A quick explanation of the Flattr button

You'll have noticed a new little green button at the top of the sidebar and beneath each JDCMB post. Flattr is a nice invention for us "content creators": it facilitates "microdonations", by which you can give a few cents or whatever as a sign of your appreciation of something you have read online. You set up an account, send it a small budget of your choice, and when you see something that seems to merit a few pennies, you can click on its Flattr button to donate some. Proceeds from Flattr on JDCMB all go towards JD's blogging expenses, including train tickets, gluten-free porridge and, of course, Solti's cat food. More about Flattr from its site here. And also more about how it works, here.

A good night at the Gramophones...

A wee bit disorientating to find the Gramophone Awards shifted a) to mid September, b) to LSO St Luke's. But a fine venue it proved, hipper and airier than the good old Dorchester, snazzy in the pink spotlights which illuminated the heat-haze of some 115 candles.

Gone were the sexist comments of yesteryear, ditched in favour of fine words about the power of music to enhance lives and bring people together, and dedications of awards to a variety of parents, teachers and young music-lovers around the world. Gone, too, the all-male line-up of last time: Artist of the Year went to Alison Balsom, Record of the Year to Patricia Kopatchinskaja's disc of Hungarian violin concertos. Guitarist Xuefei Yang was there to perform some Britten songs with Ian Bostridge and Hungarian violinist Katalin Kokas played Bartok duos with her husband, Barnabas Kelemen. Not all good on the sexism front, though, as Decca's little film (they were record of the year) had to be started off by a simpering dollybird of a soprano who is perfectly good, but. No sign of Kaufmann or Calleja having to be anything but their good selves in the later images.

Many much-loved figures among the great and good were present, notably Julian Bream who received the Lifetime Achievement Award and thanked the industry, with sparkles intact, for recognising that he was not a bad guitarist.

It was a particular good night for Bartok, whose Violin Concerto No.2 played by Patricia K was Record of the Year and whose music for violin and piano played by Barnabas Kelemen and Zoltan Kocsis won the Chamber award. Wonderful to see Barnabas pulling in at the top - regular JDCMB readers will know that I've been shouting out about him for quite a while. He is not only a magnificent player technically, but the most thorough and exacting of all-round musicians in that fabulous tradition that Hungary's Franz Liszt Academy has long championed: pure, penetrating, powerful. The Gramophone Awards are a fine way indeed to be put firmly on the map, and with luck megastardom should await. Hear Barnabas, Katalin and their string quartet at the Wigmore on Sunday morning and get his recording here. I am hoping to go and see them in Budapest later in the year.

A fine night, too, for pianists. We had a performance from Benjamin Grosvenor, whose next album is due out in February - exact content still under wraps, but to judge from his glinting, whimsical Albeniz and Shostakovich transcriptions, there'll be some intriguing Golden-Age-style stuff on it. He handed over the Young Artist of the Year title to 18-year-old Jan Lisiecki, who played Bach's Partita No.1 exquisitely. Steven Osborne was Instrumentalist of the Year and treated us to a short extract from his winning disc, Musorgsky's Pictures at an Exhibition.

No pics by me this time because my phone was out of juice (as was I) after a lengthy day going to Bristol and back for, er, the BBC Music Magazine Awards jury panel meeting. I've been ploughing through a very, very, very large pile of discs for that. A topic for another time.

UPDATE, 4.15pm: One spotted James Rhodes leaving early. Perhaps this was why: http://www.theguardian.com/music/musicblog/2013/sep/18/james-rhodes-classical-music-needs-an-enema-not-awards?CMP=twt_gu
It didn't help, I might add, that they took 2 hrs to present 6 awards, and no food materialised til 10pm.

Guest post: Frances Wilson introduces the South London Concert Series

A little way round the South Circular from my neck of the woods, pianist, teacher and blogger Frances Wilson - whose blog The Cross-Eyed Pianist has become a must-read for the keyboard-inclined - has been busy organising a brand-new series of very social concerts involving both professional and amateur pianists. Here she is to introduce it. JD

Music for Friends: the South London Concert Series

By Frances Wilson

The South London Concert Series is a unique new concert concept, created and curated by myself and fellow pianist, harpsichordist and piano teacher Lorraine Liyanage, in which we offer professional and amateur pianists the opportunity to perform in the same formal concert setting.

The series developed out of the London Piano Meetup Group, which we took over hosting in May 2013. The group, run via Meetup, a social networking platform which allows people with shared interests to plan events and get together, had been rather dormant up to this point, but it has now been transformed into a lively and friendly “club” for amateur pianists, with monthly performance platforms, masterclasses and workshops with visiting teachers and professional pianists, concerts and courses, and social events in and around London.

Lorraine and I met in September 2011 on a weekend course hosted by my teacher, Penelope Roskell. We hit it off almost immediately, not least because we were both working for diplomas and had the same two pieces by Liszt and Messiaen in our programmes. Talking during the coffee and lunch breaks on the course, we discovered a mutual love of all things piano, in particular a desire to support and inspire amateur pianists to perform, share repertoire and meet other like-minded people.

‘We both enjoy performing and we love meeting other pianists!’ says Lorraine, who is very active in her local community in south-east London, running the busy and successful SE22 Piano School and Dulwich Music Festival (now entering its third year). ‘We set up the London Piano Meetup Group because we felt amateur pianists lack opportunities to perform, particularly on a really fine piano and before an audience.’

In many ways, I have Lorraine to thank for encouraging me to start performing regularly again (something I had not done since school in the 1980s), and the opportunities she gave me – at her student concerts, and via the London Piano Salon (the precursor to the London Piano Meetup Group) – undoubtedly helped me gain confidence and an ability to communicate with an audience which led to success in both of my performance Diplomas. I understand the value of being able to put repertoire before a non-critical audience, whether in advance of an exam, festival or concert, or simply to share music.

I come across many amateur pianists who are extremely talented, who play at what can be considered a “professional” standard in terms of repertoire, technique and artistic flare, but who have chosen a career path other than music. Many of these pianists lack performance opportunities: our Meetup group provides regular performance experience in a central London location, enabling pianists of all levels to put repertoire before an informal and friendly audience in a supportive and encouraging environment (most events are held at Peregrine’s Pianos). Our events are nearly always sold out almost as soon as they are advertised, and the feedback afterwards is incredibly positive. We enjoy a varied range of repertoire, from Baroque to contemporary classical and jazz, and we often extend the meeting into the pub afterwards, where the “piano chat” can continue over a glass or two of wine.

