Showing posts with label Danielle de Niese. Show all posts
Showing posts with label Danielle de Niese. Show all posts

Monday, June 23, 2014

An urgent call from Danielle de Niese

Tomorrow, Danielle de Niese is giving a recital at St John's Smith Square in aid of the Sohana Research Fund. Her programme is glorious - from Handel to Fauré and Delibes, Puccini to Gershwin. Book here.

Danni says:

Hey Everyone! (PLEASE FORWARD AROUND!!)

I WANT TO INVITE YOU ALL TO COME AND JOIN ME TOMORROW IN LONDON AT ST JOHN'S SMITH SQUARE IN AID OF A LITTL GIRL CALLED SOHANA WHO SUFFERS FROM RECESSIVE DYSTROPHIC EPIDERMOLYSIS BULLOSA (“RDEB”). RDEB IS AN INCURABLE GENETIC SKIN BLISTERING CONDITION. IT IS PROGRESSIVE AND INCREDIBLY PAINFUL AND LITTLE SOHANA HAS HAD THIS CONDITION ALL HER YOUNG LIFE!  

PLEASE COME AND LET'S CELEBRATE AN AMAZING CAUSE, UPLIFT SOHANA'S SPIRITS AND HELP HER TO BELIEVE THAT WITH OUR AID AND SUPPORT TOWARDS RESEARCH, WE CAN FIND A CURE FOR HER AND THE MANY OTHER KIDS WHO SUFFER FROM THIS RARE CONDITION.

IMAGINE WHAT IT WOULD BE LIKE TO HAVE RDEC: IT IS LIKE HAVING BURNS THAT TAKE A LONG TIME TO HEAL – IF THEY HEAL AT ALL. BURNS THAT FLARE UP TO EVEN THE SLIGHTEST TOUCH.

PLEASE PLEASE COME AND CONTRIBUTE TO THIS CAUSE. YOU CAN SEE MORE ABOUT SOHANA AND THE DEBRA RESEARCH BEING DONE AT:

http://www.sohanaresearchfund.org/

AND

https://www.debra.org.uk/

THANK YOU FOR READING THIS, LOVE TO YOU ALL AS ALWAYS…

DANNI

PLEASE FORWARD AROUND TO AS MANY PEOPLE AS POSSIBLE.
XOXO


Booking details here.

Sunday, August 25, 2013

Watch 'Don Pasquale' from Glyndebourne






It's a wet Sunday and - while not denigrating what I'm sure will be a fabulous Prom tonight - some of us have already seen Parsifal three times this year. So it's time for something cheery. The visually gorgeous, emotionally sophisticated production from Glyndebourne of Donizetti's Don Pasquale is just the ticket. Directed by Mariame Clément with designs by Julia Hansen, it plumps this masterpiece of bel canto tragicomedy into the heart of a world none too far from Dangerous Liaisons.

It does so by asking one vital question about the drama's essence: why is Dr Malatesta doing this? What's in it for him? Answer: he has a thing going with la bella Norina. Could it be that he's out to trick poor old Pasquale so that Norina can marry the sweet, wimpy Ernesto, be comfortably off and assure her future on the side with Malatesta, an arrangement which appears to suit both of them rather well?

Danielle de Niese stars as an irrepressible and satisfyingly complex Norina, kind-hearted yet determined, caring about Ernesto yet in sexual thrall to Malatesta. Vocally she is strong and colourful, infusing each whirl of coloratura with expressive purpose. Here, in the Independent the other week, she told me about why the bathroom scene presented a few challenges for the cinema relay...

Alessandro Corbelli is perfect as the duped Pasquale - and it is nice that he isn't left wholly in the lurch at the bittersweet conclusion. In the theatre,w hen I went there last week, Alek Schrader's Ernesto seemed beautiful in tone but a tad lacking in amplitude, while Nikolay Borchev as Malatesta proved a baritone full of suitable smoulder and streetwise assurance. Ernesto Mazzola - a glory of a bel canto conductor - creates an atmosphere satisfactorily replete with bubbles. And listen out for Kristine Blaumane's gorgeous cello solo.

