Maxine Robertson Management

September 2012 - newsletter 22

MRM New Signing
We are happy to announce the worldwide representation of tenor Stuart Jackson.

Stuart was a choral scholar at Christ Church, Oxford, studying Biological Sciences, before beginning his training at the Royal Academy of Music, where he is currently a member of the International Opera School, studying with Ryland Davies and vocal coach Jonathan Papp. For Royal Academy Opera, he has sung Bénédict in Berlioz Béatrice et Bénédict and First Armed Man Die Zauberflöte.

Aged 25 (and the youngest finalist), Stuart won second prize at the 2011 Wigmore Hall International Song Competition. In 2012 he made his debut with the OAE and Stephen Layton, singing the tenor arias in Bach St John Passion in Vienna and later this year he will sing the tenor solo in Vivaldi Dixit Dominus with the Academy of Ancient Music and Richard Egarr, on tour to Edinburgh, Paris and Amsterdam.

Whilst at the Royal Academy, Stuart has taken part in several Bach Cantata projects under conductors including Sir John Eliot Gardiner and Peter Schreier. He has also sung Handel Messiah, Saul and Israel in Egypt under Laurence Cummings and, as a keen recitalist, has appeared at Wigmore Hall, Kings Place and St John's Smith Square, London and at Oxford's Holywell Room.

MRM Artists Success in the Press
THOMAS WALKER - Rameau Platée - Stuttgart Opera - Christian Curnyn - Calixto Bieito
Played by the fabulously poignant Thomas Walker, Platée's gullability was more pathetic than amusing...
The New York Times, 27 July, 2012

Thomas Walker als Platée hatte unglaublich viel zu singen in diesem absolvierte dies mit klarer, kräftiger Tenorstimme, ohne Fehl und Tadel. Und auch im Spiel zeigte er grosse Begabung; fast eine wirkliche Frau. Alles gut beobachtet.

As Platée, Thomas Walker had to sing an incredible amount...he performed it with a clear, strong tenor voice, without flaws or blemishes. In the staging he also showed great talent, almost a real woman. All well observed.
Gerhard Rohde, Frankfurter Allgemeine Zeitung, 4 July 2012

...brilliant in dieser Rolle. Der aufstrebende Sänger zeigt sich von seiner besten Seite.

...brilliant in this role, the rising artist Thomas Walker shows his best.
Stuttgarter Zeitung, 4 July, 2012

Thomas Walker überzeugt in der Titelrolle mit wunderschönen hohen Tönen und seinem sicheren tiefen Register.

In the title role Thomas Walker convinced with beautiful high notes and a secure lower register.
Jörn Florian Fuchs, Deutschlandradio, 4 July, 2012

Thomas Walker singt diese Rolle mit seiner starken Tenorstimme spottend, wie eine Kreatur mir skeptischen Augen. Er trägt eine Perüke, ausgestopfte Hüften und Brüste (auf der Bühne), eingewickelt in ein Diane-von-Fürstenberg-Kleid. Diese Platée setzt ihr Geschlecht als eine Waffe ein.

Thomas Walker sings this role mockingly, as a sceptical-eyed creature with his strong tenor voice.... This Platée uses gender as a weapon.
Manuel Brug, Die Welt, 4 July, 2012

Der selbstbewusste Thomas Walker hat sich auf der Bühne in eine Frau verwandelt, für alle sichtbar, ohne auch nur ein anatomisches Teil zu vergessen! Im Kleid auf Stöckelschuhen gab er eine elegante, selbstbewusste Frau, die mit Leichtigkeit sang und spielte.

Thomas Walker, morphed into a woman on stage for all to see with no anatomical details missing! And once in heels and dress makes an elegant, confident woman singing and acting with great ease.
Jochim Lange, Frankfurter Rundschau, 4 July, 2012

Der schottische Tenor Thomas Walker spielt die Titelrolle, eine Nymphe, die von allen verspottet und erniedrigt wird, mit grosser Glaubwürdigkeit, er zeigt eine Körperbeherrschung und Lebendigkeit, die man selten in Opernhäusern sieht.

