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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
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
Julia Noulin-Mérat is the principal designer for the Noulin-Merat Studio, an intrepid New York City production design firm that works in theater, film, and television, but emphasizes opera and immersive site-specific theatre.
A brand new opera — especially one that is groundbreaking— can really put an opera company on the map. British composer Barry Seaman’s stunning new work, Mirabai, which explores the story of the free thinking, mystic
16th century Hindu princess, Mira, is ambitious on many levels —
artistically, technically and creatively.
Bampton Classical Opera has announced that applications are now open for the
company’s Young Singers’ Competition 2015. This biennial competition was
first launched in 2013 to celebrate Bampton Classical Opera’s 20th
birthday, and is aimed at identifying the finest emerging young opera singers
currently working in the UK.
Anita Rachvelishvili recently performed the title role in Carmen broadcast by The Metropolitan Opera Live in HD. Here she drops by for a little chat with our Maria Nockin.
This is a revised version of my review of the Sept 5th
1991American premiere of The Death of Klinghoffer, at the
Brooklyn Academy of Music. The opera was first performed at Brussels’ La
Monnaie the previous spring.
"Although there are now more people on this planet than there have ever been before, there are fewer dramatic voices. Something is wrong with that equation. I thought there needs to be some sort of helping hand so that dramatic voices don’t fall through the cracks in the system as they advance through their various stages of development."
17 Dec 2008
Keith Jameson — Comprimario Extraordinaire
Most opera-world publicity is accorded star singers, but we take another tack here to look at American tenor Keith Jameson who has made a specialty of character or comprimario parts, while at the same time building a solid reputation as sophisticated musician and actor, a performer who can seize the moment and elevate a role to first rank for the time he is on stage.
Appearing as the young Novice in Benjamin Britten’s shipboard
tragedy, Billy Budd, in Santa Fe Opera’s 2008 season, Jameson
proved what he can do most impressively. His young novice sailor first
appears shirtless and scarred with lash marks, the victim of a sadistic
master-at-arms (John Claggart), and the cruelty of life at sea; later, he
must confront Claggart and plead for mercy at the hands of a sadist in a
highly emotional scene. Sounds like a daunting assignment for a 40-year old
singer who grew up in a small town in South Carolina. How does he do it, and
how does he manage to look and sound a crazed lad of 25?
“I am at least as much actor as singer,” Jameson explained
when I asked him. “The two arts cannot be separated.” He seems
disarmingly mild off stage, modest of build with blue eyes and dark hair, an
infectious grin and gentle mien, which can explode into unexpected fireworks
onstage in the heat of performance.
“Ben Britten is my favorite kind of music and I hope to do a lot
more of it,” Jameson said. Thus far he has sung Peter Quint in Turn
of the Screw, and in Britten’s Curlew River, as well as
some of the British master’s choral and sacred music, and has his eye
on the ingénue role of Albert Herring, in that captivating comedy of
village ‘types’ and coming-of-independence. “I almost want
to live in England, and specialize in Britten and in Baroque music,”
Jameson admits. He would doubtless be welcome, with musicianship grounded in
far more education than most professional singers enjoy.
After music and vocal studies at college in South Carolina, Jameson joined
the Eastman School at Rochester, N. Y., and earned a Master’s Degree in
conducting and Doctorate of Musical Performance in voice. “I tried
choral conducting and a bit of teaching, but my real love is singing. I most
love to perform on stage and make acting and musical expression become one
unified experience – for both performers and audience. I just live for
it,” he beams. Jameson continues to refine his art and with good
results. “For about a year now I’ve been working with a new
teacher in New York, opening the voice, and that volume you heard in the high
range in Billy Budd is a result. Vocal growth has opened a wider
horizon for me.”
Keith Jameson as Peter Quint, with Lisa Houben as Miss Jessel, in The Turn of the Screw, Opera Royal de Wallonie in Liege, Belgium, April 2007 [Photo courtesy of ORW]
“ When the Novice is dragged before Claggart he is a terrified,
humiliated boy, and he begs for mercy, virtually for his life. He’ll do
anything to avoid further physical cruelty,” Jameson explains. In the
face of the boy’s screaming agony, Peter Rose, the powerful English
bass impersonating Claggart, maintained an almost eerie cool, his low-keyed
response creating a tremendous tension in the scene. “It’s hard
work to set up such extreme contrasts and takes stamina and real acting; that
is why I loved doing it. And playing against Peter Rose is something
special,” Jameson found. Few in his Santa Fe audience knew Jameson
could sing with such passionate power, so his recent performance proved an
Jameson sees plenty of years ahead as operatic tenor, but when I asked if
he eventually planned to become a teacher, his reply was immediate: “No
indeed, I want to run an opera company” (This guy is full of
surprises!) “I’m serious,” he continued. “I have
started a small chamber music festival, January each year a time that needs a
seasonal pick-up – and I present at my Southern home town a musical
stage performance, some sacred music and a program of pure chamber music, and
I want to make that grow into a music festival in due time that specializes
in presenting American opera.” He cites the example of another
character tenor and former Santa Fe performer, Darren Keith Woods, who
switched from performance to management and is now the successful general
director of the Ft. Worth opera, which he converted from conventional company
into an annual opera festival. “Darren has shown us how, so here is
hoping,” Jameson said. “But I have many roles to play and many
songs to sing before that happens.”
Dr. Jameson has earned an exciting professional future, whatever form it
J. A. Van Sant © 2008
Keith Jameson as Nanki-Poo and Anna Christy as Yum-Yum in Jonathan Miller's production of The Mikada, New York City Opera and English National Opera [Photo courtesy of English National Opera]