It takes a lot to make a Glyndebourne audience clap a tableau upon curtain up; the all-white 18th-century chorus costumes did the trick last week. But - thought for the day here - wouldn't it be wonderful if productions that were not set in the distant past could sometimes produce the same effect? Intriguingly, I have just met and interviewed a cutting-edge opera director - more of whom very soon - who admitted to having a blind spot about bel canto. Chacun a son gout...

The opera is available to watch on the Guardian website, from which I have borrowed it, until 31 August.  

Friday, September 28, 2012

Gramophone needles

Quite a feast at the Dorchester yesterday for the Gramophone Awards.

First of all, it was Benjamin's big day [left]. Since the BBC has moved many of its TV operations, including the Breakfast news programme, to Salford - about 200 miles away from most of the action, eg. the government, a daft decision if ever there was one - he was up north at crack of dawn to appear there. Then whisked all the way back to London just in time to be catapulted onto live Radio 4, for which The World at One was able to cover the awards since the news of them was out early. Next, into the ballroom to accept two prizes, make a couple of speeches and play two party pieces [below], and receive the goodwill of the music industry, which was his by by bucketload.



The indefatigable James Jolly more than lived up to his name as he presented the prizes, aided and abetted by Eric Whitacre and "Sopranielle" de Niese, as someone managed to dub her. Danni treated us to a performance of Lehar's 'Meine Lippen, sie küssen so heiß', over which our host quipped "I bet they do"... Live music too from the mesmerising violinist Patricia Kopatchinskaya, playing the Bartok Romanian Dances in authentic Romanian Gypsy style; and Granados from Leif Ove Andsnes, who was in town to play at the RFH and came in to collect the chamber music prize, awarded to him and Christian and Tanya Tetzlaff for their glorious  recording of Schumann trios. [Above, he collects his award from Danni.]

There were touching moments aplenty. Think of the filmed interview with Murray Perahia, who scooped the new Piano Prize, proving yet again why genuine musicianship cannot be trumped by anything, ever; or the turbo-charged voice of Joseph Calleja, scooping Artist of the Year. Most moving of all, though, Vaclav Talich's granddaughter came in to accept the historical recording award on his behalf: his Smetana Ma Vlast, given in concert in 1939 two months after the Wehrmacht marched into Prague and featuring a moment in which the audience spontaneously broke into singing the national anthem. There's no other moment like it on disc, said Rob Cowan.

Priceless, too, was the announcement of Record of the Year, which went to the Baroque Vocal category for Schütz's Musikalische Exequien - from the Belgian choir Vox Luminis and its director Lionel Meunier. A towering figure (literally) with a blend of charm and modesty that captured everyone's hearts as he stood, overwhelmed, by the microphone [left], Lionel explained that the whole recording was organised in his kitchen and he could hardly believe he was going to go back to his choir the next day and say "We f***ing got Record of the Year!

Plenty of time for chat, gossip and networking in between, natch: a chance to clink glasses with some and say "Better times ahead?" and others to say "Bravi", and others still to reflect on the growing parallels between two of our greatest tenors now, Calleja and Kaufmann (who pre-recorded a thank-you speech for the Fidelio recording with Abbado and Nina Stemme that took the opera prize) and, respectively, force-of-nature Pavarotti and deep-thinking, dark-toned Domingo. 

Among my most interesting encounters was a discussion with a critic who'd come in from the pop culture world to see what it was all about. He was furious. Why? Because, he says, there's all this incredible music, yet it's somehow been sectioned off and the world at large never gets to hear it! The decision-makers in the British media don't include it as part of culture in general, and they should. It's been ghettoised. And not through any fault of its own - millions of people love it when they have the chance. Why keep it out of the mainstream with some cack-handed inverted snobbery that says the general public isn't capable of appreciating it?

One more Gramophone needle: here's the line-up of winners for the final group photo.


That's right, they're all blokes. 