The South London Concert Series is our latest initiative. The idea grew out of the London Piano Meetup Group's launch event in May 2013, at which Emmanuel Vass, a prize-winning recent graduate from the Royal Northern College of Music, gave a short recital, including his stunning Lisztian ‘James Bond Concert Étude’ (his own “mash up” of three iconic themes from the James Bond films, complete with sparkling cadenzas and vertiginous virtuoso passages). It was so popular with members, especially the opportunity to meet and talk to Emmanuel afterwards, that we decided to extend the format. 

Keen to support young and emerging musicians, and pianists focusing on lesser-known and rarely-played repertoire, we hope the series will provide a unique way of presenting classical and contemporary music in an intimate venue. My many conversations with professional pianists reveal, by and large, a great willingness to support and inspire amateurs, for we are all quite humble when we sit at the keyboard. Lorraine and I hope that by bringing together professional and amateur pianists in the same concert setting we can provide opportunities for young musicians (students in conservatoire or people who are just embarking on a professional career) while also offering inspiration and encouragement to amateur pianists.

The concert format is quite simple: an hour of music, including a recital by a guest artist of around 30 minutes, followed by socialising and a chance for everyone to meet the performers. The venue, the beautiful 1901 Arts Club near Waterloo Station, is ideal for this: it recreates a nineteenth-century salon in its décor and ambiance, and boasts a fine Steinway C grand piano. We hope the atmosphere will be very much one of “music for friends and amongst friends”.

The South London Concert Series launches on Friday 29^th November 2013 at the 1901 Arts Club with a recital by Helen Burford, featuring works by Satoh, Magi, Butler and Rakowski, and guest performances by Susan Pickerill, Daniel Roberts, Emma Heseltine and Mark Zarb-Adami. Future concerts will include performances by pianists Emmanuel Vass and Angelo Villani.

Tickets cost £15 and are by application only: please contact southlondonconcerts@gmail.com to apply for tickets. The 1901 Arts Club's exclusive bar and lounge will be open for the enjoyment of ticketholders after the concert.

South London Concert Series

http://www.slcs1901.wordpress.com

Twitter: @SLConcerts

London Piano Meetup Group

http://www.meetup.com/LondonPMG/

Twitter: @LonPianoMeetup

Frances Wilson is a pianist, piano teacher, concert reviewer and blogger on music and pianism as The Cross-Eyed Pianist. Twitter @CrossEyedPiano

Memories of Theresienstadt

This is a trailer for a film about Theresienstadt and the musicians who were incarcerated there, including Alice Sommer Herz and Coco Schumann. The associated CD by Daniel Hope, Anne Sofie von Otter and friends was released several years ago, and it is very good to see that they've now turned it into a documentary. DVD due out soon. Please watch and listen.

TOMORROW in Wales!

Going to Pembrokeshire tomorrow for a Hungarian Dances Concert-of-the-Novel at PenFro Book Festival in the gorgeous setting of Rhosygilwen Mansion. David Le Page on violin, Anthony Hewitt on piano, me on words. Full details here. Do join us if you are anywhere nearby!

We are expecting a slightly adventurous journey. Wish us luck.

Fanfare for the Uncommon Woman Conductor - this time in The Independent

Here's my feature for the Indy about what we can learn from the little list here on JDCMB t'other day. Thanks again to all the doughty JDCMB readers and tweeters who contributed to it!
http://www.independent.co.uk/arts-entertainment/classical/features/its-time-to-pass-the-baton-on-to-our-female-maestros-8807322.html

Lise Lindstrom shines as Turandot

Meet Lise Lindstrom, the American dramatic soprano whose voice lit up that old crowd-pleaser production of a Turandot (directed by Andrei Serban) in her house debut at Covent Garden yesterday. Here's my review for The Independent.

Many plaudits too to Eri Nakamura, the fabulous Liu, and in the pit, Henrik Nanasi from Hungary, who like Lindstrom was making his debut with the Royal Opera.

But I'm dreaming of a really good, up to date, best-of-Regietheater Turandot - one that goes more than costume-deep. Where is Calixto Bieito when you need him? (Actually, we know exactly where he is: down the road at ENO preparing Fidelio...).

We want a bit of psychology here, a bit of believable drama. What drives Calaf to become obsessed with Turandot? How does he really wake her up from ice-maidendom? How is Liu's love divided between Calaf and his father, and what does that say about their relationship? Why is Calaf's name so secret? This is a story about sexual obsession, which isn't pretty, but can be glorious if handled well (in staging terms, that is). And how about this: supposing Liu is actually Calaf's mother? Just think about it.

My first (real) Last Night

I was here the other night... Yep, Last Night of the Proms. Sneaky admission: I've been watching it on TV for decades, thinking about how amazing it must be to experience it. Last time I tried to go it was 2001, two days after 9/11, and the entire jamboree was ditched. This, though, was the real thing.

There's nothing else like it anywhere else, that's for sure. It may be crazy - it is crazy - but still, it felt like a true celebration of everything that we've experienced in that hall in the last two months, and of everything it stands for: great music for all, shared with love, open enthusiasm and absolute dedication.

There couldn't have been finer choices for the soloists. Nigel Kennedy, in case you wondered, is a truly mesmerising violinist. Nigel is Nigel and you take him as you find him: what other musician would trot on for the LNOP in a football shirt and carrying a cup of tea? Yet if his appearance bothers you, that's your problem, not his, because his playing is exquisite. The Lark Ascending was hushed, loving, sensitive, breathtaking. As for the Csardas, those who object to improvisatory interjections might do well to reflect that that is the genuine bit. Vittorio Monti is fake Gypsy music; Nigel improvising is the real thing. Nigel gets away with everything he gets away with - even bursting one of Marin's pink balloons with his bow - because he is a bloody incredible musician. Like it or lump it.

