The Guardian

Britten’s comic hero Albert Herring: the only virgin in the village

How many operas feature a man who is crowned May Queen because no one can vouch for the virginity of the village girls? Andrew Mellor on Britten’s comic gem, Albert Herring.

The Telegraph

Sally Beamish: “There’s a dark, brooding quality in Britten’s work. It’s almost sinister.”

Ivan Hewett talks to composer Sally Beamish about giving up the viola, bumping into Peter Pears and her new work, Variations on a Theme of Benjamin Britten.

London Evening Standard

Pick of the Proms 2013

Booking opens on May 11 for the world’s largest classical music festival — from Barenboim to Bryan Ferry, our critics have the lowdown on the line-up.

BBC News

Nazi-themed Wagner opera cancelled in Dusseldorf

A controversial production of a Wagner opera at one of the major German opera houses has been cancelled because of harrowing scenes involving Nazis.

Classic FM

Dario Marianelli’s thoughts on the Quartet soundtrack

(Written on May 9, 2013 )

As multimedia becomes a more and more important role in our life, it is already used in different types of art in order to develop it further and bring new aspects in the interpretation of pieces.

Approaches of dealing with multimedia in theatre can be seen in the productions of Katie Mitchell, a British theatre director, and Leo Warner, a video designer. Their productions are characterised by the use of cameras, multimedia projections, and the sound techniques of early silent cinema on stage, with actors scurrying about filming their colleagues and swapping roles with one another. Piece “Fraulein Julie”, premiered at the Schaubühne theatre in Berlin in 2010 and now on at the Barbican in London, and “Waves”, premiered in 2005, both incorporate this idea and new method.

A way to deal with multimedia in opera can be seen in the new, groundbreaking interpretation of Mozart’s “Die Zauberflöte“ at the Komische Oper Berlin. Opera and multimedia are brought together in a union never seen before. The director of the opera house, Barrie Kosky, restaged this piece with British theater group “1927“. “1927“ had already used the method in their shows, a dynamic interaction between animation and actors.

In “Die Zauberflöte“ a plain wall is used on stage to project the animations and to create a wonderful fantasy world with flying recorders and growing plants. This unique interpretation still proves an enormous success and can be watched and understood regardless of potential language barriers.

Have a look at the trailer here… but it is definitely better to see it live at the Komische Oper Berlin!!

(Written on May 8, 2013 )

The Independent

Placido Domingo to receive ceremonial Freedom of the City of London

Spanish opera singer Placido Domingo is in the UK today (16th April) to receive the ceremonial Freedom of the City of London.

Classic FM

Giacchino calls for John Williams to score Star Wars VII

Film composer Michael Giacchino has revealed that he wants to hear a John Williams soundtrack for the new Star Wars movie, despite speculation that he would be commissioned to compose it.

Gramophone

Great Britons with Britten

A new set of ten stamps, released today by the Royal Mail, celebrates ten Great Britons – and it’s encouraging to see a classical composer acknowledged in his centenary year, Benjamin Britten.

New York Times

Jörg Widmann – On Clarinet, The Composer

Two years ago, in the intimate Rose Studio high above West 65th Street, the German composer and clarinetist Jörg Widmann opened a Chamber Music Society of Lincoln Center concert with a performance of his Fantasie for Solo Clarinet, inspired by commedia dell’arte.

The Guardian

The hidden treasures of Covent Garden: spangles, gilt and a singing green head

Relics from the Royal Opera House and Royal Ballet’s most famous productions are wheeled out of storage for preservation.

BBC Music Magazine

Sir Colin Davis: Obituary

The conductor Sir Colin Davis has died at the age of 85.

The Independent

(Written on April 16, 2013 )

The new chair of Arts Council England, Sir Peter Bazalgette, made his inaugural lecture at London’s RSA yesterday. The lecture was the launch of a partnership between RSA and Arts Council England to provide a series of ‘State of the Arts’ seminars, to replace the single annual Arts Council conference. Sir Bazalgette spoke of the need for Councils and businesses to support the Arts, stating ‘there is no city in Britain that does not understand the importance of the arts and culture, both as central to the life of the city and to the local economy’.

