Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Arabella in San Francisco

A great big guy in a great big fur coat falls in love with the photo of the worldly daughter of a compulsive gambler. A great big conductor promotes the maelstrom of great big music that shepherds all this to ecstatic conclusion.

Two falls out of three for Britten in Seattle Screw

The miasma of doom that pervades the air of the great house of Bly seems to seep slowly into the auditorium, dulling the senses, weighing down the mind. What evil lurks here? Can these people be saved? Do we care?

New Hans Zender Schubert Winterreise - Julian Prégardien

Hans Zender's Schuberts Winterreise is now established in the canon, but this recording with Julian Prégardien and the Deutsche Radio Philharmonie conducted by Robert Reimer is one of the most striking. Proof that new work, like good wine, needs to settle and mature to reveal its riches.

Pascal Dusapin’s Passion at the Queen Elizabeth Hall

Ten years ago, I saw one of the first performances of Pascal Dusapin’s Passion at the Festival d’Aix-en-Provence. Now, Music Theatre Wales and National Dance Company Wales give the opera its first United Kingdom production - in an English translation by Amanda Holden from the original Italian: the first time, I believe, that a Dusapin opera has been performed in translation. (I shall admit to a slight disappointment that it was not in Welsh: maybe next time.)

Tosca in San Francisco

The story was bigger than its actors, the Tosca ritual was ignored. It wasn’t a Tosca for the ages though maybe it was (San Francisco’s previous Tosca production hung around for 95 years). P.S. It was an evening of powerful theater, and incidentally it was really good opera.

Fine performances in uneven War Requiem at the Concertgebouw

At the very least, that vehement, pacifist indictment against militarism, Benjamin Britten’s War Requiem, should leave the audience shaking a little. This performance by the Royal Concertgebouw Orchestra only partially succeeded in doing so. The cast credits raised the highest expectations, but Gianandrea Noseda, stepping in for an ailing Mariss Jansons and conducting the RCO for the first time, did not bring out the full potential at his disposal.

The Tallis Scholars at Cadogan Hall

In their typical non-emphatic way, the Tallis Scholars under Peter Phillips presented here a selection of English sacred music from the Eton Choirbook to Tallis. There was little to ruffle anyone’s feathers here, little in the way of overt ‘interpretation’ – certainly in a modern sense – but ample opportunity to appreciate the mastery on offer in this music, its remoteness from many of our present concerns, and some fine singing.

Dido and Aeneas: Academy of Ancient Music

“Remember me, but ah! forget my fate.” Well, the spectral Queen of Carthage atop the poppy-strewn sarcophagus wasn’t quite yet “laid in earth”, but the act of remembering, and remembrance, duly began during the first part of this final instalment of the Academy of Ancient Music’s Purcell trilogy at the Barbican Hall.

Poignantly human – Die Zauberflöte, La Monnaie

Mozart Die Zauberflöte (The Magic Flute) at La Monnaie /De Munt, Brussels, conducted by Antonello Manacorda, directed by Romeo Castellucci. Part allegory, part Singspeile, and very much a morality play, Die Zauberflöte is not conventional opera in the late 19th century style. Naturalist realism is not what it's meant to be. Cryptic is closer to what it might mean.

Covent Garden: Wagner’s Siegfried, magnificent but elusive

How do you begin to assess Covent Garden’s Siegfried? From a purely vocal point of view, this was a magnificent evening; it’s hard not to reach the conclusion that this was as fine a cast as you are likely to hear anywhere today.

Powerful Monodramas: Zender, Manoury and Schoenberg

The concept of the monologue in opera has existed since the birth of opera itself, but when we come to monodramas - with the exception of Rousseau’s Pygmalion (1762) - we are looking at something that originated at the beginning of the twentieth century.

ENO's Salome both intrigues and bewilders

Femme fatale, femme nouvelle, she-devil: the personification of patriarchal castration-anxiety and misogynistic terror of female desire.

In the Company of Heaven: The Cardinall's Musick at Wigmore Hall

Palestrina led from the front, literally and figuratively, in this performance at Wigmore Hall which placed devotion to the saints at its heart, with Saints Peter, Paul, Catherine of Alexandria, Bartholomew and the Virgin Mary all musically honoured by The Cardinall’s Musick and their director Andrew Carwood.