No sartorial questions over the divine Joyce DiDonato, who wore a blood-red Vivienne Westwood gown in the first half, and glittering peach in the second (left: curtain call), and delivered singing of such glory that it was a privilege to hear her, let alone sing along in 'You'll Never Walk Alone'. She dedicated Somewhere Over the Rainbow to the LGBT community "whose voices are being silenced" - handling this by explaining on social media beforehand rather than announcing from the platform, which I suspect will be the way of the future (nuff said...).

The whole evening was in fact a great celebration of inclusivity. Music was included from Handel to Anna Clyne. A woman (indeed, a gay woman) conducted the event for the first time ever, and judged the content of her speech to perfection. Bernstein's  Chichester Psalms are sung in Hebrew - and how beautiful they are, and how marvellous Iestyn Davies was as soloist. Nigel did his Gypsy improvisation alongside rare Brit composers Granville Bantock and George Lloyd (read about the astonishing story of that piece here). (Missed the sea shanties, though.) Verdi was there - the chorus of the Hebrew Slaves; and Wagner too - the overture to Die Meistersinger, the only one of his major operas that doesn't seem to have been bustin' out all over this year; and Britten, in The Building of the House and his arrangement of the national anthem to close.

What, then, of all those patriotic songs? Well, if you try to sing 'Land of Hope and Glory' but, for any reason, even if you are waving a flag (my nice Scottish neighbour, hedging her bets, had brought both, so she lent me the Union Jack), you just can't do the words properly given the reality outside the hall, it won't be noticed amid a crowd of 5000+ if you change them a teeny bit, in good and appropriate spirit, so... All together now:

"I LOVE EDWARD ELGAR,
HE'S THE MAN FOR ME!
HE'S OUR GREATEST COMPOSER
AS TONIGHT WE SEE..."

The important thing, though, is not the words. It's the singing. I believe I have tracked the magic of the Last Night, and it is not what we sing, but the fact that we do sing, and we all sing together, and we are the audience but we are joining in the concert ourselves, with the world's top musicians. And that's the ultimate in sharing music. And that, dear friends, is what the thrill of the Last Night is all about.

Over and out.

Fanfare for the uncommon woman conductor

Following that rather daft public row about Vassily Petrenko's alleged remarks re women conductors, I thought we'd do something constructive. I spent some of yesterday afternoon tweeting the names and websites of as many women conductors as I could think of. You all wrote in with suggestions and we ended up with a very fine list indeed. Special thanks to my doughty colleague Toby Deller, who also had the good sense to introduce a hashtag. [NB I am still updating the list below - plenty more of them! So please keep tweeting the missing links and keep checking back for our additions...]

A few of the conclusions to draw here are as follows.

1. There are more women conductors than you think. People believe our dear Marin Alsop is the only one. She ain't.

2. They don't often get the important dates that will be reviewed. Some people want to blame us journalists for their lack of recognition, but with concert review space tighter than it has ever been in history, it is usually the "big gigs" that get the attention, and the women conductors - with the exception of Marin and the Last Night of the Proms - are not being given the big gigs.

3. The women conductors I know are heartily sick of being asked why there aren't more women conductors - mostly because there are.They would like, please, recognition first and foremost and, ideally, only for their work as musicians, regardless of gender...

4. [Update, 5 Sept, 13:49] I think that's what's emerging here, as the list steams on with well over 50 names and rising, is that there are plenty of women who are conductors, but one heck of a glass ceiling regarding where they work. [Update, 7 October, 18:49 - the list is now NEARLY 100 strong! Thank you to everybody who has written in to contribute!]

In no particular order, here's the march of the women.

Zoi Tsokanou. http://www.zoitsokanou.com
Was in Gustav Mahler Bamberg competition this year & Haitink masterclasses in Lucerne.

Monica Buckland Hofstetter http://www.buckland.ch/english/news.htm …
British-Swiss, formerly in charge of conducting chorus & orchestra at the University of Dresden, now based in Newcastle-upon-Tyne.

Jessica Cottis http://jessicacottis.com
Young Australian-British conductor whose name came up more often in suggestions on Twitter yesterday than anyone else's.

Anu Tali http://www.harrisonparrott.com/artist/profile/anu-tali …
Estonian suprema, music director of Sarasota Orchestra & Nordic Symphony Orchestra.

Julia Jones: http://www.rayfieldallied.com/artists/julia-jones/
Admired Brit, extremely well recognised in Germany, did Cosi at Covent Garden not so long ago.

Xian Zhang. http://www.harrisonparrott.com/artist/profile/xian-zhang …
I have loved the performances of hers that I've heard at ENO.

Simone Young http://www.simoneyoung.com/titel/
Extremely well-established, has been chief conductor at the Hamburg Opera (just leaving now).

Eve Queler http://www.evequeler.com
New York-based operatic expert.

JoAnn Falletta http://www.joannfalletta.com
Music director of the Ulster Orchestra.

Suzi Digby http://www.suzidigby.com/
That ultimate mover and shaker of choirs and galvaniser of community and youth music.

Nia Llewellyn Jones @niallewellynj
Young conductor fresh out of Cambridge, being nurtured by CBSO.

Jane Glover: http://www.janeglover.co.uk
Arch-Mozartian and author.

Sian Edwards http://www.ingpen.co.uk/artist/sian-edwards/ …
She is head of conducting at the Royal Academy of Music.

Susanna Mälkki http://www.harrisonparrott.com/artist/profile/susanna-malkki …  
Much-admired principal conductor of the Helsinki Philharmonic and principal guest conductor of Los Angeles Philharmonic. 

Alondra de la Parra http://alondradelaparra.com/  
Among much else, an official cultural ambassador for Mexican tourism.

Emmanuelle Haim http://www.leconcertdastree.fr/  
Extraordinary Baroque specialist from France.

Kelly Lovelady http://kellylovelady.com
From Australia, with an unforgettable name.

Odaline de la Martinez http://www.lorelt.co.uk/lontano/odaline.htm …
Founder of Lontano.

Mirga Grazinyte-Tyla http://www.cami.com/?webid=2551
Music director of the City of Birmingham Symphony Orchestra.

Kristiina Poska http://www.rbartists.at/en/dirigenten_dtl.php?id=486&TACookie=rv3a0901nslhali2lc4gai8035 …
Prizewinning Estonian who's been rising fast, not least via the Komische Oper, Berlin

Ewa Strusinska http://www.ewastrusinska.com  
Spent some time with the Halle and now works internationally from Poland 

Jeanne Lamon http://www.tafelmusik.org/about/orchestra/bios/jeanne-lamon … 
Baroque marvel, head of Tafelmusik

Sarah Ioannides http://sarahioannides.net/  
Born in Australia, grew up in the UK, now based in the US.

