Maxine Robertson Management

March 2015 - newsletter 32

MRM Artists Success in the Press

EMMA BELL - Britten - The Turn of The Screw - Staatsoper Berlin - Ivor Bolton
It is almost invidious to single out individual performances in what was an impressive collective achievement, but Emma Bell deserves pride of place for her overwhelming performance as the Governess, an assumption that by vocal and dramatic means brought the character to frightening life.
Carlos Maria Solare - Opera - February, 2015

EMMA BELL - Mozart - Don Giovanni - Metropolitan Opera, New York
(Donna Elvira)...a sizable voice and sang the demanding role fearlessly.
Anthony Tommasini - New York Times - 6 February, 2015

The role's fierce musical glories (superbly rendered by the soprano Emma Bell)...
Richard Brody - The New Yorker - 17 February, 2015

KAREN CARGILL - Mahler - Symphony No 4 - London Symphony Orchestra - Robin Ticciati
...mezzo-soprano Karen Cargill sounded fresh and vibrant in the final movement's childlike description of heaven.
Erica Jeal - The Guardian - 27 January, 2015

KAREN CARGILL - Mahler - Das Lied von der Erde - Scottish Chamber Orchestra - Robin Ticciati
Mezzo-soprano Karen Cargill had to strike a very different note of sad, twilight nostalgia in The Lonely One in Autumn, and in the final Farewell make the difficult transition from desolation to acceptance of life's passing. In both she was a marvel.
Ivan Hewitt - The Telegraph - 2 February, 2015

KAREN CARGILL - Wagner - Die Meistersinger von Nürnberg - The Metropolitan Opera, New York - James Levine
The mezzo-soprano Karen Cargill was a rich-voiced Magdalene.
Anthony Tommasini - New York Times - 3 December, 2014

...Eva, sweetly accompanied by Karen Cargill as Lene.
Martin Bernheimer - Financial Times - 3 December, 2014

ELIZABETH WATTS - Mozart - Don Giovanni - The Royal Opera, Covent Garden - Nicola Luisotti - DVD
Malin Byström and Elizabeth Watts are very fine...
Richard Lawrence - Gramophone - December, 2014

Zerlina (Elizabeth Watts in game form)...
George Loomis - Opera - March, 2015

Elizabeth Watts provides attractive tone and presence...
Francis Muzzu - Opera Now - January, 2015

STUART JACKSON - Rossini - La Cenerentola - Scottish Opera
...a second night performance that required tenor Stuart Jackson to sing the key role of Don Ramiro in plain clothes at the side of the stage...Jackson actually excelled himself, opening out into a radiant, virtuoso vocal display.
Kenneth Walton - Opera Now - December, 2014

ELENA GALITSKAYA - Mozart - Idomeneo - Opéra de Lyon
...qu'interprète avec beaucoup de finesse et avec une passion communicative la soprano russe Elena Galitskaya, idéale de timbre et de clarté sonore, affirmant d'emblée une présence scénique et vocale rayonnante, puis exprimant une grande poésie dans les airs comme dans les récitatifs accompagnés.

...a performer with great finesse and a contagious passion, Russian soprano Elena Galitskaya has ideal timbre and purity of sound, revealing a vivid stage presence and a radiant voice and expressing great poetry in the arias as well as in the accompanied recitatives.
Fabrice Malkani - Forum Opera - 28 January, 2015

...Elena Galitskaya in der Rolle der Ilia brillieren kann.

...Elena Galitskaya excels in the role of Ilia.
Uwe Friedrich - BR Klassik - 24 January, 2015

SALLY MATTHEWS - Schumann - Das Paradies und die Peri - London Symphony Orchestra - Sir Simon Rattle
...the soaring magnificence of Matthews's arias...
Michael Church - The Independent - 12 January, 2015 soloists...Sally Matthews seems to have made the role of the Peri a speciality in recent times...fervour and sheer stamina.
Andrew Clements - The Guardian - 12 January, 2015

Sally Matthews as the Peri fully engaged our sympathies for her resourceful spirit, capturing alike her plaintive entreaties and her vibrant exultation at the prospect of redemption.
Barry Millington - London Evening Standard - 12 January, 2015

