March 2011 - newsletter 16
MRM Artist Jump Ins
In December, Edgaras sang Alfredo La Traviata at short notice for Oper Leipzig.
MRM Artists Success in the Press
Sally Matthews - MOZART Don Giovanni - Vienna State Opera - Franz Welser-Möst
Sally Matthews is a memorable Donna Anna, riveting in the accompanied recitatives in which Anna reacts to her father’s murder and, later, recognizes Don Giovanni as the culprit, and eloquent in investing her arias with resonant tone.
George Loomis, New York Times, 22 December, 2010
Sally Matthews - HAYDN, FAURÉ inc. Scena di Berenice - Scottish Chamber Orchestra - Robin Ticciati
In Haydn's Scena di Berenice she expressed fury, confusion and tender regret while keeping an essential core of tragic dignity. In a group of seven Fauré songs she was equally fine.
Ivan Hewett, The Telegraph, 15 February, 2011
Sally Matthews - FAURÉ Requiem - London Philharmonic Orchestra - Yannick Nézet-Séguin
The whole performance was at once ample in expression and light as a feather. Sally Matthews was luxury casting for her Pie Jesu solo.
Edward Seckerson, The Independent, 23 January, 2011
...and Sally Matthews, a ravishingly religiose soprano in the Pie Jesu,...
Paul Driver, The Sunday Times, 30 January, 2011
...this performance certainly gave a sense of being beautifully honed in every detail...Soprano Sally Matthews proved that a ripe soprano sound is every bit as apt for Pie Jesu as a boy’s voice...
Ivan Hewett, The Telegraph, 25 January, 2011
Katherine Broderick - MOZART Don Giovanni - English National Opera - Kirill Karabits
The women struck me as uncommonly strong, especially Katherine Broderick, making her ENO debut as Anna. She possesses a very large soprano which…admirably met the considerable demands of the part…she carried herself with dignity and maintained a consistent sense of character.
Russ McDonald, Opera, December, 2010
Elizabeth Watts - BACH Cantatas and Arias - The English Concert - Harry Bicket - Harmonia Mundi recording
I am now convinced that Watts is as authoritive and compelling a Bach soprano as you will find anywhere today. This is without question singing supported by an alert artistry with a superb feel for musical line and an effortless delivery of Bach’s long, sweeping phrases. You would have to look long and hard to find a more eloquent delivery of a Bach aria than this account of Wie zittern und wanken from Herr, gehe nicht ins Gericht and throughout Jauchzet Gott in allen Landen, Watts sings with wholly captivating brightness and vitality totally at ease with the idiom…some unforgettable moments of sublime music-making.
Marc Rochester, International Record Review, 14 February, 2011
Elizabeth Watts - MOZART Mass in C Minor - Leeds Festival Chorus - Northern Sinfonia
…the powerful piece could have had no better ambassadors than the remarkable Elizabeth Watts and Sophie Bevan…a little glimpse of Constanze in the Salzburg night…
Martin Hickes, The Guardian, 31 January, 2011
Mark Padmore - SCHUMANN Dichterliebe, Liederkreis - Harmonia Mundi recording with Kristian Bezuidenhout
Mark Padmore's sweetness of tone (Dichterliebe) is capable of growth and intensification, and he is sensible to the subtleties of modulation....Padmore and Bezuidenhout enrich their collection of Heine settings with a fine account of the Liederkreis Op24 (surpassingly lovely in Schöne Wiege meiner Leiden) and the five songs of Paul Lachner ...in which they unexpectedly strike gold.
John Steane, Gramophone, December 2010
The year’s other 200th birthday boy inspired the newest treasure from the consistently absorbing Mark Padmore, eloquently accompanied by Kristian Bezuidenhout on a period keyboard.
Time Out New York, December 2010
Mark Padmore - SCHUBERT Winterreise - Harmonia Mundi recording with Paul Lewis - Winner of Gramophone Magazine Vocal Solo Award, 2010
...a superb recording of the song-cycle Winterreise sung by the sensitive tenor Mark Padmore.