Tania Miller http://www.hughkaylor.com/Miller-Tania-Bio.html
 Music director of the Victoria Symphony Orchestra, Canada

Claire Gibault http://clairegibault.fr/  http://en.wikipedia.org/wiki/Claire_Gibault …
Both conductor and MEP!

Barbara Hannigan http://www.barbarahannigan.com/
This extraordinary soprano, star of Benjamin's Written on Skin, is also a conductor.

Gemma New http://www.gemmanew.com/
Assistant conductor at New Jersey SO

Rebecca Miller http://www.rebeccamiller.net/
London-based US conductor

Alice Farnham http://www.alicefarnham.com/
Music director of Welsh National Youth Opera for Paul Bunyan this year

Akiko Ohtomo http://hokusaiorchestra.com/test/prof.html
Director of the Hokusai Orchestra (formed in 2010)

Anne Manson http://www.annemanson.com/
Among much else, she was the first woman to conduct at the Salzburg Festival

Yip Wing-Sie http://en.wikipedia.org/wiki/Yip_Wing-sie
Music director of the Hong Kong Sinfonietta

Sybille Werner http://www.ljova.com/sybille.htm
Mahler authority

Alicja Mounk http://www.dirigentinnen.de/1mounk.htm
A long and distinguished career

Holly Mathieson http://www.hollymathieson.com/
Young New Zealander, based in Berlin

Monique Krus http://401nederlandseoperas.nl/en/componisten/208-monique-krues.html
Dutch conductor, composer and soprano (site above doesn't mention the conducting, but she is recommended by a friend who saw her conduct last week)

Laurence Equilbey http://www.laurenceequilbey.com/
Fine French maestra, especially noted for opera. Another one for the appropriate-names department.

Jennifer Condon http://www.owlsnestopera.com.au/?page_id=6
Music director of the wonderfully-titled Owl's Nest Opera in Austalia

Karen Kamensek http://www.lewin-management.com/artists/18_Karen+Kamensek/englishbio
Music director of Staatstheater Hannover

Carolyn Watson http://www.carolyn-watson.com/biog.html
Orchestra director, Interlochen Arts Academy

Han-Na Chang http://www.harrisonparrott.com/artist/profile/han-na-chang
She's the most fabulous cellist and now she's become a conductor!

Mei-Anne Chen http://meiannchen.com/
Music director of Chicago Sinfonietta and Memphis Symphony

Joana Carneiro http://imgartists.com/artist/joana_carneiro
Music director, Berkeley Symphony

Amy Bebbington http://www.amybebbington.co.uk/4.html
Choral specialist

Laura Jackson http://www.laurajackson.net/web/home.aspx
Music director, Reno Philharmonic

Halldis Rønning http://www.harmonien.no/default.aspx?pageId=33
Assistant conductor, Bergen Philharmonic

Carolyn Kuan http://www.hartfordsymphony.org/about/music-director/
Music director, Hartford Symphony

Matilda Hofman http://www.esm.rochester.edu/iml/spotlight/spotlight_may_2008_hoffman.php
Music director, Diablo Symphony, California

Nicolette Fraillon http://www.australianballet.com.au/about_us/artistic_staff/nicolette_fraillon
Music director & chief conductor of Australian Ballet

Sarah Grace Williams http://www.sarahgracewilliams.com/
Chief conductor & artistic director, The Metropolitan Orchestra, Sydney

Speranza Scappucci http://www.icartists.co.uk/artists/speranza-scappucci
Is opening the forthcoming Scottish Opera season with Don Giovanni

Susan Hollingworth http://www.sinenom.com/bio.html
Conductor of Sine Nomine Choir and much more

Sarah Baldock http://en.wikipedia.org/wiki/Sarah_Baldock
Master of the choristers & organist at Chichester Cathedral. One of the first women ever to be appointed at one.

Katherine Dienes-Williams http://www.katherinedienes.com/KD/Welcome.html
Master of the choristers & organist at Guildford Cathedral (see above)

Sarah Macdonald http://www.sel.cam.ac.uk/chapel/People/
Director of Music in Chapel, Selwyn College, Cambridge.

Kim Diehnelt http://www.kimdiehnelt.com/
Music director & chief conductor, Northwest Symphony Orchestra, US

Jeri Lynne Johnson http://www.jerilynnejohnson.com/web/home.aspx
Founder & conductor, Black Pearl Chamber Orchestra, US

Isabelle Ruf-Weber http://www.dirigentinnen.de/1rufwe.htm
German conductor based in Baden-Wurttemberg

Sinead Hayes http://www.sineadhayes.com/
Young Irish conductor who opened the RTE Concert Orchestra's summer lunchtime concert series.

Roberta Peroni http://www.linkedin.com/pub/roberta-peroni/28/44b/58a 
Conductor & chorus manager in Bari, Italy.

Talia Ilan http://www.taliailan.com/bio.aspx
Music director of the Israel Stage Orchestra & guest conductor with many Israeli orchestras.

Ewa Michnik http://www.opera.wroclaw.pl/1/index.php?lang=_pl&page=4&perf_id=1
Director, Opera Wroclaw, Poland.

Eun Sun Kim http://www.lewin-management.com/artists/19_Eun+Sun+Kim/englishbio
Is conducting Die Fledermaus at ENO this season.

Maja Matelska http://majametelska.com/en/
Polish conductor, has scooped quite a few competition prizes.

Marzena Diakun http://diakun.com/en/biography/
Polish, winner of 2nd prize in last year's Fitelberg Competition, and highly recommended by one of my colleagues who's in the know.

Gisele Ben-Dor http://www.giseleben-dor.com/
Israeli conductor laureate of Santa Barbara Symphony Orchestra

Victoria Bond http://victoriabond.com/
American composer and conductor. Her website says she has been staying in the guest flat at Brahms's house near Baden-Baden (this has long been my own aspiration!) and writing an opera about Clara Schumann.

Rei Hotada http://reihotoda.com
Has been assistant conductor at the Dallas Symphony and has been making important debuts around the US & Canada this season.

