13 Jan 2006
My problem with Mozart
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.
His operas are wonderful to sing, says Ian Bostridge. But why do the tenors always get such short shrift?
[The Guardian, 13 January 2006]
All over the world, opera houses, concert halls and professional and amateur musicians are celebrating Mozart: this month marks 250 years since his birth. Particularly ambitious is the Salzburg festival's plan to perform every one of his operas over a single summer season. As a classical singer I am, inevitably, making my own modest contribution to the celebrations: singing Mozart arias in a recital in Hamburg, and appearing in a production of Don Giovanni at the Vienna State Opera. I don't perform a great deal of opera but, having the sort of tenor voice that suits Mozart rather than Verdi, the former figures largely in my career as a theatrical performer.