John von Rhein, Chicago Tribune, 9 February, 2011
Mark Padmore - FINZI & PURCELL inc. Dies Natalis - Britten Sinfonia - Queen Elizabeth Hall, London
...and in tenor Mark Padmore the Sinfonia have found its ideal exponent...Padmore’s sound is extraordinarily distinctive: Finzi’s word-setting may at times be mannered and predictable, but when the music flies, the result is an evanescent beauty which Padmore caught to perfection.
Michael Church, The Independent, 11 February, 2011
The tenor Mark Padmore brought his own intensity to this, as well as to Purcell settings via the prism of Tippett and John Woolrich.
Fiona Maddocks, The Guardian, 13 February, 2011
Mark Padmore - FINZI & PURCELL inc. Dies Natalis - Britten Sinfonia - Cambridge
Padmore is in many ways an ideal interpreter here. His tenor projects a fluid, gleaming line and he finds colours to match Traherne’s verbal nuance.
John Allison, The Telegraph, 11 February, 2011
Tenor Mark Padmore and The Britten Sinfonia are regular collaborators...their account of Dies Natalis is exceptional...Previous generations of tenors have tended to treat Finzi’s ecstatic word-setting cautiously...Padmore made it much more warmly expressive, the childhood innocence and wonder of the texts joyously conveyed...
Andrew Clements, The Guardian, 9 February,2011
Fflur Wyn - MOZART - Concert Arias - Aurora Orchestra - Nicholas Collon - Kings Place, London
Fflur Wyn charmed all comers with Nehmt Meinen Dank, but this relatively simple number must have been a breeze after Vorrei Spiegarvi, oh Dio! which began as a silky duet with Thomas Barber’s solo oboe, before turning into a cartwheeling showpiece that took her silvery soprano sky-high.
Erica Jeal, The Guardian, 9 January, 2011
Andrew Foster-Williams - Handel - Messiah - New York Philharmonic Orchestra - Bernard Labadie - Avery Fisher Hall, New York
Mr Labadie used the traditional quartet of soloists, who shared an intensely dramatic, often operatic approach to their texts. The most consistently pleasing of the four was Andrew Foster-Williams, a forceful bass with a rich timbre.
Allan Kozinn, New York Times, 15 December, 2010
Thomas Walker & Andrew Foster-Williams - Handel - Flavio - Early Opera Company - Christian Curnyn - CHANDOS recording
…Thomas Walker and the sonorous bass Andrew Foster-Williams excel in the blustering mock-heroic coloratura arias for the squabbling councillors Ugone and Lotario.
Richard Wigmore, Gramophone, February, 2011
MRM Artists forthcoming highlights
Ingela Bohlin will sing in Bach Mass in B Minor with the San Francisco Symphony Orchestra in March and during April and May will sing Hanako in Toshio Hosokawa Hanjo at La Monnaie, Brussels and in Amsterdam.
Katherine Broderick in April will sing in Dvorák Requiem with the National Polish Radio Symphony Orchestra and Paul McCreesh and later in the month will be in Cuenca, Spain, to sing in Mahler Symphony No 2 with the Hallé Orchestra and Christian Mandeal.
Sally Matthews sings Strauss Four Last Songs with the Royal Liverpool Philharmonic Orchestra and their conductor Vasily Petrenko in March. Then in April, Sally is in Lucerne to sing Brahms Requiem with Bernard Haitink and the Chamber Orchestra of Europe followed by Mahler Symphony No 2 in London with the Philharmonia Orchestra and Lorin Maazel and then sings Sophie Der Rosenkavalier for Netherlands Opera and Sir Simon Rattle.
Annalena Persson sings Chrysothemis in Dieter Dorn's production of Strauss Elektra at the Staatsoper Berlin in May.