Sarah Hicks http://sarahhicksconductor.com/web/bio.aspx
Staff conductor at the Curtis Institute, Philadelphia, among much else.

Anna Skryleva http://www.annaskryleva.com/annaskryleva/Home.html
Russian, has been working in some fine German opera houses including Karlsruhe & Hamburg

Tara Simoncic http://www.greenwichsymphony.org/tara-simoncic-associate-conductor
Young American conductor, has been featured in the Guardian

Amelia LeClair http://www.brandeis.edu/wsrc/scholars/profiles/leclair.html
Scholar and early music choral conductor, based at Brandeis University

Nicole Paiement http://music.ucsc.edu/faculty/nicole-paiement
Director of Ensembles, University of California Santa Cruz.

Rosemary Thomson http://okanagansymphony.com/about/music-director/2997/
Music director, Okanagan Symphony.

Dalia Atlas http://www.dalia-atlas.com/Biography.html
From Haifa. Has recorded a lot of Bloch.

Graziella Contratto http://www.graziellacontratto.com/
Swiss conductor with a fine track record.

Jessica Gethin http://perthsymphony.com/2012/09/20/perth-symphony-orchestra/
Principal conductor of the Perth Symphony Orchestra, Australia

Carolin Nordmeyer http://www.theater-augsburg.de/content.php?backlink=L2NvbnRlbnQucGhwP25hdj0zNCZzdWI9MzYmL011c2lrdGhlYXRlci9FbnNlbWJsZS5odG1s&sel=1&mitID=240
Theater Augsburg, Germany

Alissa Firsova http://alissafirsova.com/
Multi-talented composer, conductor and pianist. Daughter of the composers Dimitri Smirnov and Elena Firsova.

Nathalie Stutzmann http://www.nathaliestutzmann.com/
The noted French mezzo-soprano is conducting as well. 

Andrea Quinn http://www.andreaquinn.com/
British conductor, now based in the US. Was chief conductor at New York City Ballet, then at Norrlands Operan, Sweden.

Anne Marie Granau http://www.linkedin.com/in/annemariegranau
Chorus master at Royal Danish Opera, Copenhagen

Silvia Sanz Torre http://www.silviasanz.com/silviasanz/index.php
Spanish conductor - intrigued to see she has conducted rare Albeniz opera The Magic Opal.

Kate Tamarkin http://www.ktamarkin.com/ktprofile.htm
Music director, Charlottesville and Univesity Symphony Orchestra, Charlottesville, US

Natalia Luis-Bassa http://www.natalialuisbassa.blogspot.co.uk/
Venezuelan conductor in the UK. Hit headlines a few years ago by walking out on the Huddersfield Philharmonic due to interpersonal problems with players being "disrespectful". Was a mentor in BBC's Maestro series. Teaches at RCM.

Sarah Tenant-Flowers http://www.tenantflowers.co.uk/
Choral conductor, UK, teacher, animateur - and also a mentor on Maestro.

Elizabeth Schulze http://www.flagstaffsymphony.org/about_conductor.php
Music director, Flagstaff and Maryland Symphony Orchestras, US

Sandra Horst http://www.music.utoronto.ca/faculty/faculty_members/faculty_a_to_m/Sandra_Horst.htm
Chorus master of Canadian Opera

Grete Pedersen http://solistkoret.no/en/artistic-leader/
Artistic leader, Norwegian Soloists Choir

Mary Chun http://www.earplay.org/index.php/music-makers/mary-chun-conductor-bio/
In demand in contemporary music and opera, US. Premiered Adams's I was looking at the ceiling...

Sara Jobin http://www.hughkaylor.com/jobin-sara-bio.html
Artistic director, Centre for Contemporary Opera, New York.

Renee Baker http://www.chicagomodernorchestraproject.org/artistic-director/
Music director, Chicaco Modern Orchestra Project

Beatrice Jona Affron http://www.paballet.org/pennsylvania-ballet-orchestra
Music director and conductor, Pennsylvania Ballet Orchestra

Natalia Salinas http://www.linkedin.com/in/salinasnatalia/en
Conductor based in her native Argentina

Ann Krinitsky http://annkrinitsky.com/Bio.html
Director, Marin Symphony Youth Performance Programmes, etc - based in the Bay Area.

Karina Canellakis http://www.karinacanellakis.com/Site/Karina_Canellakis_conductor_violinist_BIOGRAPHY.html
Winner, 2013 Taki Concordia Conducting Fellowship (founded by Marin Alsop)

Sebrina Maria Alfonso http://southfloridasymphony.org/about-the-conductor/
Music director, South Florida Symphony

Diane Wittry http://www.dianewittry.com/index.html
Music director, Allentown Symphony  

Denise Ham http://www.denisehamconducting.com/
Sought-after teacher of conducting in the UK

Sharon Choa http://sharonchoa.co.uk/
Artistic director & principal conductor, Chamber Orchestra Anglia, which she founded in 2001

Rachael Young http://rachaelyoung.eu/
Has been assistant conductor to Paavo Jarvi & Leonid Grin, will Russian Virtuosi of Europe at Cadogan Hall in June 14.


Kayoko Dan http://chattanoogasymphony.org/artists/kayoko-dan/
Music director, Chattanooga Symphony & Opera 

Apo Hsu http://en.wikipedia.org/wiki/Apo_Hsu
Assistant conductor of Oregon Symphony under James de Priest

Joana Mallwitz http://www.artistainternational.com/en/conductor/joanamallwitz/index.php
Is conducting Das Rheingold in Macau in October 2013 and has been doing more Wagner in Riga.

Yuri Nitta http://www.yuri-muusikko.com/e-profile.htm
Tokyo-born Nordic music specialist

Keiko Mitsuhashi http://www.concert.co.jp/en/artist/keiko_mitsuhashi/
2nd prize & audience prize in 2010 International Conducting Competition 'Arturo Toscanini'; 1st prize in 2008 Antonio Pedrotti Conducting Competition. 

Kanako Abe http://www.kanakoabe.com/about.html
Born in Osaka, now based in Paris. Co-founder & music director of Ensemble Multilatérale

Yoko Matsuo *Link needed, please send if you have one!*
Pioneer of women conductors in Japan and first woman to win the Besançon competition in 1982. 