Violinist Isabelle Faust won the concerto category, to be fair-ish; Tanya Tetzlaff features in the chamber music, and Nina Stemme in Fidelio, but the latter scarcely got a mention while everyone was drooling over Jonas's speech and adulating Claudio Abbado who won the Lifetime Achievement award. The two women who collected awards did so on others' behalf: Talich's granddaughter and Perahia's wife. 

Of course, there's a strong feeling that these awards are for musical achievement alone and gender balance shouldn't matter. In an ideal world, yes, fine. But this isn't one. Given the number of world-class female musicians on the circuit at present, how is it possible that only one-and-two-bits were among the winners of so many major awards? 

I still have the feeling that to be fully recognised as a woman musician, you must work five times as hard as the men and look perfect as well. There's an unfortunate double-bind in the music industry: those charged with selling the artists via image doll up the women as sex symbols, only for a fair number of critics to succumb at once, consciously or otherwise, to the prejudice that "they're being sold on their looks, so they can't be any good". This isn't the way it ought to be. 

I begrudge none of these marvellous male musicians their prizes: each and every one was fully deserved. Yet is it now time to introduce an alternative industry award, like the erstwhile-Orange Prize for Fiction, to boost the wider recognition of female classical musicians on the strength of their artistry, not their looks? Sad to say, but the answer is yes.





Thursday, September 27, 2012

And here are the GRAMOPHONE AWARD WINNERS

Off to the RealLifePoshPlace (as opposed to the JDCMB Cyberposhplace) for a day of celebration and suspense as the Gramophone Awards are announced...oh wait... No suspense, except for Record of the Year. A press release has just plopped into the in-box telling us all the others. Which you'd think kind of defeats the purpose of having the entire UK music business sit in the Dorchester all day...  


But there's some really wonderful news: Benjamin Grosvenor has won both Young Artist of the Year and Instrumental, in the latter category pipping to the post no lesser personages than Stephen Hough and Paul Lewis. That definitely requires something bubbly.
 
Right now I'm busy putting on a smart dress and a bit o' slap, so I'm going to post the press release. Stand by for the full inside report on the goings-on after the event and follow on Twitter at #GramoAwards. I may tweet now and then if I have any reception on the fruityphone.




GRAMOPHONE AWARDS 2012 - THE “OSCARS OF CLASSICAL MUSIC”


·         Benjamin Grosvenor becomes youngest artist to achieve double-Award win
·         Joseph Calleja voted ‘Artist of the Year’
·         Claudio Abbado honoured with ‘Lifetime Achievement’ Award
·         Murray Perahia wins new ‘Piano Award’
·         Naïve crowned ‘Label of the Year’
·         ‘Recording of the Year’ to be revealed later today

The Gramophone Awards the world’s most influential classical music prizes – are announced today at London’s Dorchester Hotel in a ceremony co-hosted by two of classical music’s hottest properties: composer and conductor – and professional model – Eric Whitacre, and Danielle de Niese, described by The New York Times as “opera’s coolest soprano”.

James Jolly, Editor-in-Chief of Gramophone said:

With more than 750 new recordings of phenomenal range and quality under consideration for the 2012 Gramophone Awards, coming up with the shortlists and winners has been challenging, but extremely enjoyable. This is an extremely exciting and vibrant time for classical music and the winners announced today represent the best of the best, where the best is a very rich feast indeed.”

The Gramophone Awards 2012, now in their 35th year, are presented in association with Steinway & Sons and EFG International.

The most coveted prize, ‘Recording of the Year’, will be revealed during today’s ceremony and announced this afternoon.

Crowning a magnificent year that saw him become both the youngest soloist to open the BBC Proms and the youngest pianist ever to be signed by Decca, Benjamin Grosvenor now becomes Gramophone’s youngest double-Award winner. He is named Young Artist of the Year and wins the Best Instrumental category for his debut disc of music by Ravel, Chopin and Liszt on Decca. The 20-year-old from Southend-on-Sea has been highly praised for his poetic expression and virtuosity, and this double accolade from Gramophone is another noteworthy badge of honour in his rise to international acclaim.