Elizabeth Watts will sing Marzelline Fidelio for the Royal Opera, Covent Garden and conductor Kirill Petrenko during March and April. Then she will sing in Mahler Symphony No 2 at the Amsterdam Concertgebouw with the Netherlands Philharmonic Orchestra and Jakov Kreizberg. At the end of May Elizabeth begins a UK tour of György Kurtág Kafka Fragments for Soprano and Violin with Alexander Janicek.
Fflur Wyn during April and May will also sing Marzelline in Opera North's production of Fidelio by Tim Albery. The conductor is Sir Richard Armstrong.
Karen Cargill in March will be in Madrid to sing Beethoven Missa Solemnis with Orquesta Nacional de España and Christian Zacharias (along with Mark Padmore). In April she sings Mahler Rückert Lieder with the BBC Scottish Symphony Orchestra and Donald Runnicles on a Scottish tour. Karen also sings the latter as part of a Mahler programme in the Hague, in May, with the Residentie Orkest.
Edgaras Montvidas sings the Duke of Mantua in Verdi Rigoletto for Scottish Opera and conductor Tobias Ringborg in Glasgow and on tour.
Jeremy Ovenden during March sings Belfiore in Mozart la Finta Giardiniera at la Monnaie, Brussels with conductor John Nelson. Then in April sings performances of Antonio Salieri La Passione di Gesù Cristo in Turin, with the Orchestra Sinfonica Nazionale della RAI and Ottavio Dantone.
Mark Padmore in March again performs Mark-Anthony Turnage A Constant Obsession with The Nash Ensemble at Wigmore Hall - a work they premièred in 2009. In April he directs an Aldeburgh Music Education Project - working with young vocal soloists and the Britten-Pears Baroque Orchestra, culminating in performances of Bach St John Passion. Then Mark and pianist/composer Thomas Larcher give recitals at the Wattens and Margreid Festivals in the Austrian Tyrol. Their programme includes the world première of a song cycle for tenor and piano by Larcher.
Andrew Tortise sings the Novice in Britten Billy Budd, during March, for Netherlands Opera and Ivor Bolton. In April he sings the tenor arias in performances of Bach St John Passion with The Academy of Ancient Music in Cambridge and London. Then on May 6 Andrew sings in the world première of James Macmillan's new opera Clemency, directed by Katie Mitchell, at the Royal Opera House Linbury Theatre, London.
Thomas Walker during March and April sings Eurimachus in English National Opera's new production of Monteverdi The Return of Ulysses. Also in April, Thomas sings Evangelist in Bach St John Passion with Al Ayre Español, both in Zaragoza and Baden-Baden and is soloist in a concert of Bach Cantatas at the Vienna Konzerthaus.
Marcus Farnsworth will sing in the world première of Peter Maxwell Davies' new opera Kommilitonen! (New Blood!) at The Royal Academy of Music, London on 18 and 23 March. On April 3 he gives a recital at Wigmore Hall of songs by Purcell, Brahms, Wolf and Britten with pianist James Baillieu and then joins Andrew Tortise for performances of Bach St John Passion with The Academy of Ancient Music, singing the bass arias.
Stephan Loges sings Fauré Requiem with the Bournemouth Symphony Orchestra and Kirill Karabits in March and in April sings Christus in performances of Bach St John Passion with the Leipzig Gewandhaus Orchestra.
Viktor Rud as a member of the Staatsoper Hamburg ensemble, in March sings Silvio Pagliacci and in May sings Dandini in a new production of Rossini La Cenerentola.
Andrew Foster-Williams during April and May sings Don Pizarro in Opera North's production of Fidelio (joining Fflur Wyn) and also in April sings the bass arias in St John Passion with Al Ayre Español in Zaragoza and Baden-Baden (here joining Thomas Walker.)
Lukas Jakobski in April sings the King in Verdi Aida for The Royal Opera, Covent Garden and then Christus in performances of Bach St Matthew Passion with the Residentie Orkest and Reinhard Goebel in the Hague.
Simon Lepper accompanies countertenor Lawrence Zazzo in a recital of songs by Ives, Rorem and Barber at Wigmore Hall, London on March 29.