Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

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.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

OPERA TODAY ARCHIVES »

Performances

Kathleen Ferrier
02 May 2012

The Kathleen Ferrier Awards 2012

This year’s Kathleen Ferrier Awards final was both a competition and a celebration, marking as it did the centenary anniversary of the great singer’s birth.

The Kathleen Ferrier Awards 2012

Wigmore Hall, London Friday 27 April 2012

Above: Kathleen Ferrier

 

First held in 1956, following Ferrier’s tragically early death on 22 April 1952, the competition has supported many young singers in their early years of training and, since 2009, has also offered additional support to its prize winners in the form of sponsoring a series of recitals around the UK, giving these singers public platforms to develop their recital skills. Recent prize recipients have included Emma Bell, Kate Royal, Elizabeth Watts, Martene Grimson, Andrew Kennedy and Robert Murray, and many others who have gone on to win considerable international acclaim.

The demands of the competition are rigorous: both first round and semi-final must include an operatic aria and art song, and singers must show appreciation of the musical and technical characteristics of different periods and styles. The final must contain at least one song in English and present a balance between opera and song.

Natalya-3.gifNatalya Romaniw [Photo by Patrick Allen, Opera Omnia, courtesy of Hazard Chase Limited]

This year’s winner, Welsh soprano Natalya Romaniw, offered a daring programme which played to her strengths — a big, richly coloured tone and a confident, mature dramatic presence. Opening with Tchaikovsky’s ‘Atchevo eta pryezhdye nye znala’ from Iolanta she exhibited a beautiful vocal lustre and a natural instinct for phrase shape, carefully modulating the dynamic expression to communicate textual meaning. Strauss’s ‘Ständchen’ showed off the glistening, exhilarating sheen of her upper notes, and its power, while the same composer’s ‘Ruhe meine seele’ demonstrated that Romaniw can sustain a centred, pleasing line in the lower register too. Jonathan Dove’s ‘Between your sheets’ was imaginative and adventurous programming, and here Romaniw adopted a more intimate tone, sensitively conveying the words. But, it was back into extrovert mode for Britten’s ‘Tell me the Truth about Love’: fortunately, she did not indulge in cabaret hyperbole, but enjoyed sharing the wit and humour of the song with the audience, in an appealing, engaging rendition which deservedly garnered the song prize for Romaniw too.

Baritone Ben McAteer and soprano Ruth Jenkins shared second prize. I felt that McAteer’s communication of the text, as he effortlessly embodied a range of characters in different dramatic and emotional situations, put him in the running for first prize. Whether outpouring Romantic angst or relishing the ironic wit of Classicism, every word was crystal clear and every musical gesture perfectly matched to the sentiments of the text. The gradation of dramatic moods in Schumann’s ‘Belsazar’ was superb, the phrase endings beautifully crafted, while ‘Kogda bï zhizn domashnim krugom’ from Eugene Onegin demonstrated the relaxed flexibility of McAteer’s warm baritone. Hamilton Harty’s setting of the traditional Irish song, ‘My Lagan Love’, made a moving conclusion to his programme; the tempo was audaciously slow, McAteer’s dark pianissimo deeply expressive, and the rhetorical power of the song instinctively conveyed.

Ruth Jenkins demonstrated variety of tone and a broad tessitura in an interesting programme which embraced Schubert, Wolf, Handel, James Macmillan and the Icelandic composer, Sigfús Einarsson. Seeming a little nervous at the start, Jenkins struggled to control her vibrato in the long sustained notes that open Schubert’s ‘Litanei auf das Fest Aller Seelen’, but she did show that she knows how to build through individual phrases to shape coherent larger structures. Her intonation settled, however, and Einarsson’s ‘Draumalandio’ was notable for its wistful, gentle ambience. Gaining confidence, Jenkins brought a translucent quality to the tranquil rocking intervals of Macmillan’s ‘The Children’. She skilfully controlled the repetitive vocal line, which, like a child’s song, employs only a few basic intervals, tenderly conveying the innocence of the child in contrast to the more sophisticated gestures of the sparse piano accompaniment.

There were three other finalists. Soprano Eleanor Dennis demonstrated plenty of sparkle in ‘Come Scoglio’ and a burnished lower range in Britten’s ‘Nocturne’ from On This Island. She blended folky gestures with virtuosity in Eva Dell’Acqua’s ‘Villanelle’ but, while this was an accurately performed programme Dennis, in the difficult ‘opening slot’, did not always have the stage presence to fully engage the audience. Dennis’s accompanist, Craig White, was awarded the accompanist’s prize.

The same lack of stage impact also characterised soprano Robyn Allegra Parton’s performance. Although her rendering of Quilter’s ‘Love’s Philosophy’ was exuberant, and ‘My heart leaps up’ from Britten’s Albert Herring carefully shaped, Parton’s performance was accurate, poised and pleasing rather than exciting and impactful.

The limitations of the countertenor repertoire inevitably affected Russell Harcourt’s programming; but while he attempted to introduce variety, juxtaposing Handel with Heggie, Harcourt’s light graceful voice ultimately lacked diversity of colour. This proved problematic in Bach’s renowned ‘Erbarme dich’ from the St. Matthew Passion, where he was unable to impose his presence in the strophic repetitions, following the long piano ‘between-verse’ passages. A burgeoning theatricality was evident in Handel’s ‘Vivi tiranno’ from Rodelinda, however, as well as superb breath control and an effective rhetorical style.

I’m sure we will be hearing much more from all these accomplished singers in future. And, the centenary celebrations continue at the Wigmore Hall on 28 June, when six recent winners — singers Sarah-Jane Brandon, Anna Stéphany, Ben Johnson, Jonathan McGovern, and pianists James Baillieu and John Read — come together to perform a programme of songs, duets and ensembles from Kathleen Ferrier’s repertoire, devised by Graham Johnson.

Claire Seymour

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):