Arts Council England ‘champions, develops and invests in artistic and cultural experiences that enrich people’s lives.’ Between now and 2015 Arts Council England will invest £1.4 billion of public money from the government and an estimated £1 billion from the National Lottery to create cultural experiences across England for as many people as possible. Sir Peter Bazalgette became the chair of Arts Council England in January of this year having been appointed by Secretary of State for Culture, Olympics, Media and Sport, Jeremy Hunt.

During Sir Bazalgette’s speech, whilst addressing current advances in performance practices in the arts world, he spoke of his visit to see WildKat PR client, Silent Opera, and how art is not just for art’s sake. He stated ‘I didn’t go to Silent Opera’s production of L’Orfeo in Docklands Warehouse to scrutinise who did the excellent lighting and sound design, I went to enjoy an innovative opera format’.

Silent Opera is an innovative new opera company, aiming to ‘bring the action of the music to life without sacrificing the operatic narrative’, by immersing audience members within the opera. Audience members have individual headphones, which high quality, brand new music recordings are broadcast to, whilst the cast of the operas move around the performance space: ‘opera is set loose’. Silent Opera has been highly reviewed by many national press outlets, and has featured on both Channel 4’s Sunday Brunch and BBC News. This new medium of opera performance has been described as “An extraordinary concept that really does work…” (Capriccio Music Blog).

To listen to Sir Peter Bazalgette’s speech please click here, or to find out more about Silent Opera, click here.

Credit: Oliver Hyde-Tetley

(Written on March 21, 2013 )

The Guardian 

Alex Beard, deputy director of Tate, to succeed Tony Hall as head of Royal Opera House

Alex Beard helped build Tate Modern, but has never worked in opera or dance. Now he is to take on one of Britain’s most prominent arts jobs – boss of the Royal Opera House

The Telegraph

There is no secret formula to music’s mystery

Despite scientists’ best efforts, the magic of harmonic beauty will remain an enigma

New York Times

Record Ticket Sales for Bowie Exhibition in London

‘David Bowie Is’, a major retrospective of the British singer’s career and cultural influence, which opens at the Victoria and Albert Museum on Saturday, has sold over 42,000 advance tickets, more than double the amount generated by any previous exhibition at the museum.

New York Times

Mariinsky Theater Plans Star-Studded Opening of New Opera House

The Mariinsky Theater in Russia announced on Tuesday plans for a three-day celebration to mark the opening of the new Mariinsky II opera house in St. Petersburg in May.

Gramophone

Tine Thing Helseth launches new festival

The Norwegian trumpeter invites renowned artists to the Munch Museum in Oslo

Music Week

UK music revenues will be more than 50% digital this year – BPI’s Wadsworth

BPI chairman Tony Wadsworth CBE has echoed optimistic predictions for the music industry as the digital age develops, saying that the UK will this year move into a majority digital music market.

The Telegraph

(Written on March 20, 2013 )

The Guardian

Tom Service on catchy contemporary opera

Anyone want to hear me hum Nixon in China?

The Observer

Don’t mourn HMV: there are far better places to browse for music now

Fan sites and online stores still provide the thrill of a voyage of discovery that the high street lost long ago

The Telegraph

Britten: the composer who had the last laugh

In the centenary year of Benjamin Britten, the reputation of the ‘difficult’ composer may be about to change, says Rupert Christiansen.

How we fell out of tune with the piano

Thousands of pianos are being sent to the scrap-heap despite having the ability to still tug at our heartstrings, Paul Kendall discovers.

Classic FM

Lang Lang sells out Royal Albert Hall in 48 hours

The pianist is performing an extra solo recital on November 17 2013 after selling 5000 tickets to his concert in two days.

BBC News

Les Miserables soundtrack tops UK album chart

The soundtrack to Tom Hooper’s Oscar-nominated Les Miserables has become the first cast recording to top the UK and Ireland album chart in 16 years.

Slipped Disc

European churches pay homage to John Tavener

The British composer, 68, has been announced as the 2013 winner of the Prize for European Church Music.

