Talking with Renaissance men: Matthew Sharp

Interview

Matthew Sharp is one of those tirelessly creative types. He's a solo cellist, baritone, actor, director, and general theatre creator; as often as he can, Sharp combines all of the above into his work, earning himself the title, "virtuoso of the arts" (The Times). Our conversation was a complicated, enlightening one, so much so that a single interview wouldn't quite cut it.

Hilarious: Carl Orff's "fun, handsome goose"

Humour

Misheard lyrics, anyone? In the name of fail-safe laughter, we wanted to share with you what's perhaps the funniest versions of Orff's Carmina Burana available today. And yes, we should absolutely get that octopus some boots, and send him to North Korea.

Inspiration: seeing it for oneself

Op-ed

It's funny how imagination is strengthened by experience. Here in Britain, we've seen grassy hills, greener than ever seemed possible in real life, and populated with the cutest, shaggiest sheep you've ever seen. The Thames river is a heavy, looming landmark that's rarely blue, and it swerves and veers through the middle of London in a way that's unmistakable on a map.

In review: Javier Camarena at Wigmore Hall

Review

This recital was the best use of the "crowd pleasing" tactic. Camarena chose repertoire with which he just couldn't have gone wrong, but he followed up expectation with perfect delivery. It's no wonder that he holds rank along with Pavarotti and Flórez, as the third singer in 70 years to encore an aria at the Metropolitan Opera.

The pre-show monologue

Humour

Ok, shrug off the coat, and find your phone. Do-not-disturb setting, don't fail me now. 1 minute left! Time for an anticipatory show-related Tweet. Sir to my left, I see you eyeing my phone and drawing conclusions related to my lack of grey hair; don't you worry, though, I will not live up to your stereotype of mid-show texters. Tweet sent! Double check volume is off, and let's add airplane mode for good measure. See, sir to my left, phone is going into the purse.

Let's hear it for the basses

Humour

It can be a tough life for those basses; not only are they rarely the title role in an opera, but they spend a huge amount of kind being skeevy, grabby old men at the party, or money-hungry meddlers, or murderous recluses. When they're not any of those things, they're penniless philosophers making much out of the meaning of donating a coat, or morally questionable cult leaders, or four different faces of the devil.

The orchestra problem: should they smile more?

Op-ed

The necessities of large-scale concerts like these are a reality; bodies need to be shuffled, chairs need to be added, and tuning needs to happen. But, why ignore the listeners during any of this? There's a difference between a relaxed environment, and one that ignores the fact that they're performers. Onstage housekeeping is the perfect opportunity for musicians to communicate with their listeners, and prove that they're human beings as well as talented artists. Talk to them, guys!

Magic & theatre: Jurowski and OAE's Resurrection Symphony

Review

Jurowski was the centre of the theatre of this piece, a physical chameleon that inspired and listened to the OAE. He took us through startling interruptions, adorable waltzes, and ugly and distorted folk sounds. The shuffling around onstage and in the audience between the first and second movements were decidedly too much, and too much for Jurowski; in a satisfying demand of the floor, he went from the second movement into the third with a forward-march kind of authority that seemed to scream, "order in the house!"

Talking with singers: Jamie Barton

Interview

"This seems a bit cliché in terms of mezzo roles, but dude, throw me a Carmen. I would love to sing a Carmen. I think I would sing the pants off of her. And she's also, once again, a character who is so fascinating to me, psychologically." Barton is eager to portray opera's infamous, hedonistic femme-fatale as "someone who is not the typical body type. I think that is an envelope I would love to try and push, given the right director and the right production."

Ian Rosenblatt: "It's all about the voice."

Interview

Out of his recital series have come several close relationships with the singers. "I spend a lot of time with all the artists. A number of them have become friends." Often the singers stay at with him while they're in town for a recital, or they'll use his piano to rehearse. "There's nothing like having the second act of Bohème being sung to you in the kitchen while you're cooking."