Joseph Calleja is named Gramophone’s Artist of the Year in the only Award decided by public vote. It rounds off an incredible year for the Maltese tenor, described by Gramophone as “a tenor of uncommon distinction, whose elegance and sense of style are second to none on the operatic stage today.” From performing at the Last Night of the Proms to reaching No. 1 in the Danish pop charts Calleja is now established as a regular at all the leading opera houses in the world, including the Royal Opera House and New York’s Metropolitan Opera. Joseph reaches out to a wide public who respond as much to his open and charming personality as his voice. His latest album ‘Be My Love,’ a tribute to Mario Lanza, became an instant best-seller.

“His vision has left an imprint on every orchestra in Europe” says fellow conductor Daniel Harding, of this year’s Lifetime Achievement winner, Claudio Abbado. Abbado conducts the best orchestras, yet devotes much of his time to nurturing young talent, as founder and music director of the Youth Orchestra of the European Union and the Gustav Mahler Youth Orchestra, as well as artistic director of the Chamber Orchestra of Europe, and founder and principal conductor of both the Lucerne Festival Orchestra and Italy’s Orchestra Mozart. He has recorded for Deutsche Grammophon since 1967, amassing a discography that includes the entire symphonic works of Beethoven, Brahms, Mahler, Mendelssohn, Schubert and Ravel and more than 20 complete opera recordings.

A new prize for 2012, The Piano Award, goes to one of today’s most respected musicians, Murray Perahia. Gramophone has long celebrated Perahia’s exceptional sensibility, lyricism and naturalness, but in the year that Perahia celebrates 40 years of recording for Sony Classical and its forerunner CBS Masterworks, Gramophone pays special tribute to this exceptional pianist. In addition to the Award, Gramophone has produced a digital magazine that gathers together every Perahia review it has ever published.

Superbly produced, gorgeously packaged recordings of artistic vision and integrity from musicians of the highest calibre, symbolises naïve - Gramophone’s 2012 Label of the Year. Naïve’s artist roster is rich and impressive, from Jordi Savall, Anne-Sofie von Otter and Marc Minkowski with his Musiciens du Louvre, to Patricia Kopatchinskaja, Bertrand Chamayou and Francesco Piemontesi. The label looks set to leave a legacy with its ground-breaking Vivaldi Edition, one of the most ambitious recording projects ever undertaken. Now in its twelfth year, the unprecedented Vivaldi Edition captures on record the entire collection of autograph manuscripts by the composer preserved in Turin’s Biblioteca Nazionale, making up some 450 works and unearthing never-before-heard works along the way.

A special Historic Reissue Award honours an extraordinary 1939 live recording of Smetana’s Má vlast by the Czech Philharmonic under Václav Talich. The extraordinary recording, issued by Supraphon, captures a spontaneous outburst of the Czech national anthem by the audience, symbolising the burning presence of Czech patriotism in a German-occupied Prague.
Winners were also announced across the 15 album categories (see below).
Gramophone has been producing a series of podcasts supporting the Awards at www.gramophone.co.uk and during the month of August, nearly 50,000 were downloaded. Gramophone has also formed retail partnerships with Amazon, i-Tunes and many of the UK’s specialist retailers. iTunes is offering a free sampler featuring Award-winning recordings at www.itunes.com/gramawards.

Gramophone’s Awards issue is published on Friday 28 September with full information about the Awards and winners.

Twitter: #GramoAwards



CATEGORY AWARDS

Baroque Instrumental
Bach: Orchestral Suites. Freiburg Baroque Orchestra / Petra Mullejans; Gottfried von der Goltz [Harmonia Mundi]

The Baroque Instrumental category acknowledges the remarkable level of musicianship that has built on decades of scholarship to create one of the most dynamic areas of the current music scene. The Freiburg Baroque Orchestra is one of the most thrilling ensembles around today, and wins a Gramophone Award for the second year in a row.  Gramophone says: “It’s hard to imagine an eminent Baroque ensemble more temperamentally suited to the esprit of Bach’s four orchestral essays than the Freiburgers.”

