DOCSLIB.ORG

Finalists Joanna Foote – Soprano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Finalists Joanna Foote – Soprano Finalists Competition (2013) and second place in the Maureen Lehane competition (2012) at the Joanna Foote – soprano – born in New Zealand holds a Master’s degree in Vocal Wigmore Hall. She has sung the role of Lisette in Imago (Glyndebourne), Flora in The Performance from UCLA, California. In 2012 she was a semi-finalist for the Kathleen Turn of the Screw (Glyndebourne Festival Opera), Amore in L’Incorinazione di Poppea Ferrier Competition and receives ongoing support from The Dame Kiri Te Kanawa (RCMIOS), and covered Dew Fairy and Sandman in Hänsel und Gretel (Garsington Opera). Foundation. Since arriving in the UK highlights have been performing with Garsington Opera, Diva Opera, and The Opera Group in association with the Young Vic, Paris Philippa Boyle – soprano – trained in Rome at Conservatorio Santa Cecilia graduating Châtelet and Barcelona Liçeu. She appeared as Najade in Seattle Opera’s Young Artist summa cum laude with a Masters in Opera studying with Elvira Spica de Masi and at Production of Strauss’ Ariadne auf Naxos . Joanna has also performed the roles of Opera Studio Santa Cecilia under Renata Scotto. Philippa has an MA in Classics from Adina/ L’elisirD’amore , Susanna/ Le Nozze di Figaro , Nannetta/ Falstaff , Monica/ The Clare College, Cambridge where she was a choral scholar and appears as a soloist on Medium , Marie/ La fille du Regiment , Belinda/ Dido & Aeneas among others. Solo concert several of Clare Choir’s recordings Projects include Filia (Carissimi Jephthe ) under Ivor appearances include Handel’s Messiah , Fauré’s Requiem and Pergolesi’s Stabat Mater . Bolton (Munich Operfest), Bastienne (Teatro Goldoni Rome), Kim Ashton’s Tonseisha In 2009 she was a finalist in the McDonald’s Aria Competition at the Sydney Opera House (Cockpit Theatre London) and performances at Festival d’Art Lyrique d’Aix en Provence, and won The Otago Daily Times Aria Competition in New Zealand. She was one of 12 singers Rome International Baroque Festival and Beijing Music Festival. Future projects include chosen to attend the Solti/Te Kanawa Accademia di Bel Canto in Italy in 2010 and is a Chopie Songs in Italy, Dido at the Forge, Camden. Samling Scholar. Julia Weatherley – soprano –highlights include at the Linbury Studio at the Royal Opera Adriana Festeu – Mezzo-soprano – completed her Masters with Distinction at Royal House as Marina in new opera, The Last King of Scotland , working with Simon Academy Opera, studying with Lillian Watson. Adriana made her operatic debut in 2005 McBurney and Complicite on the role of Pamina ahead of his new production at ENO for the Romanian National Opera as Fidalma (Cimarosa’s Il matrimonio segretto ). In 2008 and being on the mentor scheme at the ROH. She has been awarded the Paul Simm Opera she made her UK debut, singing the role of Candida (Donizetti’s Emilia di Liverpool ) for Prize, won the English Song Competition and The Roy Pleasance Competition (for voice the European Opera Centre. For Garsington Opera, Adriana covered the title role of and orchestra). Performances include Mrs Medlock, in the UK Premiere in McNeff’s The Cenerentola, Megacle (Vivaldi’s L’Olimpiade ) and Calbo (Rossini’s Maometto Secondo ). Secret Garden , under Wheeler/Robinson; Haydn’s Creation under Kraemer and Bach Other roles include Rosina ( The Barber of Seville ), Komponist ( Ariadne auf Naxos ), BMinor Mass both at St John’s Smith Square. She has recently performed at Clonter Suzuki ( Madam Butterfly ), Isolier ( Le Comte Ory ), Endimione ( La Calisto ) and the title Opera, at the Oxford Lieder Festival and in a masterclass in the Wigmore Hall. She is roles in Carmen and La Cenerentola. Recent projects have included Dvořák, Mahler and grateful to be the Robinson Hearn Scholar and have awards from the Caird and Stapley Enescu song cycles at Leeds Lieder Festival, a selection of Romanian folk songs on BBC Trust