Lindsay Ryan http://www.harmonysinfonia.co.uk/conductor.php
London-based conductor, founder in 2009 of Harmony Sinfonia  

Heather MacLaughlin Garbes http://www.heathermaclaughlin.com/
Lives in Seattle, works with Baltic Studies Department/Baltic Choral Library at the University of Washington
 
Zheng Xiaoying http://www.mariinsky.ru/en/company/conductors/zheng_ziaoying/
Principal conductor of the Xiamen Philharmonic Orchestra and artistic director of her own Opera Centre.

Shi-Yeon Sung http://shiyeonsung.com/biography/
Winner of 2006 Sir Georg Solti International Conductors Competition.

Keri-Lynn Wilson http://imgartists.com/artist/keri_lynn_wilson
Canadian-born conductor, currently music director of Slovenian Philharmonic. Triumphant London debut at ENO for The Girl of the Golden West.

Susanne Riddell http://www.wessexyo.com/home/cwym-staff
Cellist, teacher and conductor of the Wessex Youth Orchestra, Poole, with further plans in the offing.

Janet Wheeler http://www.janetwheeler.co.uk
Choral conductor and composer

Catherine Winnes http://www.cathrinewinnes.com/about/
Norwegian orchestral conductor, artistic director and chief conductor of Swedish Wind Ensemble

Kerstin Nerbe https://sv.wikipedia.org/wiki/Kerstin_Nerbehttps://sv.wikipedia.org/wiki/Kerstin_Nerbe
Senior Swedish conductor who made her name long before the rest

Cecilia Rydiner Alin https://www.kmh.se/backstage/om-backstage/nyhetsarkiv/nyhetsarkiv/2017-11-29-cecilia-rydinger-alin-ater-som-rektor.html
Rector of KMH - the Royal Conservatory, Stockholm

Rachel Worby http://muse-ique.com/worby.php
Artistic director, conductor and founder of MUSE/IQUE, Virginia

Maria Badstue http://www.mariabadstue.com
Danish conductor, former pupil of Jorma Panula

Inma Shara https://inmashara.com/en/home/
Spanish conductor with fine track record and particular name for supporting charities

Jasmina Novoknet http://www.wikiwand.com/en/Jasmina_Novokmet
Serbian conductor and professor

Tomomi Nashimoto http://www.tomomi-n.com/en/profile/
Principal conductor and artistic director of IlluminArt Philharmonic Orchestra, Japan

Simone Menezes http://www.simonemenezes.com
Young Brazilian conductor, involved with the Villa Lobos Project

Tania Léon http://www.tanialeon.com
Cuban composer and conductor

Thea Kano http://www.nycmasterchorale.org/about-nycmc/artistic-staff/
Artistic director of New York City Master Chorale

Huan Jing https://en.wikipedia.org/wiki/Huan_Jing
Resident conductor of Guangzhou Symphony Orchestra

Maria Guinand https://www.laphil.com/philpedia/maria-guinand
Artistic director of Schola Cantorum de Venezuela

Gabriella Teychenné http://equilibrium-youngartists.com/eq-is-everywhere-gabriella-teychenne/
Young British conductor of Argentinian background, currently (2018) assisting Barbara Hannigan

Hortense von Gelmini https://www.hortense-von-gelmini.com
Austrian conductor and painter

Michi Gaigg http://www.lorfeo.com/en/michi-gaigg/
Award-winning baroque violinist and conductor

Valéria Csányi https://www.naxos.com/person/Valeria_Csanyi/36161.htm
Hungarian conductor who has recorded some fascinating Hungarian repertoire for Naxos

Linda Bouchard http://lindabouchard.com
Canadian composer and conductor

Karen Gorden http://www.karengorden.com
Principal guest conductor of Bingen Festival Orchestra, Germany



SO, ARE YOU STILL GOING TO ASK WHY THERE ARE NO WOMEN CONDUCTORS?
Didn't think so. Ask instead why we do not hear them more often. 

(Oh, and please, please, please stop throwing mud at Petrenko. Enough, already. Let's get some sense of proportion into this - many worse things are going on around us than that, and the chances are that he was joking/misquoted/manipulated for sensationalisation purposes, probably all three.)

A little celebration of insomnia?

Er, no, it's Nessun dorma ("None shall sleep"). Known affectionately among some aficionados as Nissan Dormer. Here is my little celebration of Puccini's last stand, to kick off Turandot at the Royal Opera House (opens Monday).

http://www.independent.co.uk/arts-entertainment/classical/features/a-spellbinding-soundtrack-to-love-life-and-loss-8797000.html

And here, to prove the points, are a few samples of what's happened to the thing over the years.

1990 World Cup Grandstand (those were the days...)


Jackie Evancho (oh help)


And if you watched that, you've earned the real thing: Joseph Calleja at the Last Night of the Proms last year:

Meet the new New Generations

Very fine line-up for the BBC New Generation Artists' latest intake, announced yesterday evening. For 15 years BBC Radio 3 has been busy nurturing selected stars of the future on this scheme and they've often proved astute choices. Among those who've graced its portals are Benjamin Grosvenor, Alison Balsom, the Belcea String Quartet, Simon Trpceski, Khatia Buniatishvili and many more. The young musicians - already the bearers of fine track records - stay on the scheme for two years, during which time their concerts and broadcasts are very much in the spotlight. Here's the new bunch:

Danish String Quartet – String Quartet (Denmark)

In 2009 the Danish String Quartet not only won First Prize in the Eleventh London International String Quartet Competition, but their performance was so convincing that it was awarded four additional prizes: the 20th Century Prize, the Beethoven Prize, the Sidney Griller Award and the Menton Festival Prize. In January 2012 the quartet were appointed to the prestigious Chamber Music Society of Lincoln Center Two programme beginning with the 2013-2014 season.  

(I've heard these guys, and they are terrific.)

Kitty Whately – Mezzo Soprano (UK) (pictured right)

Kitty Whately studied at the Guildhall School of Music and Drama, and the Royal College of Music International Opera School. Kitty was the winner of the Kathleen Ferrier Award 2011 and the 59th Royal Overseas League Award for Singers, and in 2012 she was chosen to be a member of the prestigious Verbier Festival Academy in 2012. 

