07 Nov 2005
Why Shouldn't Men Sing Romantic Drivel, Too?
Raphaela Papadakis seems to like ‘playing with fire’. After her acclaimed performance as the put-upon maid, Anna, in Independent Opera’s production of Šimon Voseček’s Beidermann and the Arsonists at Sadler’s Wells last year, she is currently rehearsing for the premiere this week of And London Burned, a new opera by Matt Rogers which has been commissioned by Temple Music Foundation to commemorate the 350th anniversary of The Great Fire of London.
By MATTHEW GUREWITSCH [NY Times, 6 November 2005]
CLASSICAL song recitals are, for the most part, a world of equal opportunity. Male or female, artists may perform what they like. Then there are the special cases: Schubert's cycles "Die Schöne Müllerin" ("The Miller's Fair Daughter") and "Winterreise" ("Winter Journey"), for instance, or Schumann's "Dichterliebe" ("A Poet's Love"). In each, the "I" of the verse presupposes a man's voice. Women occasionally take over, though never without raising questions of congruity.