supporting her studies at Trinity Laban Conservatoire of Music and Dance under Radio 4 and the roles of Priestess ( King Arthur ) and Juno (Eccles’ The Judgement of Neil Baker. Paris ), with the New London Consort. Accompanists Jennifer Witton – soprano – is currently studying on the Masters programme with Sarah Lindy Tennent-Brown was born in New Zealand, where home was a remote farm in the Pring at the GSMD where she previously received an honours degree (First Class) in western North Island. She studied with Margaret Fingerhut at the RNCM and held Junior music performance. She has worked with many respected coaches and conductors Fellowships at both the RNCM and the RCM. She won the 2000 NZ National Piano including William Christie, Jean-Luc Tingaud, David Angus, Martyn Brabbins, James Competition and was an inaugural Wigmore Young Artist, making her début at Wigmore Holmes, Graham Johnson, Eugine Asti, Lada Valesova, Gerald Moore and Iain Burnside. Hall in 2004 partnering Ann Murray, DBE. Lindy has established a number of successful She was the recipient of the Odette Sansom award for English song at the Guildhall and partnerships with singers and instrumentalists, most notably as one half of the prize- was a prize winner at the AESS awards 2011. Roles in staged extracts include Mimi winning longfordbrown piano duo (www.longfordbrown.com). She has performed (La Boheme ), Countess ( Le Nozze di Figaro ), Butterfly ( Madame Butterfly ), Cleopatra throughout Europe, South America and Australasia, and has worked as a répétiteur and (Giulio Cesare ), Lauretta ( Gianni Schicci ), Anna one ( 7 deadly sins ) and she is also a vocal coach for Aldeburgh Productions, English National Opera, Glyndebourne keen song recitalist . In the last year she has worked for Opera North, Raymond Gubbay, Productions, and several West End musicals. She works extensively on the development Wexford Festival Opera and has just finished a season at Glyndebourne Festival Opera. of new opera, and was Music Director of EXPOSURE at the Linbury Studio Theatre, ROH 2010–13. Joanna Songi – soprano has recently completed her studies at the Royal College of Music supported by a Soirée d’Or Award and The Kathleen Trust and was a Britten-Pears Young Edward Liddall is currently studying at the GSMD on a scholarship under the tutelage of Artist for 2012. She was awarded first place in the Brooks-Van der Pump English Song Caroline Palmer. He previously studied with Thalia Myers both at the RCA, Junior Department, and then as an undergraduate at King’s College, Cambridge. Edward has performed at venues across the UK both as a solo pianist, and as a chamber musician. He has also extensive experience as a song accompanist – recent projects include playing for Iain Burnside’s Poet’s Echoes concert at Guildhall, and working as a staff accompanist at The Abingdon Summer School for Solo Singers. He has a keen interest in new music, and has recorded several works from the recent ABRSM volume, Spectrum for Piano Duet, with Thalia Myers. Forthcoming plans include a performance in the Barbican, and recitals across London. Edward is grateful to both The Worshipful Company of Tobacco Pipe Makers, and The Worshipful Company of Cordwainers for supporting his studies at Guildhall. The Emmy Destinn Young Singers Awards 2013 th Gavin Roberts enjoys a busy and varied career as a Piano Accompanist. He is Artistic 8 Competition Final Director of the recital series SONG in the CITY, and has partnered singers in recital at Rosslyn Chapel 26 th October 2013 the Wigmore Hall, the Barbican Hall and the Royal Festival Hall,The Oxford Lieder Festival. Recent and current engagements have included Brahms’ Liebesliederwaltzer as a duet partner to Graham Johnson, and A Soldier and a Maker directed by Iain First Prize Burnside. Alongside soprano Lucy Hall, he was the winner of the 2012 Oxford Lieder Young Artist Platform. He plays regularly for The BBC Singers, The Joyful Sponsored by St. Wenceslaus House-Velehrad £2000 Company of