KATHERINE BRODERICK - Wolf - Complete Songs, Vol 8 - Stone Records
Best of all, Katherine Broderick's star bright soprano creates sensuous nocturnes of silent love in Verschwiegene Liebe and Die Nacht.
Hilary Finch - BBC Music Magazine - March, 2015

MARK PADMORE - Britten - Billy Budd - Glyndebourne Festival Opera; Bach - St Matthew & St John Passions - (Staged) - Berlin Philharmonic Orchestra - Sir Simon Rattle - Peter Sellars
New York Times: Best Classical Vocal Performances of 2014
...the luminous tenor Mark Padmore...Mr. Padmore's Vere - wandering like a ghost through the world, recalling and re-enacting a tragedy - was like a cousin of his shellshocked Evangelist. Yet each role had its own flavor: Vere an unyielding military authority, his Evangelist visceral in the John Passion and more ethereal in the Matthew.
Zachery Woolfe - New York Times - 11 December, 2014

MARK PADMORE - Schumann - Das Paradies und die Peri - London Symphony Orchestra - Sir Simon Rattle
Mark Padmore's communicative way with words made him an excellent narrator...
John Allison - The Telegraph - 12 January, 2015

Mark Padmore was an equally ardent narrator.
Barry Millington - London Evening Standard - 12 January, 2015

Mark Padmore was a model of clarity as the narrator...
Andrew Clements - The Guardian - 12 January, 2015

STEPHAN LOGES - Handel - Messiah - Academy of Ancient Music - Richard Egarr
Stephan Loges the charismatic, dark-voiced bass...
Tim Ashley - The Guardian - 11 December, 2014

THOMAS WALKER - Purcell - The Indian Queen - English National Opera
...outstanding soloists...tenors Noah Stewart and Thomas Walker offer noble contrasts.
Michael Church - The Independent - 27 February, 2015

Noah Stewart, Luthando Qave and Thomas Walker make notably strong contributions...
Rupert Christiansen - The Telegraph - 27 February, 2015

Stewart and Walker are chillingly charismatic...
Tim Ashley - The Guardian - 27 February, 2015

THOMAS WALKER - Handel - Messiah - The Dunedin Consort - John Butt
Thomas Walker was bold in the tenor arias, delivering a sensual Comfort Ye, an unflinching Thy Rebuke Hath Broken His Heart and a menacing Thou Shalt Break Them.
Kate Molleson - The Guardian - 22 December , 2014

EDGARAS MONTVIDAS - Saint-Saëns - Les Barbares - Orchestre Symphonique de Saint-Étienne - Ediciones Singulares recording
...le Marcomir lumineux d'Edgaras Montvidas. La diction et le style du jeune ténor lituanien, qui saisissaient déjà au concert, sont préservés...

...the luminous Marcomir of Edgaras Montvidas. The diction and style of the young Lithuanian tenor which had already dominated the concert, is preserved here...
Gérard Condé - Opéra Magazine - Décembre, 2014

What a find...what a voice...he floated the ending beautifully...definitely one of the highlights...
BBC Radio 3 - CD Review - 10 January, 2015

...sung with delicacy by Montvidas and Hunold...
Hugo Shirley - Gramophone - February, 2015

ANDREW FOSTER-WILLIAMS - Beethoven - Symphony No 9 - Baltimore Symphony Orchestra - Nicholas McGegan
He was supported, especially, by Andrew Foster-Williams who opened the bass-baritone line not like a pompous oratorio singer but like a character in an opera - speaking to the audience, drawing us in, making the words mean something.
Anne Midgette - The Washington Post - 4 January, 2015

MARCUS FARNSWORTH - Nielsen - Symphony No 3 - BBC Symphony Orchestra - Sakari Oramo
The soprano and baritone solos that crisscross the static harmonies of the andante were impeccably sung by Lucy Hall and Marcus Farnsworth.
Tim Ashley - The Guardian - 19 January, 2015

MRM Artists forthcoming highlights

Emma Bell in her house debut, sings the title role in Strauss Arabella during April and May in a new production by Renard Doucet and André Barbe for Oper Köln and conductor Stephan Soltesz.

Katherine Broderick on 26 April sings Helmwige Die Walküre, Act 3 in a 10th Anniversary Concert at the Wales Millennium Centre with Welsh National Opera and Lothar Koenigs and on 14 May she sings Mendelssohn A Midsummer Night's Dream in Glasgow with the BBC Scottish Symphony Orchestra and Markus Stenz.

