In review: Pop Up Opera's I Capuleti e i Montecchi

Review

Pop Up Opera's touring production of I Capuleti e i Montecchi has traveled across the southern UK for nearly a month, and it's impressive that the production, directed by James Hurley, feels at home in its latest London venue. The action takes place in the round, and the cast of five make a handful of forays into the crowd; it's one of the advantages - responsibilities, even - of performing with an audience at arm's length.

In review: Ivan Magrì at Wigmore Hall

Review

You could argue that the recital, packed with songs and arias by Bellini, Donizetti, Verdi, Puccini, and Tosti (with some Massenet for variety), was a one-flavour kind of deal. Yet like the familiar flavours of steak frites, chocolate truffles, and great red wine, what sort of party-pooper could complain?

Talking with singers: Riccardo Massi

Interview

"Indeed, having good strength helps when it comes to supporting the sounds with the diaphragm, however it's much better to be elastic and well stretched. I remember I had to do really hard work to relax my body when I was a student taking my first lessons, because my body was too hard and tense for the hard training I had to go through, since I was a fighter."

Opera shorthand, part II: Proben & Fächer

How-to

Last year, we brought you some tips on opera-insider jargon, and how to speak the industry shorthand. Part I focused on the names of operas and their nicknames, and in part II, we're talking rehearsals and types of voices. So, if you're hoping to infiltrate opening-night opera parties, or just keep up with the opera talk with your singer friends, we can help you with the shortened lingo.

In review: Exaudi at Wigmore Hall

Review

The 8 voices of EXAUDI sang in varying combinations; their uniform sound stayed interesting, with solo singers trading moments of spotlight. Just as we grew comfortable in their 16th-century sound, well grounded and ringing with overtones, Weeks revealed his stealthy integration of Arcadelt's Primo Libro de' Madrigali and the EXAUDI director's own Libro di fiammelle e ombre. The two composers shared texts - largely by anonymous authors - which live on the blurry line between love, lust, desperation, and death.

Narcoleptic supernumerary in demand as dead body of Buoso Donati

Humour

A narcoleptic supernumerary has earned great praise for his portrayal of the dead body of Buoso Donati in Puccini's "Gianni Schicchi", now in-demand as Buoso-du-jour.

Singers, it's the annual Tax Season Conundrum!

Op-ed

Unless you are fortunate enough to be a star in high demand you don't have to worry right? WRONG! Even then, you've got bills not limited to agent commissions, AGMA fees, health insurance, travel, rent sometimes in multiple locations and those dreaded gigs that don't line up in the calendar year in a foreign country... even out of state poses challenges depending on your official place of residence.

Nashville Opera's Carmen: "She dies because she told a man, 'no'."

Interview

"I think that neither Carmen nor José are hero nor villain, but people who make bad choices. I think that's why Carmen is perhaps the most performed opera of all time, partly because of its tragic love story. The stories of crimes and passion have documented throughout human history. We know these people and can identify with how they might feel or felt, based up personal experiences or from stories we have heard or read about."

Conductor's score appears to have been opened prior to first rehearsal

Humour

Breaking news: spine on conductor’s score shows signs of having been opened before the first rehearsal, says source sitting nearby. Currently unclear if the score has been borrowed from a friend.

Stage management shocked as everyone brings own pencil to rehearsal

Humour

Breaking: everyone brings their own pencil to rehearsal, leaving stage management stunned.