Baroque Vocal
Schütz: Musicalische Exequien. Vox Luminis / Lionel Meunier
[Ricercar / RSK]

Along with its Instrumental sister category, Baroque Vocal is one of the most dynamic areas of music-making today and this winner is impeccably performed, recorded and presented. Lionel Meunier and Vox Luminis’s release of Schütz’s Musicalische Exequien “embodies everything a Recording of the Year should be,” according to Gramophone. Schütz’s Baroque masterpiece, which inspired Brahms for his German Requiem, is performed by a vocal ensemble “over-endowed with impressive individual turns.”

Chamber
Schumann: Complete Works for Piano Trio. Christian Tetzlaff (vn); Tanja Tetzlaff (vc);
Leif Ove Andsnes (pf)
[EMI]

Making music with friends is one of the most rewarding pursuits anyone – amateur or professional – can do, and this category allows music lovers to glimpse musicians – most decidedly professional and at the top of their game – getting together and performing in intimate surroundings. Norwegian pianist Leif Ove Andsnes – no stranger to the Gramophone Awards – teams up with his regular musical partners Christian and Tanja Tetzlaff in Schumann's music for piano to create what Gramophone describes as “a remarkable achievement.”

Choral
Howells : Requiem. St Paul's Magnificat and Nunc dimittis. Choir of Trinity College,
Cambridge / Stephen Layton
[Hyperion]

Stephen Layton – nominated twice in this category this year – is one of the few choirmasters to work both within the Oxbridge choir tradition (as music director at Trinity College, Cambridge) and outside it (as the director of Polyphony and a much-sought-after guest by many top-league choirs). With his Cambridge choir, he here celebrates one of English music's most appealing composers, Herbert Howells, in a recording described by Gramophone as “a perfect disc of its kind.”

Concerto
Beethoven, Berg: Violin Concertos. Isabelle Faust (vn); Orchestra Mozart/ Claudio Abbado [Harmonia Mundi]

Isabelle Faust, a former Gramophone Young Artist of the Year, returns to the Awards in some very distinguished company, Orchestra Mozart and Claudio Abbado. Here Beethoven is intriguingly coupled with Berg in concerto performances described by Gramophone as “models of artistic and human discipline, meticulously probing Berg’s and Beethoven’s intentions but conveying also a sense that such peaks of human achievement are something you assume from within, not take by force from without.”

Contemporary
Rautavaara: Percussion Concerto. Cello Concerto No. 2. Modificata Colin Currie (perc); Truls
Mørk (vc); Helsinki PO / John Storgårds
[Ondine / Select]

Rautavaara’s magnificent, highly contrasting percussion and cello concertos make for a sensational release. Performed with “coruscating virtuosity” by percussionist Colin Currie and with cellist Truls Mørk “caressing out the subtleties” in the cello concerto, Ondine vividly sets the seal on this superb Contemporary Award-winner. The soloists are supported by John Storgårds – going from strength to strength on the podium – and the excellent Helsinki Philharmonic Orchestra.

DVD Documentary
‘Music Makes A City.’ A film by Owsley Brown III & Jerome Hiler
[Harmonia Mundi]

'Music makes a City', a film made by Owsley Brown III and Jerome Hiler, tells the scarcely believable, but inspiring, story of the Louisville Orchestra from Kentucky and its belief that new music was the answer to creating wealth and power for the city following the Great Depression and crippling floods there in 1937. The list of composers who were commissioned by the Orchestra reads like a roll-call of 20th-century greats and the film includes interviews with the senior generation of American musicians, from the centenarian Elliott Carter to the near-nonagenarian Ned Rorem. A compelling and beautiful documentary.