Singers and Constanza Chorus. Gavin studied with Andrew West and Eugene The winner receives the bronze Emmy Destinn medal, created by Irena Sedlecká Asti at the Guildhall School of Music & Drama where he is now a professor of academic FRBS and an opportunity to perform at an EDF concert studies and a staff accompanist. More details at www.gavinroberts.org Czech Song Prize £500 Peter Foggitt is a pianist, composer and conductor. He made his Radio 3 concerto debut Sponsored by MAESTRO Tour Management at 21, and is the recipient of several prizes, including the 2013 MBF Accompanist’s Prize at the Kathleen Ferrier Awards. His music has been commissioned by cathedral choirs, ensembles, soloists and opera companies: current projects include a piano concerto and Dvořák Society of Great Britain Prize £500 a song-cycle, and a two-act work for Size Zero Opera. He directs the ROSL-winning vocal octet Cries of London, and during the 2012-2013 season was guest Chorus Master Robert Hendra Prize at the Royal Opera, Copenhagen. He lives in London with his pet sourdough starter. Peter studied at King’s College, Cambridge, Trinity College of Music, and the Guildhall School ‘In Emmy Destinn’s Footsteps’. A special prize to mark 15 years of the of Music & Drama. He is grateful for the support of the Watt Trust and the Musicians Foundation comprises a trip to Prague, including a visit to the National Theatre Benevolent Fund. www.peterfoggitt.com and a coaching session with one of the leading Czech opera singers. Panaretos Kyriatzidis has a particular interest in contemporary music and chamber Lady Grenfell-Baines Accompanist’s Prize £300 music, both of which have taken him to various venues across Europe. He has been awarded numerous prizes, including the David Gosling Prize, the John Thompson Prize and first prize in Il Circolo Solo Piano Competition. As a chamber musician his many awards have included first prize in the Elizabeth Schumann Lieder Competition (with soprano Erika Mädi-Jones), the Cavatina Chamber Music Competition (with the Bedriska Trio) and the English Song Competition (with Julia Weatherley).
Load more

Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4Pm
    MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4pm Due to the indisposition of Christina Bock, Rachael Lloyd sings Wellgunde in today’s performance. Rachael Lloyd has sung Alisa (Lucia di Lammermoor) and Kate Pinkerton (Madama Butterfly) for The Royal Opera. Other appearances include Mrs Anderssen in Sondheim’s A Little Night Music (Théâtre du Châtelet, Paris), the title role of Carmen (Raymond Gubbay Ltd at Royal Albert Hall), Miss Jessel in The Turn of the Screw, Third Lady in The Magic Flute and Pitti-Sing in The Mikado (ENO), Amastris in Xerxes (ETO, Early Opera Company), Maddalena in Rigoletto (Iford Arts), Aristea in L’Olimpiade (Buxton Festival), Meg Page in Falstaff (Glyndebourne on Tour), Woman/Mother in Dove’s The Day After (ENO Baylis) and Cornelia in Giulio Cesare (Glyndebourne Festival). Notable concert performances include Rossini’s Stabat Mater (Ulster Orchestra), Dido and Aeneas (Spitalfields Festival), Messiah (Kristiansund), Ravel’s Trois Poèmes de Stéphane Mallarmé (LPO) andSchumann’s Frauenliebe und - leben and Elgar’s Sea Pictures (Opéra de Lille). Plans include Selene in Berenice (Royal Opera). The rest of the cast remains the same with German tenor Stefan Vinke as Siegfried, Swedish soprano Nina Stemme as Brünnhilde, Austrian baritone Markus Butter as Gunther, Danish bass Stephen Milling as Hagen, American soprano Emily Magee as Gutrune, Scottish mezzo-soprano Karen Cargill as Waltraute, German baritone Johannes Martin Kränzle as Alberich, British contralto Claudia Huckle as First Norn, For all Royal Opera House press releases visit www.roh.org.uk/press German soprano Irmgard Wilsmaier as Second Norn, Norwegian soprano Lise Davidsen as Third Norn, Australian soprano Lauren Fagan as Woglinde and English mezzo-soprano Angela Simkin as Flosshilde, conducted by Antonio Pappano.
