By Francisco Salazar
Mezzo-soprano Samantha Hankey is set to make her Carnegie Hall debut on March 10, 2023 at the Weill Recital Hall as part of Great Singers III: Evenings of Song.
In a statement, Hankey said, “After having postponed this recital for over 2 years, when revisiting the program material I wanted it to be a celebration filled with music I adore and have always wanted to perform. Highlights include Ravel’s masterpiece, Schéhérazade, and selections of Schönbergs cabaret songs, the Brettl Lieder.”
She added, “The first half of the recital was inspired by Berg’s Sieben frühe Lieder, and my hope to explore and expand upon a journey from night to day, largely through repertoire from the second Viennese school and its predecessors. The inclusion of repertoire by Alma Mahler (who was herself a student of Zemlinsky) was particularly important to me because her music brings a female writing perspective from this time and is the perfect vehicle to highlight the evolution in compositional style of the early 20th century.”
Hankey will be joined by Sophie Raynaud on piano.
By Francisco Salazar
The Dallas Opera is set to premiere a new production of Wagner’s epic tale “Das Rheingold.”
The opera returns to the company after a 20-year absence with Emmanuel Villaume conducting. Tomer Zvulun, General and Artistic Director of The Atlanta Opera, directs a cast led by Nicholas Brownlee as Wotan, Michael Mayes as Alberich, Amanda Echalaz as Fricka (TDO debut), Brenton Ryan as Loge (TDO debut), Barry Banks as Mime, and Karen Slack as Freia (TDO debut).
Erhard Rom is set and projection designer, Mattie Ullrich (TDO debut) is costume designer, Robert Wierzel is lighting designer, and David Zimmerman is wig and make-up designer.
The Dallas Opera will present the Wagner opera starting on Feb. 10, with additional performance set for Feb. 12, 15, and 18.
By Francisco Salazar
The London Philharmonic has announced a cast change for its production of “La Damnation de Faust.”
The London Philharmonic said, “unfortunately the advertised tenor, David Junghoon Kim, is indisposed and unable to perform. We are very grateful to John Irvin for stepping in at short notice to sing the role of Faust.”
Irvin is a tenor who has performed at e Boston Lyric Opera, Santa Fe Opera, Madison Opera, and Teatro San Carlo di Napoli. He is an alumnus of the Lyric Opera of Chicago’s Ryan Opera Center and a recipient of the John Moriarty Encouragement Award for the 2012 Metropolitan Opera National Council Auditions.
Irvin is set to join a cast that includes Karen Cargill, Christopher Purves, and Jonathan Lemalu Brander. Edward Gardner conducts the production which is set to be presented on Feb. 4, 2023, at teh Royal Festival Hall.
By Francisco Salazar
Resonance Works opens the second half of its tenth anniversary season with “To Breathe Free.”
The program embodies this sense of renewal with a reprise of Aaron Copland’s beloved Appalachian Spring, Lyric for Strings by George Walker, a poignant new work by Caroline Shaw, and a commission by powerhouse composer Gilda Lyons.
In a statement says Maria Sensi Sellner, Resonance Works’ Artistic & General Director said, “This concert is inspired by the twin themes of remembrance and possibility, incorporating familiar classics with contemporary works for our audiences to enjoy in an intimate setting. Over the last ten years, Resonance Works has developed a gifted, diverse community of artists. With this concert, we reflect on our growth in the last decade and celebrate the spirit of partnership that continues to drive us.”
The new work by Lyons entitled “Gaining the Ledge,” was written for mezzo-soprano Timothi Williams, baritone Daniel Teadt, and the Resonance Chamber Orchestra.
“To Breathe Free” is the third program in the dynamic 2022–23 season that features the depth and range of classical music performance, including two world premieres, orchestral favorites, and awe-inspiring masterworks. The program will be performed on March 3 at First United Methodist Church, Bloomfield, and March 5 at Andrew Carnegie Free Library and Music Hall, Carnegie.
By David Salazar
Northern Ireland Opera has announced that it will present the world premiere of “Nobody / Somebody.”
The opera by playwright Fionnuala Kennedy and composer Neil Martin will open on March 3, 2023, at the Elmwood Hall in Belfast and features artists from Northern Ireland Opera and the Ulster Youth Orchestra.
