14 Feb 2007
The Handel Singing Competition 2007 – Win or Lose?
Singing competitions are a mixed blessing.
The First of Three Donizetti Queens She Will Sing at the Met This Season
For a company founded in 2013, Odyssey Opera has an astounding track record. To take on Korngold’s Die tote Stadt is ambitious enough, but to do so within only a year of the company’s founding seems almost single-minded.
The name of Hibla Gerzmava has been famous in the opera world since 1994, when at age 24 the Abkhazian-Russian soprano won the Grand Prix at Tchaikovsky International Competition, entering its history as the first and only vocalist to have been awarded the highest prize.
American tenor René Barbera is fast making a name for himself as one of the top bel canto singers in opera houses around the world.
(Boston, MA) — Odyssey Opera, a Boston-based opera company dedicated to exploring the full spectrum of adventurous repertoire, presents the Boston premiere of one of France’s great operas, Le Cid (1885), composed by Jules Massenet (1842–1912).
I’m interviewing Stefano Mastrangelo in the immediate aftermath of his conducting La Traviata for the Chofu City Opera in Tokyo on 22 November 2014; he conveys an air at once of tiredness and exhilaration.
Apotheosis Opera is proud to announce their inaugural production will be a fully-staged English translation of Richard Wagner’s early masterpiece TANNHÄUSER on Friday, July 31, 2015, at 7pm and Sunday, August 2, 2015, at 3pm at the theatre of El Museo del Barrio (1230 5th Avenue) .
‘Competitions are for horses, not artists.’ The words of Béla Bartók seemed apposite on Sunday night at the Royal Opera House, as 11 soloists walked swiftly onto the Covent Garden stage, performed their chosen aria, briefly acknowledged the applause and then returned summarily to the wings.
Twin sisters – one pensive, the other gregarious – are soon to wed their beau, whose contrasting characters – one earnestly introverted, the other a boisterous hedonist – perfectly match their respective betrotheds’.
Derrick Wang is a composer who graduated from law school and has an interest in this country’s highest court.
Sara Gartland is an emerging singer who brings an enormous talent and a delightful personality to the opera stage. Having sung lighter soprano roles such as Juliette in Gounod’s Romeo et Juliette and Violetta in Verdi’s La traviata, Gartland is now taking on the title role in Leoš Janáček’s dramatic opera Jenůfa.
Madness descends upon Welsh National Opera for its autumn 2015 season, with three new productions that will explore human turmoil through some of the finest musical expressions of madness and the human condition.
American composer Jennifer Higdon has won many awards for her imaginative music. Her percussion concerto received the 2009 Grammy Award for Best Contemporary Classical Composition.
Bratislava in Slovakia might seem an unlikely place to come across the opera I gioielli della Madonna (The Jewels of the Madonna) a 1911 rarity written by the Italian/German Ermanno Wolf-Ferrari, a composer best known for his one-act opera Il segreto di Susanna ( Susanna’s Secret) and his comedies based on Goldoni.
Last year’s Strauss anniversary year — 150 years since his birth — offered, at least in the United Kingdom, a typical number of opportunities and frustrations.
On 6 June, Jonathan Dove’s Flight touches down in Kensington, west London. Opera Holland Park is to stage the first London production of Dove’s operatic presentation of the real-life story of Mehran Karimi Nasseri, the Iranian exile who, lacking residency rights or refugee status, was forced to live in the departure lounge of Terminal One at Charles de Gaulle Airport for 18 years.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
Kathleen Ferrier may have been one of the world’s finest contraltos but this year’s Kathleen Ferrier Awards Final, held at the Wigmore Hall, was all about lyric sopranos.
East Coast Premiere at Opera Philadelphia next season. Performances from Cold Mountain at the Guggenheim in New York this Monday, March 30.
Five Young Singers Named Winners of the 2015 Met National Council Auditions, America’s Most Prestigious Vocal Competition
Singing competitions are a mixed blessing.
For some singers they can become a way of life, travelling from continent to continent, from jury to jury, seeking that golden fleece of success with which to adorn their CV and give them, they hope, access to commercial success on the opera and recital stage, and even (less likely these days) a recording contract. For others they can be nothing but frustrating and counter-productive, and are quickly abandoned as a route to a worthwhile career in opera.
A relatively recent recruit to the roster of such competitions is in the specialised field of baroque singing, and specifically of Handel’s music: the London Handel Singing Competition. There has been a significant increase in the popularity of this composer’s vocal music over recent decades, and even the most staid of traditional opera houses can usually boast at least one of Mr. Handel’s masterpieces in their current repertoire. With this change has come the perceived need for specialist singers trained in the idiom and comfortable with its demands, and this is where the London Singing Competition finds its niche.
Established in 2002 by musical director Laurence Cummings, the format has not changed a great deal from those early days, except that all applicants are now heard, either live or on CD, and the Competition Finals are held now in the middle of the annual London Handel Festival, based in the composer’s old church of St. George’s, Hanover Square. Looking through the requirements for entry, it is obvious that the students and young performers are expected to do a lot of work: research and carefully thought-out repertoire is at a premium. The early rounds to hear the 70-80 applicants are held at the Royal Academy of Music in London, although singers from overseas can send in suitably-recorded CDs instead. After that, the Semi Finals and Final are public affairs in front of the panel of Adjudicators and live audience, and take the form of a semi-formal concert. Like some other competitions, the HSC has introduced an Audience Prize, and this is an opportunity to both empower the listeners, involving them in the eventual outcome, and to give the singers a second chance of success. It is not uncommon for this prize to go to a different young performer than the one chosen by the jury – and who’s to say who will be proven right in time? As has been seen over and over again, win or lose, just appearing in the Semis or Finals can have a great impact on a singer’s career as the events are always attended by music business folk on the look out for new talent.
At the risk of being invidious, some very interesting and talented singers have done well at the HSC, and their names are already becoming well known in baroque circles both in the UK and further afield: Andrew Kennedy, Lucy Crowe, Elizabeth Atherton, Iestyn Davies, and Nathan Vale, to name just a few, have all made their mark since reaching the Finals over the past five years and have embarked on promising careers in opera.
Looking ahead, the HSC is intending to broaden its remit and wants to encourage more foreign singers to apply. To this end, they are offering limited bursaries to help with travelling costs, and this can only result in an even more exciting competition of the highest standard in the future.
This year’s Final is on Monday April 23rd, at 7pm, at St. George’s Church, Hanover Square, London, and the Adjudicators will be Ian Partridge, Catherine Denley, Michael Chance, Lindsay Kemp and Stephen Roberts.
For more information on application go to: http://www.london-handel-festival.com/competition.htm
Sue Loder, 2007