    [Show full text]
  • Reynaldo Hahn | Chamber Music & Song
    Vol . 1 REYNALDO HAHN | CHAMBER MUSIC & SONG JAMES BAILLIEU piano Benjamin Baker violin Tim Lowe cello Adam Newman viola Bartosz Woroch violin FOREWORD TRACK LISTING REYNALDO HAHN (1874–1947) I first came across Reynaldo Hahn through his songs. I loved their unashamed PIANO QUARTET NO.3 IN G MAJOR romanticism, their sentimentality and the effortlessly endearing quality of the 1 i Allegretto moderato 07’25 music. 2 ii Allegro assai 02’11 The popularity of his songs encouraged me to search through Hahn’s lesser- 3 iii Andante 09’48 performed chamber music and present these in a concert series at the Brighton 4 iv Allegro assai 04’50 Festival. The series was a celebration of French music and particularly a study of Benjamin Baker violin Adam Newman viola Tim Lowe cello James Baillieu piano the contrasting musical styles of Poulenc and Hahn. Hahn’s chamber music was 5 À CHLORIS 03’03 so well received that I embarked on this recording project so that it may be Benjamin Baker violin James Baillieu piano enjoyed by a wider audience. This recording shows the incredible scope of Hahn’s music, from the epic drama 6 VOCALISE-ÉTUDE 03’47 Adam Newman viola James Baillieu piano of his piano quintet to a piano quartet full of charm. Especially striking is Hahn’s wonderful gift for melody through the song transcriptions and his extraordinary 7 SI MES VERS AVAIENT DES AILES 02’21 ability to suspend time in the slow movements of his chamber music. Tim Lowe cello James Baillieu piano I am extremely grateful to my colleagues who embarked on this exploration with 8 NOCTURNE IN E-FLAT MAJOR 07’02 me.
    [Show full text]
  • Kathleen Ferrier
    Kathleen Ferrier ARIADNE 5004 In Celebration of BACH Kathleen Ferrier Johann Sebastian Bach (1685-1750) In Celebration of Kathleen Ferrier contralto Ena Mitchell, Friedl Riegler, Irmgard Seefried soprano William Herbert, Hugo Meyer-Welfing tenor BACH Otto Edelmann, William Parsons bass Wiener Staatsopernchor, The Cantata Singers Wiener Philharmoniker / Volkmar Andreae Magnificat Jacques Orchestra / Dr Reginald Jacques FIRST RELEASE Wiener Staatsopernchor 1 bn a – JS Bach: Magnificat, BWV 243.2 31:36 Wiener Philharmoniker bo – co JS Bach: Cantata No.11, Praise our God *b 26:07 Volkmar Andreae cp – dl JS Bach: Cantata No.67, Hold in affection Jesus Christ *c 16:24 dm JS Bach: Cantata No.147, Jesu, Joy of Man’s Desiring *d 3:33 Praise our God *Sung in English (Cantata 11) Total duration: 77:41 Hold in affection Jesus Christ Recorded at: a Grosser Musikvereinssaal, Vienna on June 10, 1950 (Cantata 67) b Kingsway Hall, London on October 6 and November 1, 1949 c Kingsway Hall, London on November 3, 1949 d Kingsway Hall, London on October 8, 1949 Jesu, Joy of Man’s Desiring Audio restoration: Adrian Tuddenham and Norman White (Cantata 147) Mastering: Paul Arden-Taylor Ariadne Cover: Kathleen Ferrier, June 7, 1950, International Bach Festival, Vienna The Cantata Singers Design: Andrew Giles Booklet Editor: Michael Quinn The Jacques Orchestra © & 2019 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND AAD Made in the EU Dr Reginald Jacques Ariadne Kathleen Ferrier In Celebration of BACH br Ah, tarry yet, my dearest Saviour Kathleen Ferrier contralto
    [Show full text]
  • The Magic Flute Programme
    Programme Notes September 4th, Market Place Theatre, Armagh September 6th, Strule Arts Centre, Omagh September 10th & 11th, Lyric Theatre, Belfast September 13th, Millennium Forum, Derry-Londonderry 1 Welcome to this evening’s performance Brendan Collins, Richard Shaffrey, Sinéad of The Magic Flute in association with O’Kelly, Sarah Richmond, Laura Murphy Nevill Holt Opera - our first ever Mozart and Lynsey Curtin - as well as an all-Irish production, and one of the most popular chorus. The showcasing and development operas ever written. of local talent is of paramount importance Open to the world since 1830 to us, and we are enormously grateful for The Magic Flute is the first production of the support of the Arts Council of Northern Austins Department Store, our 2014-15 season to be performed Ireland which allows us to continue this The Diamond, in Northern Ireland. As with previous important work. The well-publicised Derry / Londonderry, seasons we have tried to put together financial pressures on arts organisations in Northern Ireland an interesting mix of operas ranging Northern Ireland show no sign of abating BT48 6HR from the 18th century to the 21st, and however, and the importance of individual combining the very well known with the philanthropic support and corporate Tel: +44 (0)28 7126 1817 less frequently performed. Later this year sponsorship has never been greater. I our co-production (with Opera Theatre would encourage everyone who enjoys www.austinsstore.com Company) of Donizetti’s L’Elisir d’Amore seeing regular opera in Northern Ireland will tour the Republic of Ireland, following staged with flair and using the best local its successful tour of Northern Ireland operatic talent to consider supporting us last year.