Roberto Devereux in San Francisco

Opera’s triple crown, Donizetti’s tragic queens — Anna Bolena who was beheaded by her husband Henry VIII, their daughter Elizabeth I who beheaded her rival Mary, Queen of Scots and who executed her lover Roberto Devereux.

O18: Queens Tries Royally Hard

Opera Philadelphia is lightening up the fare at its annual festival with a three evening cabaret series in the Theatre of Living Arts, Queens of the Night.

O18 Magical Mystery Tour: Glass Handel

How to begin to quantify the wonderment stirred in my soul by Opera Philadelphia’s sensational achievement that is Glass Handel?

Magic Lantern Tales: darkness, disorientation and delight from Cheryl Frances-Hoad

“It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous.”

A lunchtime feast of English song: Lucy Crowe and Joseph Middleton at Wigmore Hall

The September sunshine that warmed Wigmore Street during Monday’s lunch-hour created the perfect ambience for this thoughtfully compiled programme of seventeenth- and twentieth-century English song presented by soprano Lucy Crowe and pianist Joseph Middleton at Wigmore Hall.

O18: Mad About Lucia

Opera Philadelphia has mounted as gripping and musically ravishing an account of Lucia di Lammermoor as is imaginable.

O18 Poulenc Evening: Moins C’est Plus

In Opera Philadelphia’s re-imagined La voix humaine, diva Patricia Racette had a tough “act” to follow ...

OPERA TODAY ARCHIVES »

Reviews

The Glyndebourne Opera Cup 2018
25 Mar 2018

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

The Glyndebourne Opera Cup 2018

Above: Samantha Hankey with Dame Janet Baker

Photo credit: Richard Hubert Smith

 

Mezzo-soprano Samantha Hankey, 25, from the USA, was crowned the overall winner, receiving £15,000 and the guarantee of a role within five years at one of the top opera houses represented on the competition jury. She also won the Media prize, chosen by a panel of opera critics and classical music journalists.

A native of Massachusetts, Hankey attended the Merola Opera Program in San Francisco and recently graduated from The Juilliard School. In 2017/18 she makes her debuts as Rosina in Il barbiere di Siviglia at Den Norske Opera, Siébel in Faust at Grand Théâtre de Genève, and her Carnegie Hall debut in Handel’s Messiah with Musica Sacra. She was Grand Finals winner of the 2017 Metropolitan Opera National Council Auditions and first prize winner of the Dallas Opera Guild Competition.

‘I am honoured and humbled to be awarded the Glyndebourne Cup,’ she says. ‘The announcement left me speechless. This entire week has been incredible working with the staff at Glyndebourne and all who were involved in the competition, and it means so much to me to have been acknowledged as having something to say in interpreting Mozart’s music. I cannot say “thank you” enough for this honour”

Winning the Audience Prize, with a third of all votes cast by those in the auditorium who watched the final, was Kosovan soprano Elbenita Kajtazi, 27. Kajtazi as a young girl was forced to flee her home in war-torn Kosovo with her family, and live as a refugee in Albania. ‘Every time there would be a dangerous situation - the soldiers would come into our house or something like that - I would find a corner and sing to myself. Singing was my way to be able to feel safe,’ she recalls.

Kajtazi and Baker.jpg Elbenita Kajtazi and Dame Janet Baker Photo credit: Richard Hubert Smith.

On her win she commented: ‘The audience prize means that the audience loved me and what more could I ask for? I’m for the first time here in England and I get this kind of treat and I’m able to get in people’s hearts, this means the world to me.’ Kajtazi also took Third place.

Second place went to American soprano Jacquelyn Stucker, 28, currently a Jette Parker Young Artist at the Royal Opera House, where she recently performed the role of Frasquita in Barrie Kosky’s production of Carmen.

The Ginette Theano prize for most promising talent was awarded to American soprano Emily Pogorelc, 21. Pogorelc was the youngest competitor to reach the final and is currently entering her final year at the Curtis Institute of Music.

The prizes were presented by Dame Janet Baker, the competition’s honorary president who helped to adjudicate the final. The final of the Glyndebourne Opera Cup was broadcast live on Sky Arts, hosted by Chris Addison and Danielle de Niese.

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):