Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Verismo Double Header in Los Angeles

LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.

Viva Verdi at Opera Las Vegas

On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.

Barbera Sings a Fascinating Recital in San Diego

On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.

Sweeney Todd at the San Francisco Opera

Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.

Wigmore Hall Complete Schubert Song Series begins with Boesch and Johnson

The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.

Luisa Miller in San Francisco

Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.

Salieri: La grotta di Trofonio (Trofonio’s Cave)

Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.

Chicago Lyric’s Stars Shine at Millennium Park

The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.

Gluck: Orphée et Eurydice

Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.

Vaughan Williams and Holst Double Bill

One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.

Iestyn Davies at Wigmore Hall

Is there anything that countertenor Iestyn Davies cannot do with his voice?

Prom 75: The Dream of Gerontius

BBC Proms Youth Choir shines in a performance notable for its magical transparency

Prom 67: Bernstein — Stage and Screen

The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.

Prom 65: Alice Coote sings Handel

Disappointing staging mars Alice Coote’s vibrant if wayward musical performance

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.



Veronica Dunne
20 Feb 2012

The Veronica Dunne International Singing Competition: Showcase Concert

Inaugurated in 1995, the Veronica Dunne International Singing Competition is a triennial competition, held in the National Concert Hall in Dublin, which takes place over a week in January.

The Veronica Dunne International Singing Competition: Showcase Concert

Pumeza Matshikiza, soprano; Sarah-Jane Brandon, soprano; Dean Power, tenor; Dearbhla Collins, piano; Mairéad Hurley, piano. Wigmore Hall, London, Saturday 18th February 2012.

Above: Veronica Dunne


The next competition will occur in January 2013, and this varied recital featured the three main prize winners from 2010, demonstrating their talents in a range of contrasting idioms and genres.

Established by Dr Veronica Dunne, Ireland’s ‘Grande Dame’ of singing, the Competition is designed to give young Irish singers the opportunity to complete on an international platform; it is, however, open to other nationals who are studying in the UK, and in this recital the Irish tenor Dean Power (3rd prize in 2010) was partnered by two South African sopranos, Pumeza Matshikiza and Sarah-Jane Brandon (1st and 2nd prize respectively).

We began with lieder: five songs from Schumann’s Myrthen Op.25, which the composer presented to his wife, Clara, as a wedding present. There was certainly much passion in the opening ‘Widmung’ (‘Dedication’), performed by Pumeza Matshikiza with ardent intensity; hers is a distinctive timbre, slightly burnished of tone and richly textured. Matshikiza certainly made an immediate impact on the audience; but, I found her undoubtedly striking voice slightly insistent, even overwhelming, in the intimate venue, and would have welcomed a little more dynamic ‘light and shade’. ‘Du bist wie eine Blume’ (‘You are like a flower’) was more poised, but again sensuous passion threatened to outweigh the innocence of the image of the beloved, ‘like a flower/ So sweet and fair and pure’.

A more delicate charm was conjured by Sarah-Jane Brandon in ‘Der Nussbaum’ (‘The walnut tree’); a gentle pianissimo conveyed the whispering of the blossoms and a well-judged rubato suggested the tentative expectancy of the young maiden dreamily listening to rustling tree, yearning and hoping for love. Brandon sustained and projected the melody in ‘Lied der Suleika’ (‘Suleika’s song’), although both songs would have benefited from a few more consonants.

Although a little stiff of manner, Dean Power showed much sensitivity to the text in ‘Die Lotusblume’ (‘The lotus flower’), tenderly shaping the closing image as “sie freundlich/ Ihr frommes Blumengesicht” (“she gladly unveils/ Her innocent flower-like face”). And, there was thoughtful phrasing from both singers in Power’s duet with Matshikiza, ‘In der Nacht’ (‘In the night’).

An operatic sequence followed, beginning with a magisterial ‘Come Scoglio’ from Brandon, demonstrating even tone throughout her range, a particular animation in the upper register, and an ability to negotiate the awkward leaps with sureness. We stayed with Così for Power’s rendering of ‘Tradito, schernito’: the recitative was intelligently delivered and again Power revealed a good sense of melodic line, but his tone is rather unyielding, at times sounding somewhat strained and taut. This was more of a problem in ‘Ecco ridento in cielo’ (from Rossini’s Il Barbiere di Siviglia) which lacked an Italianate gleam and was rather rushed. Matshikiza was an impassioned, rapt Mimi in ‘Si. Mi chiamano Mimi’, and although her intonation was not always secure, her rich forte clearly won the audience’s heart. Most impressive of the operatic selection was Brandon’s tightly controlled Willow Song, ‘Piangea cantando’ (from Verdi’s Otello), in which the soprano demonstrated evenness of tone and used a range of vocal colours to convey the drama and emotion of the scene.

With a change of pianist — Dearbhla Collins now taking over from the first-half accompanist, Mairéad Hurley — Brandon began the second half of the recital with Richard Strauss’s Four Songs Op.27. These offered her much opportunity to exploit her warm, full tone; the recurring refrain of ‘Ruhe, mein Seele!’ (‘Calm, My Heart!’) built to a satisfying climax, while ‘Morgen!’ (‘Morning!’) was more rapturously serene. Matshikiza followed with three songs by Debussy; her vibrant lyricism was perfectly suited to ‘Nuit d’étoiles’ (‘Starry night’), and in ‘Beau Soir’ (‘Beautiful evening’) the soprano’s intimate composure conveyed the mood of dreamy serenity.

Having been awarded the Dermot Troy prize for Best Irish Singer in 2010, it was left to Power introduce a distinctly Irish flavour into the proceedings, with performances of three twentieth-century songs, beginning with Bernadette Marmion’s ‘When you are old’. Power was more relaxed here, and in Philip Martin’s ‘Be still as you are beautiful’; his characterful performance of ‘The Fiddler of Dooney’ by Hamilton Harty revealed Power to be at ease with the simple folk style, and capable of communicating the energy and vitality of the idiom.

The romantic lyricism and easy melodic charm of three songs by Roger Quilter brought the evening to a satisfying close.

Claire Seymour

Click here for a photo gallery of the participants.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):