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Download PDF Booklet THE CALL INTRODUCING THE NEXT GENERATION OF CLASSICAL SINGERS Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick Malcolm Martineau piano our future, now Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick THE CALL Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick Malcolm Martineau THE CALL FRANZ SCHUBERT (1797-1828) 1 Fischerweise (Franz von Schlechta) f 2’53 2 Im Frühling (Ernst Schulze) a 4’32 ROBERT SCHUMANN (1810-1856) 3 Mein schöner Stern (Friedrich Rückert) d 2’39 JOHANNES BRAHMS (1833-1897) 4 An eine Äolsharfe (Eduard Mörike) f 3’52 ROBERT SCHUMANN 5 Aufträge (Christian L’Egru) b 2’30 GABRIEL FAURÉ (1845-1924) 6 Le papillon et la fleur (Victor Marie Hugo) e 2’08 CLAUDE ACHILLE DEBUSSY (1862-1918) 7 La flûte de Pan (Pierre-Félix Louis) b 2’45 REYNALDO HAHN (1874-1947) 8 L’heure exquise (Paul Verlaine) c 2’27 CLAUDE ACHILLE DEBUSSY 9 C’est l’extase (Paul Verlaine) a 2’54 FRANCIS POULENC (1899-1963) Deux poèmes de Louis Aragon (Louis Aragon) d 10 i C 2’44 11 ii Fêtes galantes 0’57 GABRIEL FAURÉ 12 Notre amour (Armand Silvestre) e 1’58 MEIRION WILLIAMS (1901-1976) 13 Gwynfyd (Crwys) c 3’25 HERBERT HOWELLS (1892-1983) 14 King David (Walter de la Mare) b 4’51 RALPH VAUGHAN WILLIAMS (1872-1958) 15 The Call (George Herbert) f 2’12 16 Silent Noon (Dante Gabriel Rossetti) c 4’03 BENJAMIN BRITTEN (1913-1976) 17 The Choirmaster’s Burial (Thomas Hardy) d 4’08 IVOR GURNEY (1890-1937) 18 Sleep (John Fletcher) e 2’55 BENJAMIN BRITTEN 19 The Last Rose of Summer (Thomas Moore) a 3’48 20 Early One Morning (Anonymous) b 2’32 SERGEI RACHMANINOV (1873-1943) 21 In the Silent Night (Afanasy Afanasyevich Fet) e 2’55 63’09 MADISON NONOA soprano a MARTHA JONES mezzo-soprano b ANGHARAD LYDDON mezzo-soprano c LAURENCE KILSBY tenor d ALEX OTTERBURN baritone e DOMINIC SEDGWICK baritone f MALCOLM MARTINEAU piano MOMENTUM: Our Future, Now is an initiative driven by leading international artists supporting younger professional colleagues in the first substantial phase of their career. Created by Barbara Hannigan, the Momentum model is an urgent artistic and human response to the situation caused by the 2020 pandemic, yet devised with long-term staying power. Momentum: Our Future Now, sees leading soloists and conductors supporting younger colleagues by bringing them onto main stage professional engagements. Young professional soloists are invited to share the stage on leading soloists’ engagements, while young professional conductors assist leading conductors and are given invaluable opportunities to lead an orchestra during the rehearsal period. In each case the young artist receives a fee. The collective initiative has very quickly attracted the support of a rapidly increasing list of the world’s leading solo artists, conductors, orchestras, organisations and festivals, who have agreed to incorporate Momentum into their current season and beyond. The Call is the first recording both inspired and supported by the Momentum initiative. Momentum extends its heartfelt thanks to Malcom Martineau for his dedication and generosity, and to Roger Wright, Britten Pears Arts, Mark Stone and Andrew Mellor. I was honoured to be invited by Barbara Hannigan to be a part of the Momentum scheme to help young singers who had been hit particularly hard by lack of work during the pandemic. I thought that it would be a good idea to make a CD with six singers and I deliberately chose artists, either those whom I had worked with in the past or through recommendations, who had had virtually no work at all during Covid times. I asked them to choose songs with which they had a particular, personal connection and it has produced a wonderfully varied programme. Thank you again to Barbara for the motivation and inspiration and to Roger Wright and Carolyn Barnfield for enabling it all at the Maltings, Snape. Malcolm Martineau New Zealand soprano and Lies Askonas Fellow Madison Nonoa holds a Masters in Music (Distinction) from the Guildhall school of Music and Drama where she studied under the tutelage of Yvonne Kenny. Madison made her debut at the Glyndebourne Festival Opera as First Siren Rinaldo, and was selected as a 2020/2021 Jerwood Young Artist for the Festival. Madison is a current Samling Artist and Britten-Pears Young Artist and a former Dame Malvina Major Emerging Young Artist with New Zealand Opera, where she made her debut as Papagena Die Zauberflöte. Madison has performed nationally and internationally with the New Zealand Symphony Orchestra, the Australian Brandenburg Orchestra as a concert soloist resulting in a CD recording “Noel! Noel!” and with the London Philharmonia at the Royal Festival Hall. Competition highlights include being the first prize winner of the Dame Malvina Major Arias in Christchurch and Wellington, as well as being awarded the first prize in the Napier Aria, Tauranga competitions and receiving 2nd prize in the New Zealand Aria Competition. She was a semi-finalist in the London Bach Singing competition and the International