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An interview with Helmut Deutsch, pianist and accompanist
For a long time, accompanists, the artists who provide musical accompaniment to singers during recitals, have remained in the shadows (and in anonymity). For several years (or decades), the main role of these musicians has been more recognised, and recitals are increasingly true duets with the singer. Helmut Deutsch, pianist and musicologist, is one of these internationally respected accompanists. He plays on the most prestigious stages, having notably accompanied the baritone Hermann...
Published onthe 18 of September
The Paris Opera presents its 2018-2019 anniversary season, at the meeting point between tradition and modernity
As a national opera, the Paris Opera has historically taken on the role of preserving France's operatic heritage and bringing French opera to life. For all that, opera is obviously a distinctly living art form and since the beginning of his mandate at the head of the Parisian establishment, Stéphane Lissner has also been committed to contributing to updating the repertoire and has been working to diversify the cultural range of France's famous Opera. This is the reason for...
Published onthe 30 of January
Preview: Royal Opera 2017/18 Season
Although Kasper Holten left the post of Artistic Director of the Royal Opera in March 2017, he played the leading role in programming its 2017/18 season and, with a good blend of new productions and strong revivals, it looks to be a particularly fine one. Some composers whose operas have been neglected in recent seasons get a look-in, while several contemporary composers also have the opportunity to present new works. Add in the fact that many evenings feature some of the world’s...
Published onthe 25 of April
5 questions to Bryan Hymel
In a few years, the american tenor Bryan Hymel became one of the most sought singer by the greatest opera houses in the world such as the Metropolitan Opera or Covent Garden. His repertoire is large but his affinities with french language and his clear and heroic voice make him an ideal performer for Berlioz's works as Les Troyens or Damnation de Faust. On the occasion of a concert at the Festival Castell Peralada in Spain, we have met...
Published onthe 18 of August
Piotr Beczała, a luminous elegance
The time is long gone when popular tenors had a career in films and had their own composed-to-order repertoire, between the expressive intensity of the lyric tenor and the intimate sentimentality of the crooner. It is no accident, or mere opportunity, that Piotr Beczała devoted a recital (Deutsche Grammophon) to Richard Tauber, the irresistible protagonist of Lehár’s last operettas: such a genealogy shows that Beczala has the intelligence not to seek gallantry, the...
Published onthe 09 of August
Krassimira Stoyanova, a balanced voice
There are singers who never appear on magazine covers, who have no entourages of fans following them everywhere, whose repertoire choices never become the subject of heated debates, yet who are universally appreciated by music lovers and programme planners: Krassimira Stoyanova is one of them; whether for Verdi or for Strauss, she is always among the most obvious choices in her repertoire for the world’s greatest stages. Among the few successful performances at the Salzburg...
Published onthe 28 of July
Sandrine Piau: musicality expressing emotion
The story of Baroquists in France is first and foremost a story about conductors, at least with regard to the mediatisation of this new movement, and these conductors were naturally able to take advantage of the irreplaceable coverage which their access to opera gave them - the famous Atys of 1987 conducted by William Christie is the best-known example of this. But that required singers: a whole generation would come out of this, and would often be reproached (so often...
Published onthe 28 of June
West Side Story: Broadway comes to Salzburg
Philip William McKinley is known as a director of large-scale shows. The musical spectacular ‘‘ShowStoppers’’ at Steve Wynn’s Encore resort in Las Vegas is his latest, and he took over ‘‘Spider-Man: Turn Off the Dark,’’ replacing Julie Taymor, in 2011 until the show closed in January 2014. But, as Cecilia Bartoli, the artistic director of the Salzburg Whitsun Festival, points out, he is also a classically trained pianist and opera...
Published onthe 19 of May
Bryn Terfel : Becoming Boris Godunov
At London’s Royal Opera House, the Welsh bass-baritone Bryn Terfel has just completed the run of his debut role as the title character of ‘‘Boris Godunov,’’ the Russian composer Modest Mussorgsky’s only completed opera. ‘‘It’s one of the most iconic pieces written and has been described as a masterpiece,’’ says Terfel. The production, by the English director Richard Jones, is a new one, and the score...
Published onthe 18 of April
Paris Opera, Lissner Season 2: the 2016/2017 Season
At the Opéra de Paris, Stéphane Lissner, like any new director making his ambitions known, was met by sceptics and naysayers lying in wait for him, along with all those who wished him less than well: the success of his first performances quickly swept away all the reservations and banana peels strewn in his path. His success was obvious, hailed by national and international critics and corroborated by the enthusiasm of the audiences filling the halls.This success is of course...
Published onthe 10 of February
Meeting with John Osborn, Arnold in Geneva
We recently loved hearing John Osborn in Manon in Lausanne, Les Contes d'Hoffmann in Lyon, Otello in Paris, La Donna del Lago in New-York, Benvenuto Cellini in Amsterdam or Norma in Salzbourg. and he is now singing the role of Arnold in Guillaume Tell at the Grand-Théâtre de Genève. Opera-Online took the opportunity to meet the American tenor, perhaps one of the most iconic performers of the french romantic...
Published onthe 17 of September
Jonas Kaufmann: three operas, three roles, three styles
Jonas Kaufmann is probably one of the most solicited performer of the lyrical stages nowadays and after having interpreted recently Don Jose in Carmen in the Orange Choregies, the German tenor will personify Fidelio’s Florestan in a few days in a new production signed by Claus Guth in Salzburg festival, followed by Ramades’ role in Aida, next September in Munich. Three very distinct roles, interpreted in three languages, in three stylistically different iconic operas: a...
Published onthe 27 of July