DVD Performance
Bruckner: Symphony No. 5. Lucerne Festival Orchestra / Claudio Abbado
[Accentus / Select]

Honouring great musical performance on film, the winning performance “takes a special, even unique, band of musicians and friends who (we can see) love what they do, making chamber music on the grandest scale.” Claudio Abbado revitalised the Lucerne Festival Orchestra in 2003, bringing back to life an ensemble that had first performed in 1938 under Toscanini's baton. Though a part-time group, the orchestra is comprised of some of the finest musicians in Europe, many of them soloists, gathered around a 'core' of the Mahler Chamber Orchestra. They are now one of the world's finest orchestras and performances of Bruckner don't get much more compelling than this.

Early Music
Victoria: Sacred Works. Ensemble Plus Ultra / Michael Noone
[Archiv / DG]

The Early Music category has become a showcase of the glorious polyphonic choral music written before 1600, which has become increasingly popular in recent decades. Tomás Luis de Victoria was celebrated in 2011, the 400th anniversary of his birth, and this 10-disc set of around 90 works emerged as a truly stunning tribute to this Renaissance Spanish master. “It is just deeply human and emotional music that [Ensemble Plus Ultra and Michael Noone] perform not only with great tenderness but so simply that one is struck every time – as if for the first time – by its crystalline, uncomplicated beauty.”

Historic
Chopin: Etudes. Maurizio Pollini
[Testament]

The Historic category, reserved for recordings making their first appearance as a commercial release, has put the spotlight on extraordinary treasures and this previously unissued recording of Chopin’s Etudes by Maurizio Pollini is no exception. It was made shortly after the teenage Pollini won the International Chopin Piano Competition in 1960, but became the first in a long line of recordings not to be sanctioned by the notoriously highly strung pianist. As the pianist turned 70 his early thoughts on these works was warmly welcomed by Gramophone, which said: “It is surely astonishing that Pollini could reject his early superfine brilliance, his aristocratic musicianship, his patrician ideal in the Chopin Etudes.”

Instrumental
Chopin, Liszt, Ravel: Piano Works. Benjamin Grosvenor (pf)
[Decca]
Gramophone’s Young Artist of the Year also scoops the Award for Best Instrumental with his album of Chopin, Liszt and Ravel. Full of “coltish exuberance” and a “subtle brand of bravura,” according to reviewer Rob Cowan, Grosvenor’s virtuosity and dexterity are clear, but it is in Liszt’s En rêve that his artistry paints the most beautifully subtle canvas. Grosvenor’s debut disc on Decca topped the specialist classical charts for several weeks.

Opera
Beethoven: Fidelio. Stemme; Kaufmann; Lucerne Festival Orchestra / Claudio Abbado
[Decca]

Claudio Abbado's Fidelio, caught live with his superb Lucerne Festival Orchestra in the pit in 2010, also finds two of today's finest dramatic singers in the central roles: Nina Stemme, today's leading Isolde, and Jonas Kaufmann, today's most accomplished dramatic tenor. Gramophone says: “If Fidelio speaks as no other opera does of the miraculous resilience of the human spirit, Claudio Abbado’s late re-creation of it serves only to compound that miracle.”

Orchestral
Martinů: Symphonies Nos 1-6. BBC Symphony Orchestra / Jiři Bělohlávek
[ONYX / Select]

In what is traditionally one of the most hotly contested categories and  sparring ground of today's major conductors and orchestras, Jiři Bělohlávek triumphs with this superb set of the Martinů symphonies recorded live at the Barbican in 2009/10 with the BBC Symphony Orchestra. Gramophone critic Mike Ashman firmly dismisses talk of “the grace and elegance of Bělohlávek’s conducting” in these colourfully scored wartime works – though that is clearly there – and highlights “the pain and stress” they often depict which is “superbly realised here”.

Recital
Arias for Guadagni. Iestyn Davies (countertenor); Arcangelo / Jonathan Cohen
[Hyperion]

A superb collection of 18th-century arias written for the castrato Gaetano Guadagni from leading British countertenor Iestyn Davies. Reputedly a “wild and careless singer” when he first came to London, Guadagni’s untapped potential was soon identified and nurtured by Handel, who went on to write some of his finest arias for him. He was so famous that Horace Walpole named a racehorse after him and he was Gluck’s first Orfeo, but it has taken surprisingly long for someone to produce an intelligently chosen and stylishly performed recital exploring his career and Iestyn Davies has done just that.

