fruit of his teachings. The chorus I have already alluded to, and they got to shine further in Leoncavallo’s “Andiam….Don din don’’ from “Pagliacci.” This ensemble really is the lifeblood of the opera house and the phrase, “acting and moving as one” was never more appropriate than here. Firstly, though, the orchestra themselves got to revel in the second Puccini offering of the evening, the Intermezzo from “Manon Lescaut.” This most moving rendition exemplified to perfection the seemingly unique gifts that Pappano possesses in being able elicit such beauty and that “something extra” from his orchestra. The audience response at the end suggested they thought likewise.

The penultimate performance was given to Richard Strauss and “Der Rosenkavalier.” Lisette Oropessa, Diana Damrau and Aigul Akhmetshina, along with Gerald Finley, sang “Marie Theres’…..Hab mir’s gelobt.” This is a work Pappano hasn’t conducted in a quarter of a century, and he perhaps chose this to illustrate the talents of the girls over any personal preference for the piece.

The finale, was the “Guillaume Tell” Finale. Lisette Oropesa, Jette Parker artist Sarah Dufresne, Veena Akama-Makia, Xabier Anduaga, Gerald Finley, Insung Sim, Jeremy White and the Royal Opera Chorus got to close proceedings in style. Gerald Finley really did save his best ‘til last here, sonorous, rich and resonant with his entirely appropriate “Tout change et grandit en ces lieux!”: “Everything changes and grows here!”

The performances were interspersed with narration and presentation from British Broadcaster Petroc Trelawny and pre-filmed plaudits from everyone from the Chorus, to stage directors, producers to industry big-wigs were shown, via drop down projector screen. It is clear from my own personal interactions with performers and artists, that more than anything, Pappano is a “singer’s conductor.” The love, respect and universal adulation for him by anyone in the classical music world is, genuinely palpable.

I have written previously that Maestro Pappano, more than any other conductor, seems able to coax, accentuate, and present passages with greater nuances that augment and heighten the emotions. I have witnessed performances, (such as “Turandot” at the Royal Opera House), where he manages to elucidate and interpret scores in a way that makes it infinitely superior to any other performance I have witnessed. Whilst the Maestro now moves on to become the chief conductor of the London Symphony Orchestra, it is unequivocal that he will be welcomed back at the Opera House by, (hopefully), frequent invitation.

In 1992, he was named music director the Théâtre Royal de la Monnaie in Brussels where he enjoyed a highly successful 10 years. When he left to take up his role at the Royal Opera House, he was he was showered with red roses and presented with gifts from the orchestra at his farewell concert. A notable critic wrote at the time: “if the Belgians know what they are losing, the English have only a tiny idea of what they are gaining.”

For the ROH and opera fans everywhere, it is all too sadly clear what they are losing.

The post Royal Opera House 2023-24 Review: Celebrating 22 Years of Sir Antonio Pappano appeared first on OperaWire.

King Charles Makes Surprise Appearance During Antonio Pappano Gala

Francisco Salazar — Fri, 17 May 2024 20:07:00 +0000

During the Royal Opera House’s gala celebrating Sir Antonio Pappano’s tenure on May 16, His Majesty King Charles III made a surprise appearance.

Following the performance, King Charles III went on stage and received a standing ovation.

In a statement, Antonio Pappano said: “It was a huge honour to welcome His Majesty to this wonderful evening, alongside the remarkable Orchestra, Chorus and an unrivaled ensemble cast of dear friends and long-time collaborators.”

The gala featured many leading singers including Diana Damrau, Ermonela Jaho, Lisette Oropesa, Sondra Radvanovsky, Nadine Sierra, Aigul Akhmetshina, Xabier Anduaga, Freddie De Tommaso, Jonas Kaufmann, Carlos Álvarez, Amartuvshin Enkhbat, Huw Montague Rendall, Gerald Finley, Bryn Terfel, and Insung Sima.

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Royal Opera House to Celebrate Antonio Pappano with Star-Studded Gala

Francisco Salazar — Thu, 16 May 2024 15:10:20 +0000

On May 16, the Royal Opera House is set to celebrate Sir Antonio Pappano’s 22 years as Music Director with a gala performance.

The gala will feature many leading singers including Diana Damrau, Ermonela Jaho, Lisette Oropesa, Sondra Radvanovsky, Nadine Sierra, Aigul Akhmetshina, Xabier Anduaga, Freddie De Tommaso, Jonas Kaufmann, Carlos Álvarez, Amartuvshin Enkhbat, Huw Montague Rendall, Gerald Finley, Bryn Terfel, and Insung Sima.

Pappano will conduct the evening which, per the company’s official website, is now sold out.

After conducting more than 700 performances with the Royal Opera House, Antonio Pappano will step down as Music Director of the company and will become the Chief Conductor of the London Symphony Orchestra. He will, however, continue a close relationship with the company and conduct its new Ring Cycle.

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Pretty Yende, Sonya Yoncheva, Juan Diego Flórez, Allan Clayton, Lise Davidsen, & Lisette Oropesa Lead Royal Opera House’s 2024-25 Season

Francisco Salazar — Tue, 30 Apr 2024 14:02:07 +0000

The Royal Opera House has announced its 2024-25 season. Here is a look at the season.

Mozart’s “The Marriage of Figaro” will open the season with a cast that includes Luca Micheletti, Ying Fang, Huw Montague Rendall, Jacquelyn Stucker, and Ginger Costa-Jackson.

Performance Dates: Sept. 2-15, 2024

Verdi’s “La Traviata” will feature two casts. The first cast will be headlined by Aida Garifullina, Francesco Demuro, and George Petean, while the other will star Hrachuhí Bassénz, Ismael Jordi, and Simon Keenlyside. Alexander Joel and Richard Hetherington conduct.

