Stormy weather: 6 nasty opera tempests

Editorial

Storms are a show unto themselves. The lightning, the horizontal rain, the howling winds; it's no wonder that opera is among the many art forms that capitalize on the inherent tension in a tempest to boost the drama in their stories. Composers seems to relish the opportunity to capture the power of a storm, and the fear and uncertainty they can instill in us mere mortals.

Tee-oh, eh?

Editorial

It's been a year and change of fantastic musical experiences here in London. The companies have been generous and welcoming, the shows have been full of ear- and eye-candy, and the sheer quantity of operatic offerings have been a total treat.

Conundrums: singing on command

Op-ed

I've heard countless responses to this request, from the benign, "I'm not warmed up," to the passive-aggressive, "Will you perform your job for me afterwards, then?" to the downright aggressive, "I'm not a performing monkey," and have admittedly offered a few of my own responses when I haven’t been in the mood to sing.

She said, they said: crossed wires in Buenos Aires

Editorial

She continues, "Due to pre-contractual breaches and the failure of Teatro Colon to fulfil my contractual terms, which are unquestionably respected wherever I sing, in opera houses and concert halls all over the world, I find myself in the impossibility to perform for the Argentinian audiences, which I love and highly adore."

Rose Bruford College: "We are absolutely unique."

Interview

"I began studying for the opera degree soon after I retired. I discovered I finally had time to pursue a passion for opera that began in my teenage years. For someone like me, online learning is a real treat. I couldn't see myself returning to a university campus and I can organise my studying around a busy social life. I love being able to work my way through the excellent course papers at my own pace."

Talking with singers: Zachary Nelson

Interview

"When I was in Chicago doing Das Rheingold, it was the first Wagner I'd ever done," Nelson recalls. "I was sitting onstage on opening night, and Eric Owens is just wailing away [as Wotan]. I'm standing there on the stage with him, and I just started welling up." It was a moment in his career that will stick with him, and which offered a clear picture of the rewards that remain in store for the young baritone.

Talking with singers: Anna Caterina Antonacci

Interview

"La voix humaine is unique because it's not really a monologue. The protagonist is speaking to her lover and hears his answers on the telephone. The challenge is to make the audience imagine the unheard part of the conversation, and have them participate in the drama."

Star opera singers: time-efficient, or just late to rehearsal?

Editorial

With the few exceptions of singers who are stepping back into a production they've already rehearsed, with the same cast and conductor, it seems as though companies are willing to offer their audiences a lesser production in favour of having a famous name onstage. And maybe it's a profitable trade-off. It just feels...not right.

Are the arts & other creative fields a waste of time & money?

Op-ed

Go ahead and get rid of all the music on your phone and elsewhere. When you go into stores, no music will be playing, and you won't be hearing any while you work out at the gym. If you've got tickets to a concert of any kind, throw those out. Musicians are artists, and you won't be needing any of that.

Talking with singers: Sir John Tomlinson

Interview

"They're the most important years of my working life," he says, proud of the legacy of live performances and recordings, particularly from his time at the Bayreuth Festival. There, in the late 1980s, Sir John sang his first Wotans, along with fellow first-timer Daniel Barenboim at the podium. In his 18 years at Bayreuth, he recalls, "I've never answered so much fan mail in my whole life." The cast would sign autographs in the mornings following performances, "and it would be a two-hour long session with endless people."