Last night (23 October 2019) we heard a private recital showcasing the latest cohort of singers and repetiteurs at the National Opera Studio (NOS). Each year, a different intake of young artists do an intensive nine-month course at the studio, and this year's cohort have been in place for just five weeks. We heard eleven singers (out of 13) and four repetiteurs in a programme which took in arias and duets by Gounod, Tchaikovsky, Handel, Cilea, Puccini, Donizetti, Verdi, Leoncavallo, Bizet, Offenbach and Mozart. A diverse group of singers and pianists all with wonderfully vibrant voices and personalities, from New Zealand, Spain, Mexico, China, South Korea, South Africa, Canada, Portugal and the United Kingdom.
We heard sopranos Eliza Boom, Alexandra Lowe (who we heard in Janacek's Jenufa at Grange Park Opera, and Britten's Owen Wingrave at British Youth Opera), and Ella Taylor (who we heard in Alex Mills' A Father looking for his Daughter at Second Movement's Rough for Opera), mezzo-sopranos Elizabeth Lynch (who we heard in Handel's Giulio Cesare at Bury Court Opera) and Samantha Oxborough, tenors Luis Aguilar, Frederick Jones (who we heard in Stravinsky's The Rake's Progress with British Youth Opera), and Shengzhi Ren, baritones Kyo Choi and Benson Wilson (who won this year's Kathleen Ferrier Award), and bass Msimelelo Mbali. They were accompanied by Juliane Gallant, Mairi Grewar, Fernando Loura and Bradley Wood.
Besides the operatic programme, we had two delightful non-operatic items. Shengzhi Ren sang a lovely traditional Chinese song, and then Elizabeth Lynch gave a hilarious rendition of Tom Lehrer's Poisoning Pigeons in the Park!. For the ensemble finale, there was the Brindisi from Verdi's La Traviata with the audience providing the chorus (adroitly warmed up and rehearsed before hand by the NOS's music director Mark Shanahan).
The NOS presents regular free Wednesday lunchtime recitals, and on Tuesday 26 November there is a chance to catch The Fatal Gaze, scenes and extracts from opera directed by Tim Albery at Conway Hall. Full details from the NOS website.
Thursday, 24 October 2019
Subscribe to:
Post Comments (Atom)
Popular Posts this month
-
Having recorded a disc of motets by Francois Couperin (see my review ), Edward Higginbottom and the choir of New College Oxford have turne...
-
Carl Heinrich Graun Carl Heinrich Graun: opera arias; Valer Sabadus, {oh!} Orkiestra, Martyna Pastuszka; Bayreuth Baroque Opera Festival at ...
-
David Allinson and The Renaissance Singers at Holy Sepulchre London, The Renaissance Singers is a chamber choir with a difference. One of Lo...
-
Julian Chan The Royal Academy of Music’s Bicentenary Series on Linn Records offers industry-level recording experience and the chance to r...
-
Love and Loss: Elena Firsova, Dmitri Smirnov; Rudersdal Chamber Players; OUR Recordings Reviewed 15 December 2025 The Danish contemporary m...
-
The Stationers' Hall where Purcell's Hail, Bright Cecilia was premiered in 1692 Humfrey: O Lord my God , Blow: I was glad , Purcell:...
-
Weber: Der Freischütz - Theatre de Champs Elysees - Photo Julien Benhamou Carl Maria von Weber Der Freischütz ; Stanislas de Barbeyra...
-
Handel: Ariodante - Royal Opera House (Photo: Bill Knight/RBO) Handel's Ariodante; Jacquelyn Stucker, Emily D'Angelo, Christophe D...
-
Handel: Deidamia - Nicolò Balducci - Wexford Festival Opera (Photo: Pádraig Grant) Opera in 2025 featured a genuine rarity in Thea Musgrave...
-
Gimnazija Kranj Symphony Orchestra I get all sorts of mail, people sending my information on concerts and recordings. Everything gets gl...

No comments:
Post a Comment