Performance Dates: Sept. 7-21, 2024

Ted Huffman directs a new production of Tchaikovsky’s “Eugene Onegin” with Gordon Bintner, Kristina Mkhitaryan, Liparit Avetisyan, Avery Amereau, and Dmitry Belosselskiy. Henrik Nánási conducts.

Performance Dates: Sept. 24-Oct. 14, 2024

Alexander Soddy conducts Beethoven’s “Fidelio” with Jennifer Davis, Eric Cutler, Dmitry Belosselskiy, Christina Gansch, and Michael Gibson.

Performance Dates: Oct. 9-26, 2024

The company will present a double bill “Trouble in Tahiti” and “A Quiet Place.” The productions will be conducted by Nicholas Chalmers and will star Henry Neill, Wallis Giunta, Grant Doyle, Henry Neill, Rowan Pierce, Nick Pritchard, and Sarah Pring. Oliver Mears directs the double bill.

Performance Dates: Oct. 10-24, 2024

The Jette Parker Artists will perform in concert.

Performance Date: Oct. 13, 2024

Juan Diego Flórez headlines a new production of Offenbach’s “Les Contes d’Hoffmann” aalongside Alex Esposito, Olga Pudova, Ermonela Jaho, and Marina Costa-Jackson. Leonardo Caimi also performs the title role and Antonello Manacorda conducts. Damiano Michieletto directs the new production.

Performance Dates: Nov. 7-Dec. 1, 2024

Tanja Bage, Shout at Cancer Choir, Paul Jameson, Roderick Williams, and Lucy Crowe star in “The Sound Voice Project.”

Performance Dates: Nov. 14-20, 2024

Sonya Yoncheva returns to the title role of Puccini’s “Tosca” alongside a cast starring SeokJong Baek and Bryn Terfel. Eun Sun Kim conducts.

Performance Dates: Nov. 26-Dec. 13, 2024

Olga Kulchynska, Pene Pati, Mikhail Timoshenko, Amina Edris, and Jolyon Loy lead the first cast of Puccini’s “La Bohème.” Stefan Pop and Simona Mihai also star in the second cast. Speranza Scappucci conducts

Performance Dates: Dec. 13, 2024-Jan. 17, 2025

Humperdinck’s “Hansel and Gretel” returns for the holiday season with Kate Lindsey, Heidi Stober, Carole Wilson, Thomas Lehman, and Catherine Carby leading the cast. Giedrė Šlekytė conducts

Performance Dates: Dec. 22, 2024-Jan. 9, 2025

Corinne Winters stars in Janacek’s “Jenůfa” alongside Karita Mattila, Thomas Atkins, Nicky Spence, and Hanna Schwarz. Jakub Hrůša conducts.

Performance Dates: Jan. 15-Feb. 1, 2025

Verdi’s “Aida” will star Anna Pirozzi, Riccardo Massi, Ekaterina Semenchuk, Amartuvshin Enkhbat, and Alexander Köpeczi. Daniel Oren conducts.

Performance Dates: Jan. 28-Feb. 12, 2025

Mark-Anthony Turnage and Lee Hall’s “Festen” makes its world premiere in a production by Richard Jones. The cast will include Allan Clayton, Stéphane Degout, Gerald Finley, Eva-Maria Westbroek, and Natalya Romaniw.

Performance Dates: Feb. 11-27, 2025

Verdi’s “Il Trovatore” will return with two casts. The first will include Michael Fabiano, Rachel Willis-Sørensen, Aleksei Isaev, Agnieszka Rehlis, and Riccardo Fassi, while the other will feature Riccardo Massi, Elena Stikhina, Etienne Dupuis, Clémentine Margaine, and Roberto Tagliavini. Giacomo Sagripanti and Carlo Rizzi conduct.

Performance Dates: Feb. 26-July 19, 2025

Sondra Radvanovsky, SeokJong Baek, Anna Princeva, Adam Palka, and Hansung Yoo lead the first cast of Puccini’s “Turandot.” Rafael Payare conducts. Later performances will see Ewa Płonka, Gwyn Hughes Jones, Gemma Summerfield, and Jerzy Butryn with Francesco Ivan Ciampa conducting.

Performance Dates: March 19-April 19, 2025

Aigul Akhmetshina returns in Bizet’s “Carmen” with Freddie De Tommaso, Yaritza Véliz, and Łukasz Goliński. Mark Elder conducts. Another cast will be led by Anna Goryachova, Charles Castronovo, Mané Galoyan, and Christian Van Horn. Ariane Matiakh conducts.

Performance Dates: April 9-July 3, 2025

Sir Antonio Pappano conducts Wagner’s “Die Walküre” in Barrie Kosky’s new production. Christopher Maltman, Elisabet Strid, Lise Davidsen, Stanislas de Barbeyrac, and Soloman Howard star.

Performance Dates: May 1-17, 2025

Stefan Pop, Erwin Schrott, Lisette Oropesa, Boris Pinkhasovich, and Hongni Wu lead Gounod’s “Faust” with Maurizio Benini conducting.

Performance Dates: May 23-June 10, 2025

The season concludes with Handel’s “Semele” starring Pretty Yende, Ben Bliss, Brindley Sherratt, Carlo Vistoli, and Alice Coote. Christian Curnyn conducts the new production by Oliver Mears.

Performance Dates: June 30-July 15, 2025

The company will present the Jette Parker Artists in concert.

Performance Date: July 20, 2025

The post Pretty Yende, Sonya Yoncheva, Juan Diego Flórez, Allan Clayton, Lise Davidsen, & Lisette Oropesa Lead Royal Opera House’s 2024-25 Season appeared first on OperaWire.