(Have been hearing rumbles about how excellent Kitty is for quite a while)

Olena Tokar - Soprano (Ukraine)

Soprano Olena Tokar was a finalist in the 2013 Cardiff Singer of the World competition. In 2012 she was awarded 1st Prizes both at the Lortzing Competition in Leipzig and at the renowned ARD International Music Competition in Munich. 

(Olena gave a wonderful performance in the Cardiff final and was a hot favourite for the prize.)

Lise Berthaud - Viola (France)

Lise Berthaud was a prize winner of the European Young Instrumentalists Competition in 2000 and won the Hindemith Prize at the Geneva International Competition in 2005. In 2009 she was short listed by the Victoires de la Musique Classique as “Révélation de l’Année” (Newcomer of the Year). 

(Hooray! A violist! Looking forward to hearing her.)

Louis Schwitzgebel – Piano (Switzerland) (pictured left)

Pianist Louis Schwitzgebel secured 2^nd prize at the Leeds International Piano Competition, where his performance of Beethoven’s Piano Concerto No. 4 with the Hallé Orchestra under Sir Mark Elder in the final round was broadcast live on BBC Four and BBC Radio 3. At the age of 17 he was the winner of the Geneva International Music Competition.

(We loved his performance in the Leeds final and are delighted to hear he's been picked here.)

Zhang Zuo - Piano (China)

Zhang Zuo has garnered a host of awards, including first prizes at the 3^rd Shanghai International Piano Competition, the 7^th International Franz Liszt Piano Competition, and a ‘Vendome Virtuoso’ award from Vendome Prize competition. In 2013 she won 5^th prize at the 2013 Queen Elisabeth International Piano Competition. (Fine track record, that: again, looking forward greatly to hearing her.)

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.  

Off to Manchester

Please come to the Messiaen project at Chetham's Summer School for Pianists if you're in Manchester this evening! My talk is at 5pm, my play A Walk through the End of Time is at 7pm starring Dame Harriet Walter and Guy Paul, and the complete Quartet for the End of Time will be performed by pianist Kathryn Page and friends at 8.30pm. Do say hello if you're there. Box office: 07814 989913.

Stop dumbing down Debussy!

Google has a Clair de lune doodle to celebrate Claude Debussy's birthday today. Somehow I have the feeling that our beloved Claude's 151st anniversaire is receiving almost more attention than his 150th. I doubt, though, that he really did ride a pennyfarthing. (We know Chausson had a bicycle, but we wish that he hadn't.)

Here's a quick birthday high-horse moment: at some stage we need to leave behind, once and for all, the notion that Debussy was "an impressionist composer". He inclined more towards symbolism: the hushed world of ideas in which nothing can ever be taken at face value, but stands as an encapsulation of something else. La Mer, for instance, is at core not about the sea... Listen to Simon Rattle conducting it: this becomes clear, for is it not rather the deeper forces of nature within ourselves that are undergoing those changes of light as time passes, the dialogue with our counterparts (wind/waves - not), and the refulgent storms in the heart and blood...

Still, attaching any -ist or -ism to Debussy is to reduce him to a fraction of his real significance. Would you do that to Flaubert, Baudelaire, Rimbaud, Zola? No fewer ideas exist within Debussy, but his language happens to be that of music...

The continual dumbing-down of Debussy - the all-too-widespread view of him as pretty impressionist, fine colourist, hot lover, etc - does not even begin to scratch the surface of his life and work, let alone his intelligence, his wide cultural references, his continual willingness to explore and experiment and move forward. His sophistication of thought, language, structure, finesse, texture, instrumentation and sheer imagination is second to none.

Meanwhile, our changing times are highlighted in fine fashion by a glimpse of this 1965 movie by Ken Russell, The Debussy Film. I doubt anyone would make a film like this now, yet there's a charm and a vividness about its vision that might just be irresistible, given half a chance. See it here: http://youtu.be/KsdAIYmSHAg.

And my top ten Debussy recordings? Difficult, but here's a selection...:

La Mer - Berliner Philharmoniker/Simon Rattle

Etudes pour piano - Mitsuko Uchida

Images pour piano - Zoltan Kocsis

Preludes pour piano, complete - Krystian Zimerman

Pelleas et Melisande, complete opera, DVD - Welsh National Opera/Pierre Boulez, directed by Peter Stein

String Quartet - Quatuor Ebene

Violin Sonata - Philippe Graffin (violin) and Claire Desert (piano) (in the disc that inspired my Hungarian Dances...)

3 Nocturnes, Prelude a l'apres-midi d'un faune, etc - various, conducted by Pierre Boulez

Children's Corner - Alfred Cortot

Songs - 'Clair de lune' (Verlaine) et al - Natalie Dessay (soprano), Philippe Cassard (piano)

Dame Harriet Walter and Guy Paul to star in A WALK THROUGH THE END OF TIME, Friday

[UPDATE: PLEASE NOTE NEW BOX OFFICE NUMBER BELOW....]
A quick alert for our friends in the north... Chetham's Piano Summer School, founded and directed by Chet's tireless head of piano, Murray McLachlan, is currently in full swing. On Friday I'm heading up there with the fabulous actors Dame Harriet Walter and Guy Paul for a performance of my Messiaen play, A Walk through the End of Time. (Pictured: Harriet in A Walk at the Orange Tree Theatre, Richmond, in last year's International Wimbledon Music Festival.)

It's a big evening. We start at 5pm with me giving a talk about how and why I wrote it. The play begins at 7pm - it is about an hour long. Finally, at 8.30pm pianist Kathryn Page leads an expert team of soloists in a complete performance of Messiaen's Quartet for the End of Time.

Contact Information
Tickets: £12 and £6 concessions. Free to summer school participants
Box Office Tel No:  07814 989913  
Email info@pianosummerschool.com

This is going to be a hectic autumn for JD, with a number of concerts of Hungarian Dances, and a brand-new Alicia's Gift words&music programme with the terrific Viv McLean (piano). Next up: we'll be at Houben's Bookshop, 2 Church Court, Richmond-upon-Thames, to talk about it all on 3 September at 6.30pm. Please join us for a chat, drinks & crunchies. Admission is free, but we'd love it if you'd book a place: to do so, please call Yvonne on 07889 399862. More concert & play details in the sidebar...

