Jenna's list: the year's Top 10 of London

Editorial

Well, it's been just over a year since I started running wildly around London, trying not to miss any of the city's endless operatic offerings. On top of the many, many shows, I'll miss the charming little ice creams at intermission (sorry, interval), and the weird named for different seating sections (what the hell are the stalls), and of course, the sheer quantity of things to see and hear all year long.

In review times two: Ensemble Prisma Wien & Bernarda Fink

Review

Ensemble Prisma Wien's debut concert at Wigmore Hall was a successful combination of excellent artists, and the kind of music that seems to flow organically from the group's dynamic. The Ensemble gave us music by Haydn, Schubert and Dvořák, all effortless melodists whose tunes feel as though they've always existed.

Graceful exits & double standards

Editorial

Why, when Domingo is clearly still involved in the operatic industry in a huge way, must his schedule still include staged performances in roles meant for true baritones? When his work at WNO, LAO, and Operalia includes time spent with such skilled artists at the starts of their careers, has Domingo considered the possibility that he is taking opportunities from these rising stars - particularly the hardworking baritones?

Opera fans have nothing on the "My Way Killings"

Humour

Karaoke is pretty huge in the Philippines, and apparently the standards of performance are held to dangerously high levels. In fact between roughly 2002 and 2012, there were about six instances of karaoke-induced violence, which later became known as the "My Way Killings". Yup, as in the song "My Way", famously popularised by Frank Sinatra in the late 1960s.

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.