The Scottish tenor Thomas Walker plays the title-role, a nymph mocked and humiliated by all, with great credibility. His mastery of body and his vitality are rarely seen in the opera house.
Peter Jungblut, Bayrischer Rundfunk2, 4 July, 2012

MARK PADMORE - Britten Serenade for Tenor, Horn and Strings - FINZI Dies Natales - Britten Sinfonia - Harmonia Mundi recording
(Serenade)...Mr Padmore's mesmerizing singing, though in the Pears mould, has penetrating intensity...elegant and alluring. (Nocturne) Padmore again gives an arresting performance distinguished by finespun phrases and vivid delivery of the texts.
Anthony Tommasini, The New York Times, 6 July, 2012

MARK PADMORE - Beethoven An die ferne Geliebte - Schubert Schwanengesang - Salisbury Festival - Paul Lewis
(An die ferne Geliebte) With the lightest touch - a pause here, a splash of unusual colour there - they brought the sentiments to life...Padmore gave the words an almost bodiless yearning quality. (Schwanengesang)...there's an emotional nakedness about his singing which made his performance of these dark, strange songs really strike home...
Ivan Hewitt, The Telegraph, 18 June, 2012

MARK PADMORE - Bach St Matthew Passion - Berlin Philharmonic Orchestra - Sir Simon Rattle - Peter Sellars - DVD
Mr Padmore is one of the major Evangelists of our time, and he is heartbreakingly eloquent here, less a biblical narrator than a guide through a dark night of the soul.
Zachary Woolfe, The New York Times, 8 June, 2012

MARK PADMORE - Britten War Requiem - CBSO - Andris Nelsons - Coventry Cathedral
I have rarely heard the fiendish ascent at the end of the Agnus Dei sung more sweetly or securely than Padmore managed here.
Richard Morrison, The Times, 1 June, 2012

...tenor Mark Padmore and baritone Hanno Müller-Brachmann, English and German soloists as at the premiere, brought Wilfred Owen's wartime poetry vividly to life.
Richard Fairman, The Financial Times, 2 June, 2012

ANDREW FOSTER-WILLIAMS - Haydn Nelson Mass - Mostly Mozart Festival - Yannick Nézet-Séguin - Lincoln Centre, New York
Andrew Foster-Williams was equally impressive in his big number...
James R. Oestreich, The New York Times, 6 August, 2012

ANDREW FOSTER-WILLIAMS - Dauvergne Hercule Mourant - Les Talens Lyriques - Christophe Rousset - Versailles
The Royal couple, Andrew Foster-Williams, a man of marble and Véronique Gens, his destroyed wife, are both perfect in colour and in language.
Ivan A. Alexandre, Diapason, June, 2012

ANDREW FOSTER-WILLIAMS - Brahms Ein Deutsches Requiem - RLPO - Chester Cathedral - Vasily Petrenko
Andrew Foster-Williams was the forceful, humane baritone soloist.
Tim Ashley, The Guardian, 8 July, 2012

CLAUDIA HUCKLE - Mahler Rückert Lieder - Royal National Scottish Orchestra - Thomas Søndergård - St Magnus Festival
Claudia Huckle may have been a last-minute replacement for Catherine Wyn-Rogers in Mahler's Rückert Lieder, but the rapt intensity she imbued in the centrally-placed Um Mitternacht was the pinnacle of a truly enchanting performance.
Kenneth Walton, The Scotsman, 29 June, 2012

ELIZABETH WATTS - Mozart Arias - Potsdamer Kammerakademie - Antonello Manacorda
Für etwas mehr Opulenz sorgt dann die britische Sopranistin Elizabeth Watts. Die 33-Jährige intoniert die Arien nicht nur meisterhaft, sondern leidet, entzückt und empört sich in jeder einzelnen Zeile auf sympathisch natürliche Weise.