    [Show full text]
  • Simon Butteriss Actor/Writer/Director
    Simon Butteriss Actor/Writer/Director Writer/director/translator/actor/singer/presenter - Simon Butteriss read English at Cambridge, trained at the RCM Opera School and started his career as an actor in West End plays and musicals and with the RSC, OLd Vic Company and at Chichester. He has also made numerous film and television appearances. As a performer, he is perhaps best known in the Gilbert and Sullivan patter roles, which he continues to sing all over the world and he now also pursues a busy career in international opera, singing at La Scala, Milan, with English National Opera and others. Agents Nicki Stoddart [email protected] +44 (0) 20 3214 0869 Credits Opera Production Company Notes LA COLOMBE West Green House Opera Director and translator 2016 DIE FLEDERMAUS Philharmonia Orchestra Director, Royal Festival Hall; also 2014 wrote narration CARMEN RTE Orchestra wrote narration 2014 THE MIKADO/IOLANTHE National tour director 2014 THE MIKADO Raymond Gubbay Director Royal Festival 2013 Hall,Manchester Bridgewater Hall, Birmingham Symphony Hall IOLANTHE International Gilbert and Director Buxton Opera House, 2013 Sullivan Festival Harrogate Royal Hall United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes PRINCESS IDA International Gilbert and Director Buxton Opera House, 2013 Sullivan Festival Harrogate Royal Hall THE MERRY WIDOW Philharmonia Orchestra/John Director Royal Festival Hall /also wrote 2012 Wilson Narration THE MIKADO International Gilbert and Director Buxton Opera House. 2012 Sullivan Festival Harrogate Royal Hall THE YEOMEN OF THE Philharmonia Orchestra/John Director Royal Festival Hall and, with GUARD Wilson RLPO, Liverpool Philharmonic Hall 2012 HMS PINAFORE Raymond Gubbay Director Barbican Hall, Manchester 2012 Bridgewater Hall.
    [Show full text]
  • Mozart: Requiem
    LSO Live Mozart Requiem Sir Colin Davis Marie Arnet Anna Stéphany Andrew Kennedy Darren Jeffery London Symphony Chorus London Symphony Orchestra Mozart Requiem, K626 (1791) Page Index Marie Arnet soprano 3 Track listing Anna Stéphany alto 4 English notes Andrew Kennedy tenor 5 French notes Darren Jeffery bass 6 German notes 7 Composer biography Sir Colin Davis conductor 8 Text London Symphony Orchestra 10 Conductor biography London Symphony Chorus 11 Artist biographies 13 Orchestra and Chorus personnel lists 14 LSO biography James Mallinson producer Daniele Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd editors A high density DSD (Direct Stream Digital) recording Recorded live at the Barbican, London 30 September and 3 October 2007 © 2008 London Symphony Orchestra, London UK P 2008 London Symphony Orchestra, London UK 2 Track listing Introitus and Kyrie 1 No 1 Requiem and Kyrie (chorus, soprano) 7’12’’ p8 Sequence 2 No 2 Dies irae (chorus) 1’44’’ p8 3 No 3 Tuba mirum (soprano, alto, tenor, bass) 3’38’’ p8 4 No 4 Rex tremendae (chorus) 2’13’’ p8 5 No 5 Recordare (soprano, alto, tenor, bass) 6’03’’ p8 6 No 6 Confutatis maledictis (chorus) 2’44’’ p8 7 No 7 Lacrimosa (chorus) 2’59’’ p8 Offertorium 8 No 8 Domine Jesu (chorus, soprano, alto, tenor, bass) 4’16’’ p8 9 No 9 Hostias (chorus) 4’36’’ p9 Sanctus 10 No 10 Sanctus (chorus) 1’47’’ p9 Benedictus 11 No 11 Benedictus (chorus, soprano, alto, tenor, bass) 4’29’’ p9 Agnus Dei and Communio 12 No 12 Agnus Dei (chorus, soprano) 8’46’’ p9 TOTAL 50’35’’ 3 Wolfgang Amadeus Mozart (1756–91) Jesu’ and the ’Hostias’ were written separately.