Elena Galitskaya during March sings Eurydice in a new production by David Marton of Gluck Orphée et Eurydice with Opéra de Lyon and Enrico Onofri.

Rosemary Joshua on 10 March joins Sarah Connolly, The English Concert and Harry Bicket for a programme of arias and duets by Purcell at Wigmore Hall, London. Then on 21 and 22 March she sings Mahler Symphony No 2 in Kuala Lumpur with the Malaysian Philharmonic Orchestra and Benjamin Zander.

Sally Matthews in March sings Strauss Vier letzte Lieder with the Bournemouth Symphony Orchestra and Kirill Karabits on a UK tour including Poole (25), Cheltenham (26) and Bristol (27). In April she sings performances of Mendelssohn Elijah with Andrew Manze and the Münchner Philharmoniker (10, 11 & 12) and will sing (16, 17 and 19) Unsuk Chin Alice in Wonderland Suite and Mahler Symphony No 4 with the Bergen Philharmonic Orchestra and Juanjo Mena.

Elizabeth Watts sings Iole in Handel Hercules on a European tour with The English Concert and Harry Bicket, with further performances in March: Birmingham (1st) and London (4th). Also in March, Elizabeth sings Mahler Symphony no 4 with the Hallé Orchestra and Sir Mark Elder on a tour of Germany including Friedrichshafen (8th), Rosenheim (9th), Nuremberg (10th) and Regensburg (13th). On 3 April she sings Bach St Matthew Passion with Academy of Ancient Music and Richard Egarr at Barbican Hall, London.

Karen Cargill in March sings Verdi Requiem with the Gothenburg Symphony Orchestra and Joana Carneiro (13th & 14th), Wagner Wesendonck Lieder (arr. Henze) with the Netherlands Chamber Orchestra and Gordan Nikolic (21st & 23rd) and Dvorák Stabat Mater with Orchestre Métropolitain, Montreal and Yannick Nézet-Séguin (29th). In April, Karen sings Bach St Matthew Passion with the Philadelphia Orchestra and Nézet-Séguin (1st & 4th) and then makes her recital debuts at Kennedy Center, Washington (7th) and Carnegie Hall, New York (10th) with Simon Lepper, with a programme including Lieder by Alma and Gustav Mahler and Wagner Wesendonck Lieder which they also perform at Wigmore Hall, London (15th).

Claudia Huckle during March, in her debut with the Royal Opera, Covent Garden, sings performances of Third Lady in Mozart Die Zauberflöte. Then on 21 & 22 March, joining Rosemary Joshua, she sings Mahler Symphony No 2 with the Malaysian Philharmonic Orchestra. During May and June Claudia sings Olga in Tchaikovsky Eugene Onegin with Angers Nantes Opéra and Lukasz Borowicz.

Sunnyboy Dladla during April, in his house debut at Theater an der Wien, sings Don Basilio and Don Curzio in a new production of Le nozze di Figaro by Felix Breisach with Marc Minkowski and Les Musiciens du Louvre Grenoble.

Stuart Jackson sings Evangelist in Bach St John Passion on Good Friday, 3 April at St John's Smith Square, London with the Polyphony Choir and Orchestra and Stephen Layton. In April Stuart sings Osroa in J C Bach Adriano in Siria for Classical Opera and Ian Page at The Britten Theatre of The Royal College of Music, London (14th, 16th, & 18th.) Then on 17 & 18 May he sings Bruckner Te Deum with Sylvain Cambreling and the Orchestra of Oper Stuttgart

Edgaras Montvidas on 5 & 7 March sings Szymanowski King Roger with the Boston Symphony Orchestra and Charles Dutoit. During April he sings the title role in Massenet Werther with the Lithuanian National Opera.

Jeremy Ovenden on 24 March sings Bach St Matthew Passion (arias) with Andrea Marcon and La Cetra Barockorchester Basel at the Alte Oper Frankfurt and on 26 April sings Beethoven Missa Solemnis with the Beethoven Orchester Bonn and John Nelson. He sings Haydn Creation with the Handel and Haydn Society of Boston and Harry Christophers on 2 & 3 May and also during May and June performs Don Ottavio Don Giovanni on a world tour with René Jacobs and the Freiburger Barockorchester, including Barcelona (27 May) and in June Shanghai (1st), Beijing (4th) and Paris (7th).