Following this, the British soprano Elizabeth Watts supplies something a little more opulent. The 33 year old not only sings the arias with authority, but, through each single line, she also suffers, is enraptured and horrified by turns, in a sympathetic and natural manner.
Erik Wenk, Tagespiegel, 8 August, 2012

ANDREW TORTISE - Britten The Turn of the Screw - NI Opera - Buxton Opera House
Each of the seven roles is ideally cast. The guardian in the Prologue is sung by Andrew Tortise, who also sings Quint with chilling but not overdone menace...They all sing superbly.
Michael Kennedy, Opera, September, 2012

SALLY MATTHEWS - Poulenc Les Dialogues des Carmélites - Vienna Radio Symphony Orchestra - Theater an der Wien - OEHMS Classics recording
...outstanding cast...Sally Matthews' golden soprano is perfect for Blanche, and hers is a most moving impersonation; she does not skimp on the woman's moments of ill-temper and snobbery.
Rodney Milnes, Opera, July 2012

SALLY MATTHEWS - Mozart Le Nozze di Figaro - Glyndebourne Festival Opera - Robin Ticciati
Sally Matthews' flower-child Countess was the pick of the bunch, and her Dove Sono in act three the most treasurably Mozartian piece of singing of the evening
Martin Kettle, The Guardian, 30 August, 2012

The cast amounts to a classic Glyndebourne ensemble. Sally Matthews sings the Countess's arias with perfect poise.
Rupert Christiansen, The Telegraph, 28 June, 2012

Sally Matthews brings dignity and touching vulnerability to the Countess.
Barry Millington, London Evening Standard, 28 June, 2012

...Sally Matthews' classy Countess - lovely singing...
Edward Seckerson, The Independent, 28 June, 2012

Marcus Farnsworth- FINZI By Footpath and Stile - Finzi Quartet - Resonus recording
Marcus Farnsworth captures the introspective melancholy of the cycle splendidly.
Jeremy Dibble, Gramophone, August, 2012

MRM Artists forthcoming highlights
Sally Matthews on 22 September, joins The Nash Ensemble for a concert at Wigmore Hall, including songs by Quilter and Bliss. In October she sings Fiordiligi Così fan tutte with the Scottish Chamber Orchestra and Robin Ticciati in Edinburgh and Glasgow. Also during October and November, Sally sings Blanche Les Dialogues des Carmélites at the Bayerische Staatsoper, Munich and on 30 October gives a recital with Karen Cargill and Simon Lepper at the Concertgebouw, Amsterdam.

Annalena Persson will be singing Foreign Princess in Dvorak Rusalka for Gothenburg Opera, September - December.

Elizabeth Watts during October and November sings Fiordiligi Così fan tutte for Welsh National Opera on tour, including Cardiff, Oxford and Liverpool. In September she gives two recitals for Cossington Concerts, Somerset with Julius Drake, one including the Lieder of Schubert and Strauss and in the other they are joined by James Gilchrist for Wolf Italienisches Liederbuch. On 29 September, Elizabeth, with pianist James Southall, gives a Jennifer Vyvyan tribute concert at Wigmore Hall, including Handel, Debussy and Britten and in November gives a recital in Eindhoven with Peter Donohoe, the music to include Wolf, Strauss and Britten.

Katherine Broderick makes her Royal Opera, Covent Garden debut as Ortlinde Die Walküre in September and returns to English National Opera for further performances of Donna Anna Don Giovanni during October and November. She also sings Dvorak Te Deum with The Royal Liverpool Philharmonic Orchestra and Claus Peter Flor and gives a recital of Mendelssohn Lieder at Wigmore Hall, London with Eugene Asti.

Karen Cargill on 26 September also makes her Royal Opera, Covent Garden debut singing Waltraute Die Walküre and on 1 October, Second Norn Götterdammerung. On 30 October she joins Sally Matthews for their duo recital at the Concertgebouw, Amsterdam with Simon Lepper, the music including songs and duets of Brahms, Mendelssohn and Massenet.

