sopranos
David Nice
Singing students from the Guildhall School should have been issued with a three-line whip to fill the inexplicably half-empty Milton Court concert hall for last night's charmer. After all, every musician, and not just sopranos, should know that this is how it ought to be done. True, an effervescent personality like Lucy Crowe's can't be simulated. But every other respect of her stunningly sung and varied Mozart can be aspired to: the relaxed, natural stance (and in this instance, knowing how to play a recalcitrant shoe heel for comedy), knowing what to do with the hands, how to execute Read more ...
David Nice
No sunshine without shadows was one possible theme rippling through this diva sandwich of a Prom. Even Richard Strauss's chaste nymph Daphne, achieving longed-for metamorphosis as a tree, finds darkness among the roots; and though Renée "The Beautiful Voice" Fleming has a heliotropic tendency in her refulgent upper register, her mezzo-ish colours are strong, too. Besides, Scandinavians are always aware of transience in sunny summer days, and the outer panels of this curious programme were fine-tuned to that.The opener - "parking-lot music" as another Swedish composer, Anders Hillborg, wryly Read more ...
David Nice
There are certain roles where you’re lucky to catch one perfect incarnation in a lifetime. I thought I'd never see a soprano as Natasha in Prokofiev's War and Peace equal to Yelena Prokina, Valery Gergiev’s choice for Graham Vick’s 1991 production. When Vick directed a radically different take, also at the Mariinsky, in 2014, the Natasha was 25-year-old Aida Garifullina, born in Kazan so like Nureyev and Chaliapin a Russian of Tatar origins. Not only was she as beautiful and as youthful in spirit as the interim incumbent, Anna Netrebko, but like Prokina she seemed to live the intense emotions Read more ...
Matt Wolf
The Florence Foster Jenkins industry reaches newly giddy heights with Stephen Frears's film of the same name, which cleverly casts a great talent - who else but Meryl Streep? - as the cheerfully self-deluded American soprano. The subject already of separate Broadway and West End plays (both in 2005) and a French film (Marguerite) that has only just been released, Jenkins's extraordinary story here stands apart by virtue of that rare leading lady who can make a character's misguided belief in her gifts seem a form of bliss. Was it a blessing of sorts that Jenkins's head was somewhere in Read more ...
David Nice
Not many people write conspicuously brilliant tweets, but Elizabeth Watts is someone who does. Working on the most demanding aria on her stunning new CD of operatic numbers and cantatas by the lesser-known of the two Scarlattis, father Alessandro rather than son Domenico, she tweeted: “Good news – I can sing 88 notes without a breath. Bad news – Scarlatti wrote 89.”The sheer hard work behind that achievement, which Watts discusses below, reminds one that the best singing isn’t something that’s just a gift. And when she went to the Royal College of Music as a postgrad student at the age Read more ...
Marina Vaizey
Antonio Pappano, artistic director and chief conductor of the Royal Opera House, is a polymath, for he is also a brilliant and persuasive narrator of the history of music. Here he embarked on a four part history of the operatic voice, starting at the very top – or how to reach those high Cs, the Everest for the soprano.Often speaking beside a grand piano, on the grand and empty stage of the ROH, and thus subliminally reminding us that he first worked as a repetiteur before becoming one of the world’s leading conductors, he creatively interweaved vintage film of legendary Read more ...
Sebastian Scotney
French soprano Sandrine Piau, born in 1965 in a south-western suburb of Paris, has an agile, supple voice. It soars, so critics reach readily for all those bird metaphors: nightingale, sparrow, "she leaves the earth on wings of song" and so on. She has worked regularly with more or less the entire pantheon of baroque and early music specialists: William Christie, René Jacobs, Philippe Herreweghe, Christophe Rousset, Emmanuelle Haïm, Sigiswald Kuijken, Gustav Leonhardt, Ivor Bolton, Ton Koopman, Marc Minkowski and Nikolaus Harnoncourt.Away from Baroque repertoire, Piau sings Mozart - a Read more ...
David Nice
The best that you can usually expect from an interview is that it takes off from stock beginnings in spontaneous and unexpected directions. This one was rather exciting from the start: the end of a day in the life of a new role, Puccini's good-time girl Manon Lescaut, for lyric-dramatic soprano Kristine Opolais. To be working in the company of Antonio Pappano and Jonas Kaufmann as her tenor love – real-life husband is fellow Latvian and great conductor Andris Nelsons – was no more than she already deserved, but Manon had come alive for her at that day’s Royal Opera rehearsal for the first Read more ...
David Nice
Everyone who heard it must have been charmed by South African soprano Pretty Yende’s Radio 4 chat in which she recounted what hooked her on opera. It was a coup de foudre, watching a British Airways ad on telly at home in Piet Retief, and the sound of those two female voices entwined in the Flower Duet from Delibes’ Lakmé.Quite a catchy tunesmith, that Delibes: for those of an older generation, like myself, it was Lakmé's Bell Song which parents remembered from old films, occasioning in my case a trip to Sutton Record Library to find it on The World of Joan Sutherland. I became infatuated Read more ...
David Nice
She is now the world’s leading interpreter of Richard Strauss’s Marschallin in Der Rosenkavalier, the aristocratic thirtysomething once forced into marriage with a far from ideal husband and determined not to let it happen to the sweet girl who falls for her own much younger lover on first sight. As a happily married woman, Anne Schwanewilms has no need of 17-year-old boys, and in her vocal prime she can have no regrets about ageing beautifully, but she shares both the Marschallin’s wit, with a wicked line in impersonating certain conductors, and her natural charm.Schwanewilms first beguiled Read more ...
David Nice
Last year a DVD appeared featuring the 15 winning performances from the start of the BBC Cardiff Singer of the World Competition up to 2011. I watched them all, skimming if any seemed a notch below par but staying with most. You could see the star quality and the promise in many who have since become great artists, including Karita Mattila, Anja Harteros and Ekaterina Shcherbachenko. But only two seemed like the fully finished article from the start: Siberian baritone Dmitri Hvorostovsky in 1989 – the year Bryn Terfel won the Lieder prize – and American soprano Nicole Cabell in 2005, the Read more ...
David Nice
Only the most antagonistic of diva fanciers, opera queens, call them what you will, would deny coloratura soprano Natalie Dessay her place as one of the great singing actresses of our time. The size and range of the voice are rather more limited for the role of giant-hearted Violetta, Verdi’s Parisian courtesan who sacrifices true love on the altar of convention and dies of consumption.Not that it matters too much in film-maker Philippe Béziat’s take on the opera, originally Traviata et nous, in which he guides us through the drama chronologically but very selectively from rehearsal room to Read more ...