At the risk of being a bit predictable...

...here's JK making his new album of GV. You'll want to hear this, believe me, and you'll particularly want to hear the bit from Otello.



There's a moment near the start of the film where he clutches his phone rather pointedly. I reckon that's when a text arrived from his press agent saying "oh no, another message from that blasted English journalist begging us for an interview in Munich/Salzburg..." (Nah, just kidding... in fact they've all been really helpful, for which I'm grateful. But 0 interview for JD yet.)

I tried. I really did. But time was there none, it seems. More about Munich and the opera festival as soon as there's a little, er, time - of which I am very short at the moment too.

5 days left to help a musical hero

UPDATE, TUESDAY 20 AUG, 9.45am: THEY DID IT! THEY'VE MADE TARGET! A huge thank-you to all the doughty JDCMB readers who contributed both financially and by helping to spread the word.

The Orchestra of the Swan and conductor Kenneth Woods have over recent years set about recording four volumes of Hans Gál's symphonies, paired with Schumann's. The performances are terrific, with huge spirit and passion, and have been heartily well reviewed around the place. But while we were on holiday, conductor and orchestra launched a crowdfunding campaign to raise £8,500 that they need to complete the cycle. So far, they have amassed slightly over a quarter of it. They have just five days to find the rest. Please visit their Indigogo page and help them! http://www.indiegogo.com/projects/gal-schumann-symphonies/

Hans Gál is one of music's most scandalously undersung, underplayed, under-recognised good guys. I first saw his name as a child, as my dad had his admirable books on Schubert and Brahms - yet scarcely heard a note of his music until Leon McCawley recorded the piano works about ten years ago. Gál was a 20th-century individualist, working in a tonal idiom with a delightful quirkiness of soul that is often compared - with good reason - to that of Haydn.

He was enormously respected in Europe before the Second World War, but, being Jewish, was forced to flee with his young family, going first in 1933 from Mainz back to his native Vienna and later managing to move to the UK with the help of his friend Donald Francis Tovey, then professor of music at Edinburgh University; Tovey enlisted him to help catalogue the institution's new music library. Eventually Gál became professor at Edinburgh himself and lived in the city for the rest of his life.

More details about Gál, the project and what you get in return for becoming a donor, here.

Osipova & Vasiliev: How do they do that?

OK, you have 45 minutes to chat to the two most exciting ballet stars you have ever set eyes on. What are you going to ask them?



"How do you do that thing where you spin and spin and spin and then you slow it right down? Or those things in mid air where we just can't believe what we saw?" Not those precise words, perhaps, but something along those lines were uppermost in my thoughts when I went along to interview Natalia Osipova and Ivan Vasiliev, who are guest-starring here in London with the Bolshoi for one performance only on Friday. (Flames of Paris).

So, the answer? Technique, but not only technique, says Ivan: “When you put something into this technique, your spirit, you can do this. In rehearsals, you can’t. I can rehearse one thing, then go on stage and do it completely differently and absolutely more, and I don’t know how and I don’t know why. But something inside pushes me, like, ‘Come on, come on!’ And I say: ‘OK, come on...’”

The whole interview is out now in The Independent. Read it here.

The Corsaire pas de deux above shows their technical prowess off to perfection,  but it was their Giselle with the Mihailovsky Ballet a few months ago that left me in raptures - because the physical ability is matched with poetry, drama and psychological insight to the same level.

I'm just back from hols. Saw some rather good stuff in Munich. More of that soon.

A very spoilt opera lover's home thoughts from abroad

So last night, here in Munich, I heard Don Carlo with Jonas Kaufmann sounding perhaps the best I've ever heard him (and you know how good that is), Anja Harteros sounding like a platinum-plated Maria Callas only possibly better, Rene Pape sounding like King Marke as King Philip II and a baritone new to my radar, Ludovic Tezier, as Rodrigo sounding like a presence who will dominate his repertoire to very fabulous effect for years to come. How many great voices can you have on a stage at any one time? It occurs to one that - perhaps unusually for a Verdi performance - one could reassemble the same team for a certain thing by Wagner to fine effect, one named Tristan und Isolde...

But oh dearie dearie dear... I went and missed Barenboim's Gotterdammerung at the Proms, and today have been inundated with messages full of overjoy, overwhelmedness or plain old Schadenfreude from those who were there, or heard it on the radio, or who are calling for a Ring cycle to become a regular feature of the Proms, please, something I will second with all my heart (provided it's done by the right performers). After a 20-minute ovation, Barenboim made a speech declaring that what the audience had been through with him and his musicians was something he had never even dreamed of. Can't manage to embed the code for some reason, so please follow this link to hear it: http://www.bbc.co.uk/programmes/p01ddfdr

Extra plaudits for the Proms this year for having made me seriously question the wisdom of taking a summer holiday abroad while they're on.

Dragon-slayer: Lance Ryan IS Siegfried

Here's my write-up for the Indy of last night at the Proms, where things are turning seriously steamy in the Ring. A slightly less packed turnout for this one, perhaps because the temperatures in the hall have been in the news, but hey, there was more air for the rest of us as we rushed back for episode 3. If this is what happens in a Wagner anniversary, please can we have another next year? I mean, he'd have been 201 - isn't that worth celebrating too?

Shock confession: this is the first time I have actually enjoyed Siegfried. The first act can be heavy going and unless you have a top-notch chap in the title role, so can the rest. It needs to be done very, very, very well, all round, to succeed (at least where my ears are concerned). This one...just flew by, with laughter, tears and suitably raised consciousness. Where's it been all my life? Canadian Heldentenor Lance Ryan as Siegfried simply owned the role and thus the evening.

If you were wondering whether to go to Gotterdammerung on Sunday, but hesitated: stop thinking and just go. I can't, as I'll be in the only other place an opera buff (never mind critic) should be just now, which is in Munich, listening to Jonas in a spot of Verdi. But even with that to look forward to, I am sick as the proverbial parrot about missing the last night of this Ring cycle.

Wagner would have loved his operas being done at the Proms: to a huge crowd of passionate enthusiasts in the arena who have come from far and wide for the occasion and pay just a fiver to get in. He wanted admission at Bayreuth to be free. It didn't prove very practical, of course, but that was the original idea.