Claudia Huckle during September and October sings Smeton in Donizetti Anna Bolena for Washington National Opera.

Edgaras Montvidas makes his debut with the Boston Symphony Orchestra and Charles Dutoit in October, singing Le théière in Ravel L'enfant et les sortilèges and Fisherman in Stravinsky Le Rossignol. On 9 September he sings Dvorak Stabat Mater with the National Polish Radio Symphony Orchestra and Paul McCreesh and on 8 November sings Alfred Bruneau Requiem in Brussels with the Symphony Orchestra and Choir of La Monnaie and Ludovic Morlot.

Jeremy Ovenden sings Mozart Krönungsmesse on 15 September at the Ambronay Festival with Le Cercle de l'Harmonie and Jérémie Rhorer and during October sings both Haydn Creation with the Orchestra dell'Accademia Nazionale di Santa Cecilia and Sir Colin Davis and Handel Il Trionfo del Tempo with The Gabrieli Consort and Paul McCreesh in Rome.

Mark Padmore on 4 and 6 October makes his San Francisco recital debut with pianist Jonathan Biss for his series Schumann under the influence and also during October on a European tour including Florence, Amsterdam and Wigmore Hall, London, the programmes to include Schumann Dichterliebe, Beethoven An die ferne Geliebte and Schubert Heine settings. In November Mark gives recitals of Schubert and Beethoven with Paul Lewis, again in Florence and also in St George's Hall, Liverpool and on 30 November sings Britten The Canticles at Wigmore Hall with Julius Drake, Iestyn Davies and Marcus Farnsworh.

Andrew Tortise sings Ferrando Così fan tutte with Welsh National Opera on their tour, during October and November, joining Elizabeth Watts. On 16 November, again with Elizabeth, he is soloist in Mozart Requiem with the Orchestra and Chorus of WNO and Christoph Poppen at St David's Hall, Cardiff.

Thomas Walker on 2 September sings Bach St Matthew Passion (arias) in Wroclaw, Poland with the Gabrieli Consort and Paul McCreesh and during October sings Britten Les Illuminations on a UK tour with the Scottish Ensemble.

Marcus Farnsworth gives a recital for the Lammermuir Festival and BBC Radio 3 on 21 September, including the songs of Bridge, Strauss, Rorem and Britten. During November, he sings Peter Maxwell Davies Eight Songs for a Mad King on a UK tour with the Hebrides Ensemble. On 24 November he sings Dvorak Te Deum with the RLPO and Claus Peter Flor, joining Katherine Broderick, and on the 30th, sings Britten The Canticles at Wigmore Hall, here joining Mark Padmore.

Andrew Foster-Williams returns to Washington National Opera to sing Leporello Don Giovanni during September and October. Also in October he sings Schumann Requiem in Amsterdam and Utrecht with the Netherlands Radio Philharmonic Orchestra and sings Epaphus in performances and recording of Lully Phaeton with Les Talens Lyriques and Christophe Rousset.

Stephan Loges during September sings Arnholm in the world première of Craig Armstrong The Lady from the Sea with Scottish Opera. Then, on 27 October, he gives the closing concert of the Oxford Lieder Festival, a Schubert programme, with pianist Sholto Kynoch. On 10 November Stephan joins Katherine Broderick in a Mendelssohn programme at Wigmore Hall with Eugene Asti and on 22 November sings Beethoven Mass in C with the City of Birmingham Symphony Orchestra and Olari Elts.

Simon Lepper on 16 0ctober joins Sophie Daneman and Christopher Purves in a programme of songs and duets by Purcell, Debussy and Schumann for the Oxford Lieder Festival and on 30 October he partners Sally Matthews and Karen Cargill in their recital at the Concertgebouw, Amsterdam. Then, on 15 November Simon joins Mark Padmore in a recital for the Wimbledon International Festival, the music to include Beethoven An die ferne Geliebte and Schubert Schwanengesang.