Handel Singing Competition and a finalist in the 2016 Lexus Song Quest. She acknowledges the ongoing support of the Dame Kiri Te Kanawa and Dame Malvina Major Foundations. Martha Jones studied at the RCMIOS where she was awarded a Susan Chilcott scholarship by the Royal Philharmonic Society. She has also taken part in young artist programmes at Carnegie Hall, Ravinia Festival and was a Britten-Pears Young Artist and a Samling Scholar. Recent engagements include Dorabella Così fan tutte (English Touring Opera and Classical Opera), Annina La Traviata and Neferneferuaten Akhnaten (English National Opera), Hermia A Midsummer Night’s Dream (Nevill Holt Opera) and Opera Highlights (Scottish Opera). Other operatic engagements include FANNY PRICE Mansfield Park (The Grange Festival), Melanto/ Amore The Return of Ulysses, Nancy Albert Herring and Lisetta Il Mondo Della Luna (English Touring Opera), 2nd Lady The Magic Flute (Mid Wales Opera), 2nd Witch/Lady in Waiting Macbeth (Scottish Opera) and Countess Ceprano Rigoletto (Opéra-Théâtre Limoges). She has sung in recital at St John’s Smith Square (Haydn Arianna a Naxos), the Ryedale Festival (Brahms and Mendelssohn duets), Kings Place (including Grieg, Hahn and Schumann) and the Wigmore Hall (Samling Showcase). Orchestral song engagements include BESSIE in Weill’s Mahagonny Songspiel (Kings Place), selections from Henze’s Stimmen (Queen Elizabeth Hall), Mahler’s Das Lied von der Erde (London Mahler Orchestra) and Mahler’s Rückert Lieder (New English Ballet Theatre). Welsh Mezzo Soprano Angharad Lyddon is a graduate of the Royal Academy of Music. She was a member of the Academy Song Circle and a Kohn Foundation Bach Cantata Scholar working with prominent Bach experts including Sir John Eliot Gardiner and Peter Schreier. Angharad was a 2013 Glyndebourne Jerwood young artist and recipient of the Wessex Glyndebourne Association award. Angharad is also a Samling Artist taking part in masterclasses with Dame Ann Murray and Olaf Bär. Angharad made her professional debut in 2015 at English National Opera as Kate in Mike Leigh’s production of The Pirates of Penzance returning in 2019 as Sotopenre in Phelim McDermott’s award-winning production of Akhnaten. Other roles include: Flosshilde in Das Rheingold at Grimeborn festival, Olga in Eugene Onegin for Buxton International Festival and Julia Bertram in Mansfield Park for The Grange Festival. Concert highlights include recitals at Wigmore Hall, Stravinsky’s Pulcinella and Requiem Canticles with Vladimir Jurowski and the LPO and Handel’s Messiah at the Royal Albert Hall. Following her success at the 2018 Welsh Singer Showcase at Cardiff’s St David’s Hall with the BBC National Orchestra of Wales, Angharad was chosen to represent Wales in the 2019 BBC Cardiff Singer of the World Competition and was a Finalist in the Song Prize. A former BBC Radio 2 Young Chorister of the Year (2009), Laurence Kilsby is a British Tenor, Lies Askonas Fellow and ABRSM vocal scholar at the Royal College of Music, supported by the Victoria Robey Scholarship and the Drake Calleja Trust. He holds the Kathleen Ferrier Society Bursary (2018) and competes in the 2021 Das Lied: International Song Competition. Recent solo concert highlights include; Venus and Adonis with Christian Curnyn and the Early Opera Company (Wigmore Hall), St. John Passion with the Gabrieli Consort (Cathédrale de Lausanne), Elijah with Masaaki Suzuki and the OAE (Théâtre des Champs-Elysées), Peter Sellars’ staging of the St John Passion with Sir Simon Rattle and the OAE (Elbphilharmonie, Hamburg), Lieder Recital (Akademie der Künste, Berlin), Esther with the London Handel Festival (Wigmore Hall). Recent operatic work; Apollo/Pastore/Spirito in L’Orfeo (Nederlandse Reisopera), cover Lysander/A Midsummer Night’s Dream (Nevill Holt Opera), Phoebus/The Fairy Queen (Waterperry Opera Festival), Lucano/L’incoronazione di Poppea (Longborough Festival Opera). Future engagements include cover Grimoaldo/ Rodelinda (RCMIOS), company debut with the Festival d’Aix-en-Provence as Lucano/Soldato Primo/Poppea (2022). He also joins the Verbier Festival as a Young Artist this summer. Described as “ruling the stage” (Opera Magazine) in his debut as Pluto last season in English National Opera’s new production of Orpheus in the Underworld, British baritone Alex Otterburn delights audiences and critics alike with his bright tone and commanding stage presence. As an ENO Harewood Artist, Alex has also appeared as Morales in Calixto Bieito’s production of Carmen conducted by Valentina Peleggi, and Squibby in the world premiere of Iain Bell’s Jack the Ripper: The Women of Whitechapel, conducted by Martyn Brabbins. Alex’s critically acclaimed debut as Eddy in Mark-Anthony Turnage’s Greek at the Edinburgh International Festival defined him as an exciting and important artist of the new generation, with further performances given in Glasgow for Scottish Opera and on tour to the Brooklyn Academy of Arts, marking his US operatic debut.
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