    [Show full text]
  • Noye's Fludde
    "The orchestra played with consistent verve under the confident and stylish direction of Oliver Gooch" The Guardian. British conductor Oliver Gooch is rapidly establishing a reputation as a conductor of considerable versatility in a wide range of symphonic and operatic repertoire. Following an appointment by Sir Antonio Pappano as the first Associate Young Artist at the Royal Opera House, Covent Garden in 2004, his conducting career to date has seen collaborations with many of the major UK orchestras, including the LSO, Philharmonia, BBC Symphony, Hallé, Orchestra of the Royal Opera House and Northern Sinfonia. He has also continued to have a fruitful relationship with the Royal Philharmonic Orchestra, as a regular guest conductor. Further afield, he has made highly acclaimed debuts with the Queensland and Tasmanian Symphonies in Australia, New York Sinfonietta, Orchestra i Pomeriggi Musicali in Milan, and Orchestra della Toscana. He has an ongoing relationship with Italy’s major touring company, Associazione Lirica e Concertistica Italiana (AsLico). He balances orchestral engagements with extensive work in opera in the UK and abroad. He gave the American premiere of Janáček’s Šarka with Dicapo Opera in New York, and in Europe, made his Italian debut at Teatro Ponchielli, Cremona with Die Zauberflöte (praised in Corriere della Ser). In the UK, at the age of twenty one, he came to attention as Founding Artistic Director of Opera East Productions, platforming many exciting British young singers who have since gone on to have notable careers. Between 1999-2011, he conducted over thirty productions, including an award winning Rape of Lucretia designed by Sir Terry Frost, and the world premiere of Tarik O’Regan’s Heart of Darkness, in collaboration with ROH2/Opera Genesis.
    [Show full text]
  • Year of Recording* Conductor Soloists Orchestra Live Label Date
    Year of Conductor Soloists Orchestra Live Label Date of Recording* Recording 1 1936 Bruno Walter Kerstin Thorborg, Wiener Philharmoniker Live EMI May 23 & 24, Charles Kullman 1936 2 1939 Carl Schuricht Kerstin Thorborg, Koninklijk Live MINERVA Oct 5, 1939 Carl-Martin Öhmann Concertgebouworkest, Amsterdam 3 1948 Otto Klemperer Judit Sándor, A Magyar Rádió Live archiphon Nov 2, 1948 Endre Rösler Szimfonikus Zenekarát [CD 2012] 4 1948 Bruno Walter Kathleen Ferrier, New York Philharmonic Live NYP Jan 18, 1948 Set Svanholm Editions 5 1951 Otto Klemperer Elsa Cavelti Wiener Symphoniker Live VOX 28–30 Mar 1951 Anton Dermota 6 1952 Bruno Walter Kathleen Ferrier, Wiener Philharmoniker DECCA May 14, 15 & 16, Julius Patzak 1952 7 1964 Josef Krips Dietrich Fischer-Dieskau, Wiener Symphoniker Live DGG Jun 14, 1964 Fritz Wunderlich 8 1966 Otto Klemperer Christa Ludwig, Philharmonia/New EMI Feb 19–22 & Fritz Wunderlich Philharmonia Orchestra Nov 7–8, 1964, Jul 6–9, 1966 9 1966 Leonard Bernstein Dietrich Fischer-Dieskau, Wiener Philharmoniker DECCA Mar 1966 James King 10 1972 Leonard Bernstein Christa Ludwig, Israel Philharmonic Live SONY May 18, 20 & 23, René Kollo Orchestra 1972 11 1972 Jascha Horenstein Alfreda Hodgson, BBC Northern Symphony Live BBC Apr 28, 1972 John Mitchinson Orchestra Legends 12 1972 Sir Georg Solti Yvonne Minton, Chicago Symphony DECCA May 1972 René Kollo Orchestra 13 1974 Herbert von Christa Ludwig, Berliner Philharmoniker DGG Dec 7–10, 1973, Karajan René Kollo Oct 14, 1974 14 1975 Bernard Haitink Janet Baker, Koninklijk PHILIPS