Mark Padmore directs and sings Evangelist in Bach St Matthew Passion with Orchestra of the Age of Enlightenment on a European tour including Amsterdam (30 March) and in April, Paris (1st), London (2nd) and Bristol (3rd). Also in April, with Paul Lewis, he sings Schubert Schwanengesang in Rotterdam (16th) and Die Schöne Müllerin in Barcelona (19th) and on 8 May, Winterreise with Simon Lepper at the Schubertiade Schwarzenberg at Hohenems, Austria. On 10 May Mark sings Britten Serenade for Tenor, Horn and Strings with Vasily Petrenko and the Philharmonia Orchestra at The Royal Festival Hall, London.

Andrew Tortise joins Mark Padmore and Orchestra of the Age of Enlightenment for the St Matthew Passion European tour during March and April. Also in April and May he sings Monteverdi L'orfeo and Vespers of 1610 on a USA tour with Sir John Eliot Gardiner and the Monteverdi Choir and Orchestra, including Washington (21 April), San Francisco (27 April) and New York (30 April & 1 May).

Thomas Walker during March sings further performances of Don Pedrarias Dávila in Peter Sellars' new production of Purcell The Indian Queen for English National Opera and Laurence Cummings and also in March, April and May sings the title role in a further revival of Rameau Platée for Oper Stuttgart and Christian Curnyn. On 3 April Thomas sings Bach St Matthew Passion (arias) with the Gabrieli Consort and Players and Paul McCreesh in Aix-en-Provence.

Marcus Farnsworth sings Kelvin in the world première performances of Fujikura Solaris in France, including: Théâtre des Champs-Élysées, Paris (3 & 5 March), Opéra de Lille (24, 26, 28 March) and Opéra de Lausanne (24 & 26 April). On 3 April he sings Bach St Matthew Passion with the Gabrieli Consort and Players and Paul McCreesh in Aix-en-Provence, joining Thomas Walker. On 17 April, Marcus sings Taverner Flood of Beauty for the Tapestry of Sacred Music Festival, Singapore and conductor Jason Lai and in May gives recitals with Iain Burnside for Truro 3 Arts (8th), the music to include Butterworth, Schumann and the world première of Russell Pascoe Three Masks, One Face and for the Ludlow English Song Weekend (30th & 31st).

Gavan Ring during March sings further performances of Manuel in Falla La vida breve for Opera North and conductor Jac van Steen and in May begins performances of Moralès in David McVicar's production of Carmen for Glyndebourne Festival Opera.

Andrew Foster-Williams in March sings Mendelssohn Elijah with the Handel and Haydn Society of Boston and Grant Llewellyn (6th & 8th), Méphistophélès in Berlioz La Damnation de Faust in Moscow with the Russian National Orchestra (14th) and Bach St John Passion (Christus) in Amsterdam with the Royal Concertgebouw Orchestra and Richard Egarr (27 & 29). On 1 & 4 April Andrew sings Christus St Matthew Passion with the Philadelphia Orchestra and Yannick Nézet-Séguin, joining Karen Cargill.

Stephan Loges on 7 & 8 March sings Handel Johannes Passion and Dixit Dominus and Bach Magnificat in Bilbao with Forma Atiqva. Also in March and April he sings Christus in Bach St Matthew Passion with Orchestra of the Age of Enlightenment on their European tour, joining Mark Padmore and Andrew Tortise.

Lukas Jakobski during April sings Doctor, Macbeth's Servant and an Apparition in Verdi Macbeth in Andrea Breth's production for Dutch National Opera and Marc Albrecht.

Simon Lepper on 4 March gives a recital with Nicole Cabell for the Royal Conservatoire of Scotland, Glasgow and BBC Radio 3, the programme including songs by Ravel and Poulenc. In April he joins Karen Cargill for their recital debuts at Kennedy Center, Washington (7th) and Carnegie Hall, New York, (10th) with a programme of Lieder by Alma and Gustav Mahler and Wagner Wesendonck Lieder which they also perform at Wigmore Hall, London (15th). On 8 May Simon accompanies Mark Padmore in Schubert Winterreise for the Schubertiade Schwarzenberg at Hohenhems, Austria.