Music Week

PRS for Music Foundation to run new music talent development fund

The PRS For Music Foundation is to run a new Music Industry Talent Development Fund being launched by Arts Council England.

Generator

Two Wrongs Don’t Make a Copyright

The Featured Artists Coalition (FAC), and the Music Managers’ Forum (MMF), have responded with disappointment to Government proposals on copyright extensions, referring to them as a “massive windfall” for large labels but a “mixed bag” for artists.

The Telegraph

(Written on January 21, 2013 )

Ahead of their opening night on January 23rd, Silent Opera have been documenting their progress through a new blog, hosted on Ideas Tap. The week began with Director and Founder Daisy Evans telling of her plans for her upcoming production and how her recent long stay in Berlin affected her vision for Silent Opera.

Following on from Daisy was Louis d’Heudieres, Silent Opera’s Resident Composer, who told of his new and optional ending to L’Orfeo, recounting his process of bringing this ‘new Orfeo’ to life.

Next it was the turn of Designer Katharine Heath to share her secrets of designing the set and costumes, giving some some insight into what she has planned for this spectacular show, as well as some beautiful exclusive design sneak-peeks.

Musical Director Christopher Bucknall then gave insight into how conducting and creatively putting together Silent Opera is different to a more traditional opera.

Read all of their enlightening stories here, with more to come next week. Don’t forget to buy tickets to the incredible show here.

(Written on January 11, 2013 )

This morning, David Green will be appearing on Midweek to discuss his grandfather – Ignatz Waghalter.

(Written on December 12, 2012 )

WildKat PR is excited to announce its upcoming collaboration with ‘Silent Opera’. Launched in 2011 by director Daisy Evans, Silent Opera curates opera performances for a new audience. Using technology and theatricality to create an unusually immersive experience, Silent Opera aims to bring this artform into the 21^st century and appeal to both opera novices and aficionados alike. Upcoming performances include a run of Monteverdi’s L’Orfeo as  it has never been seen before. The music, which is live singing mixed with pre-recorded orchestral music, is fed through headphones to the audience, who can walk in amongst the singers and get closer to the performance than ever before. 

Silent Opera are also offering their supporters the chance to really be part of this upcoming show, whether as an etched name in the set, or deciding Orfeo’s fate ‘in death, or in glory’ – see more on their Wefund page here.

Creative Director Daisy Evans explains: ‘I aim to bring the action of the music to life without sacrificing the operatic narrative. I aim to put the audience members in close proximity to the drama, and feel the intense sound world that is delivered straight into their heads.’

(Written on October 10, 2012 )

The Telegraph

What Cinematic Opera Means for the Real Thing

There are drastically changing patterns of demand in the opera world: Opera audiences outside London are increasingly elderly, and no amount of proselytising in schools or groovy buy-one-get-one-free initiatives seems to arrest that worrying trend.

Gustav Holst: so much more than ‘The Planets’

Gustav Holst’s neglected ‘Indian’ works are about to be celebrated in his home town at the Cheltenham Festival.

The Independent

The Proms think big: Can the world’s leading classical festival hold its own in an Olympic year?

As a vital part of the London 2012 Festival, the pressure’s on the Proms this year – and they deliver on their own terms

Ten years ago Delphian Records released its first recording, and in celebration of a decade’s worth of chamber, choral, vocal and instrumental albums, the Scottish label will present a series of concerts at this year’s Edinburgh Festival Fringe.

Arts Journal – Slipped Disc

How Gustav Mahler addressed the President of the United States

Apparently, at a January 1911 dinner that the music director of the New York Philharmonic Orchestra attended for President Howard Taft, Mahler got up and made a speech. It’s not clear from the report if he made it before the president left, but wouldn’t you like to know what he said?

The Guardian

Lina Lalandi obituary

Founding director of the English Bach festival, and a pioneer in the rediscovery of baroque opera.

James Bond lyricist Leslie Bricusse gives George Gershwin a new voice

For the first time the composer’s best-known orchestral music can be heard with words to accompany it.

The Times

A Review: Brynfest at the Festival Hall

Every Londoner became a Welshman at the weekend as the Brynfest took over the Southbank.

Lina Lalandi

(Written on July 9, 2012 )