    [Show full text]
  • Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen
    Regent’s Park Theatre and English National Opera present £4 music by BENJAMIN BRITTEN libretto by MYFANWY PIPER after a story by HENRY JAMES Photo David Jensen Developing new creative partnerships enables us to push the boundaries of our artistic programming. We are excited to be working with Daniel Kramer and his team at English National Opera to present this new production of The Turn of the Screw. Some of our Open Air Theatre audience may be experiencing opera for the first time – and we hope that you will continue that journey of discovery with English National Opera in the future; opera audiences intrigued to see this work here, may in turn discover the unique possibilities of theatre outdoors. Our season continues with Shakespeare’s As You Like It directed by Max Webster and, later this summer, Maria Aberg directs the mean, green monster musical, Little Shop of Horrors. Timothy Sheader William Village Artistic Director Executive Director 2 Edward White Benson entertained the writer one One, about the haunting of a child, leaves the group evening in January 1895 and - as James recorded in breathless. “If the child gives the effect another turn of There can’t be many his notebooks - told him after dinner a story he had the screw, what do you say to two children?’ asks one ghost stories that heard from a lady, years before. ‘... Young children man, Douglas, who says that many years previously he owe their origins to (indefinite in number and age) ... left to the care of heard a story too ‘horrible’ to admit of repetition.
    [Show full text]
  • CHAN 3014 Book Cover.Qxd 24/7/07 2:55 Pm Page 1
    CHAN 3014 book cover.qxd 24/7/07 2:55 pm Page 1 Chan 3014(3) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 2 Charles Gounod (1818–1893) Faust AKG Opera in five acts (with ballet music) Libretto by Jules Barbier and Michel Carré English translation by Christopher Cowell Faust, a learned doctor ............................................................ Paul Charles Clarke tenor Mephistopheles ................................................................................ Alastair Miles bass Marguerite ...................................................................................... Mary Plazas soprano Valentin, Marguerite’s brother, a soldier........................................ Garry Magee baritone Siébel, a village youth, in love with Marguerite ..............Diana Montague mezzo-soprano Wagner, a student...................................................... Matthew Hargreaves bass-baritone Martha, Marguerite’s neighbour .......................................... Sarah Walker mezzo-soprano Geoffrey Mitchell Choir Charles Gounod Philharmonia Orchestra Nicholas Kok assistant conductor David Parry conductor 2 3 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 4 COMPACT DISC ONE Scene 3 35:26 [p. 54] 11 Act I 27:08 [p. 54] ‘Pride of place to the golden calf !’ 2:04 [p. 65] Mephistopheles, Chorus 1 7:03 [p.58] Introduction 12 ‘Your song deserves our thanks!’ 2:47 [p. 66] Scene 1 35:26 [p. 54] Chorus, Valentin, Wagner, Mephistopheles, Siébel 2 6:14 [p.58] ‘Nothing! In vain I have probed…’ 13 ‘Though the fiends of hell may defy resistance’ 2:32 [p. 67] Faust Siébel, Valentin, Wagner, Chorus 3 ‘Lazy little daughter open up your eyes’ 2:55 [p. 58] Scene 4 35:26 [p. 54] Chorus, Faust 14 ‘You haven’t seen the last of me yet!’ 1:33 [p.
    [Show full text]