Solo Vocal
Songs of War. Simon Keenlyside (bar); Malcolm Martineau (pf)
[Sony Classical]

Reactions to this disc’s concept and programme – as well as the sepia soldier on the cover – can be predicted: Simon Keenlyside is more often nominated for the Awards for opera productions, but here he debuts in the Solo Vocal category – a cleverly compiled collection of war songs (predominantly British with a few American additions). “A peak achievement for both, Malcolm Martineau plays superbly and Keenlyside brings a huge dramatic range to these powerful songs by Butterworth, Finzi, Ireland, Vaughan Williams, Kurt Weill and others by pointing out that war celebrates life as well as confronting death.”

About Gramophone

The annual Gramophone Awards, the world’s most influential classical music prizes, given this year in association with Steinway & sons and EFG International, were launched in 1977 by Gramophone magazine (founded in 1923 by Sir Compton Mackenzie).  Available internationally, Gramophone publishes bespoke editions of the magazine for the United States of America, Russia and Brazil.  The Gramophone Player, available at gramophone.co.uk, will feature excerpts from all of this year’s prize-winning albums. The media player - the first from a classical music magazine - features full-length recordings, podcasts, an extensive editor’s choice section and a selection of new recordings each month.  Subscribers are free to stream as much music as they wish.

Gramophone has been producing a series of podcasts supporting the Awards at www.gramophone.co.uk and during the month of August nearly 50,000 were downloaded.

Gramophone has also formed retail partnerships with Amazon, iTunes and many of the UK’s specialist retailers. iTunes is offering a free sampler featuring Award-winning recordings at www.itunes.com/gramawards.

Gramophone’s Awards issue is published on Friday 28 September with full information about the Awards and Award winners.

Twitter: #GramoAwards


                            

Friday, March 02, 2012

Girl Power

Hooray for music's powerful women! 

1. JUDITH WEIR AND EMMA BELL ON MISS FORTUNE


Judith Weir's latest full-length opera is heading for Covent Garden, opening on 12 March, and it's the first opera ever to finish (as far as I'm aware) with the heroine winning the lottery. Emma Bell is in the leading role of Tina, conquering a number of different stratospheres (left, Emma atop "the shape"). I talked to them both about creating what Bregenz Festival director David Pountney called "an opera for an entirely normal audience". See my feature in today's Independent, here.





2. DANIELLE DE NIESE TO STAR IN OPERA OF ANN PATCHETT's BEL CANTO


The Lyric Opera of Chicago has commissioned the young Peruvian composer Jimmy Lopez to write the work, which is scheduled for the 2015-16 season. Ann Patchett's novel describes a terrorist attack in a South American jungle in which a group of opera lovers, politicians and a singer, Roxanne Coss, are taken hostage: over the months, attackers and hostages form unexpected alliances. RENEE FLEMING, Lyric's creative consultant, chose the book as the perfect topic for the opera. The libretto is by playwright Nilo Cruz, the director is Stephen Wadworth and Sir Andrew Davis conducts. And Danni, who's much more than Glyndebourne's fabled Cleopatra, takes the lead as Roxanne. More here.

“It’s about terrorism on one level, but it’s also about what happens when people are forced to live together for a long time, and how art can raise their level of humanity as a group,” Fleming said. “Most of us crave a cathartic emotional experience when we’re at the theater, and I believe Bel Canto has the components to do that... I was struck by Jimmy Lopez's intelligence and the way he understands both the problems in bringing this piece to the stage, but also the possibilities that opera as a medium offers for illuminating a story. For example, the orchestra can accentuate the dramatic situation onstage, but it can also convey the underlying turmoil that one might not see. This is something that many composers miss and that Jimmy understands completely.” 


