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."

Heavy nights: Schoenberg & Brahms, the LPO and Goerne

Review

It was Goerne that was the highlight of the night. His is one of the most beautiful baritones singing today, and he was a complete picture of expression. His love for Brahms' music was completely clear, and he sang with his whole body in a huge range of colour. You could certainly hear the Lieder singer as he delivered this heavy text; he risked some soft singing, but gave us some of the more satisfying moments of the Requiem with a triumphant, full sound.

Gimmicks & tactics: discouraging the new

Op-ed

What Christiansen calls gimmicks and tactics, we call creativity. In the case of ROH's Lucia, we clearly loved it, so on this particular point, we simply differ in opinion. There are "concept" productions that have fallen flat for us, too, so we're not out to blindly promote the wild, anything-goes ideas of today's directors. But to condemn creativity and attempts at novelty as Christiansen does is shameful.

Be in on the secret: Confidential Opera Project

News

My goal with applying it to opera is to help de-mystify the whole thing. I want the audience to experience the magic that you're only privy to on the first sing-through of a score - I know my fellow singers will agree that the first sing-through is probably one of the most fun rehearsals for a show. There will be mis-steps, but there are also moments of supreme beauty and magic that come from the adrenaline that pumps through these talented artists' veins.

In review: Lucia di Lammermoor at ROH

Review

There was Lucia, embodying the most horrible, messy, inappropriate and inconvenient lows in a woman's life. By showing us all these unseen scenes, Mitchell managed to create a real relationship not only between Lucia and Edgardo, but between Lucia and Alisa, sung and acted beautifully by Rachael Lloyd. The gross differences between victory and loss, men's stories and women's, were powerful.

Ian Page: Mozart & imagination

Interview

"I love the way things have changed in the last generation or two. There are people who behave stupidly and tyrannically, there will always be. But it's more and more of a minority now, and I think it's so clear that when people feel enabled and bring themselves to their work, it's bound to be better. It's so obvious."