3. JD TO SPEAK AT CLASSICAL:NEXT


The new classical music trade fair Classical:Next, taking place in Munich from 30 May to 1 June, has announced its initial line-up of events and speakers, and I am happy to report that JD is to be on a panel discussing the future of music journalism, along with BBC Music Magazine editor Oliver Condy and the editor of the German magazine PIANONews, Carsten Durer. Classical:Next is a sister production to WOMEX, and if that event is anything to go by, we want to be there.

4. DON'T FORGET TAZ AND ROX's BIG NIGHT


Tonight at the Anvil, Basingstoke, and tomorrow night at the Fairfield Halls, Croydon, the London Mozart Players and TASMIN LITTLE (left) give the world premiere of the complete Four World Seasons by ROXANNA PANUFNIK. Having had a sneak peek for Classical Music magazine, I reckon Vivaldi wouldn't know what's hit him. Rox writes:
"In early 2008, the violinist Tasmin Little rang me to ask whether I’d write a series of short pieces for her, accompanied by chamber orchestra. Considering a world where global concern for climate change and seismic shifts in international political landscapes affect us all, we decided to take Antonio Vivaldi’s much-loved 1725 Four Seasons and give the concept a 21st-century twist, creating an entirely new work with each season (lasting approximately 5 minutes) influenced by a country that has become culturally associated with it."  Spring in Japan, an Indian Summer, Autumn in Albania and a Tibetan Winter form the music in this celebration of music across the world, reflecting the many cultures that descend on London for the 2012 Olympic Games." 


5. JUST FOR THE HECK OF IT, HERE'S DARCEY BUSSELL AS SYLVIA


Ahead of her time, Frederick Ashton's Sylvia was created for Margot Fonteyn in the 1950s. Diana's top nymph is not exactly your typical 1950s ideal housewife. I love the power, joy and freedom in Darcey Bussell's interpretation, filmed at the ROH in 2005. Girl Power if ever we saw it! Roberto Bolle is her lovestruck swain. Enjoy.

Tuesday, February 21, 2012

A good cause at Glyndebourne

If you fancy going to Glyndebourne, getting a look at their new wind turbine (aim: green electric opera?) and supporting a truly excellent cause while you're about it, now's your chance. The mezzo-soprano Jean Rigby has organised a stellar line-up for a special gala on 29 April in aid of Young Epilepsy, Britain's only national charity devoted to children and young people living with epilepsy and other neurological conditions. The evening is being hosted by the actress Joanna Lumley (right), the woman we'd probably elect president if given half a chance. Money raised will go towards the support of the charity's information service, special school, college, residential homes, medical centre and a new school mini-bus.


Among those appearing are Ian Bostridge, Jason Carr, Sarah Connolly, Danielle de Niese, Gerald Finley, Dame Felicity Lott, Diana Montague, Paul Nilon, Brindley Sherratt, Timothy West and of course Jean Rigby herself. Glyndebourne's general manager David Pickard and music director Vladimir Jurowski will also be on hand.




Jean Rigby said: “Our son Ollie has severe epilepsy and is a residential student at Young Epilepsy. He is now in his fifth year and is very well looked after, contented and happy: learning to cope with the challenges he faces now and in the future. I feel so indebted for all Young Epilepsy has done for him and this concert is my way of giving something back.”

Concert and booking information:
The Young Epilepsy Gala Concert will run from 3pm to 5.30pm, including an interval. Guests will be able to wander the famous Glyndebourne gardens in the interval and experience the history and majesty of Glyndebourne.  Glyndebourne’s gardens will be open to visitors from 1pm. Ticket prices start at as little as £15, with prices going up to £85. BOOK NOW online at the Glyndebourne box office at www.glyndebourne.com
 There are a limited number of exclusive Premier Seat Packages available at £175, which includes a souvenir programme, interval champagne and a post-performance reception with the cast.  Or Premier Seats with Dinner at £250 include an additional three course dinner with wine, previewing Albert Roux’s new menu for the 2012 Glyndebourne Festival season.  To book Premier tickets or for more details call Young Epilepsy on 01342 831261 or email: fundraising@youngepilepsy.org.uk