“Nobody / Somebody,” which will be directed by Andrea Ferran, is inspired by the youth activists of the PPR organization who have worked to raise awareness about homelessness, housing stress, and the lack of available social housing for young people in Belfast. Matthew Quinn conducts with Sean O’Neill as the Movement Director and Marie Kirkby as Costume Designer.
“We’re excited to bring the world premiere of ‘Nobody/Somebody,’ a new opera commission inspired by incredible activists in Belfast campaigning for social housing. We can’t wait for audiences to find out more about the project at the Belfast Children’s Festival,” Kennedy noted about her first opera commission.
“For me, writing this opera has heightened some core universal issues that are more relevant today than ever. That its world premiere will be at the Children’s Festival here in Belfast is both an honor and wholly appropriate. We’re all very keen to share this work with audiences young, old and in-between,” added Martin.
Other performance partners for “Nobody / Somebody” include Young at Art and Springboard Opportunities.
By David Salazar
American Classical Orchestra is set to present three of Bach’s famed cantatas this March.
The company will showcase “Am Abend aber desselbigen Sabbats, BWV 42,” “Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18,” and “Schwingt freudig euch empor, BWV 36” at the Church of St. Vincent Ferrer in New York City on March 2, 2023 at 8 p.m. local time.
The performance will feature soprano Corinne Byrne, soprano Sherezade Panthaki, mezzo-soprano Sylvia Leith, countertenor Daniel Moody, tenor Brian Giebler, tenor Lawrence Jones, bass-baritone Edmund Milly, and bass-baritone Joseph Parrish. Mach Schachman will solo at the oboe and oboe d’amore.
Thomas Crawford conducts the showcase. He will also lead a pre-concert take at 7:15 p.m. on that day.
The American Classical Orchestra will close its 2022-23 season with a concert of music by Schumann, Sarasate, and Grieg with baritone William Meinert soloing.
By Francisco Salazar
The Munich Philharmonic has appointed a new Music Director.
The organization said that Lahav Shani will succeed Valery Gergiev after he was fired in February 2023 for continuing to support the Putin regime in the midst of the war in Ukraine.
Shani is a 34-year-old conductor born in Tel Aviv who studied at the Buchmann-Mehta School of Music in Tel Aviv and has appeared with the Israel Philharmonic Orchestra, Vienna Symphony, Rotterdam Philharmonic Orchestra, and Berliner Philharmoniker. He is a protegé of Daniel Barenboim
He is currently the Chief Conductor of the Rotterdam Philharmonic Orchestra, where he will leave in 2026, and the Music Director of the Israel Philharmonic Orchestra, taking over from Zubin Mehta who held the position for 50 years. Shani was previously Principal Guest Conductor of the Vienna Symphony Orchestra.
By Chris Ruel
A concert featuring young artists who have just completed a week of masterclasses is always a treat. The energy and enthusiasm of these vocalists as they sing their hearts out in front of a captive audience is inspiring.
At the Weill Recital Hall at Carnegie Hall on January 19, 2023, the Vincerò Academy’s young artists took the stage to perform their chosen repertoire. Artistic Director Abdiel Vázquez allowed the singers to perform any aria they desired. Though heavy on Mozart, the evening served plenty of operatic fare, from Monteverdi to Leoncavallo and Puccini.
A joy to watch, Artistic Director Abdiel Vázquez accompanied the young vocalists throughout the entire concert. His skill and passion for the music showed as he played nearly 30 numbers without a break. He was a masterful pianist and a charming and humorous host, relishing the opportunity to work with and present these talented artists.
The Vincerò Academy singers formed a diverse group, hailing from all corners of the globe, but with a strong representation from Latin American countries such as Mexico, Guatemala, and Peru. The concert featured 19 vocalists, including 12 sopranos, three mezzo-sopranos, and four bass-baritones. Such galas are an excellent opportunity to listen to various voice types, timbres, and ranges all in one place and are a feast for the ears.
Overall, the vocalists presented an outstanding evening of music. They worked hard, and each put their hearts into their performances; nothing could be more evident. Their dedication and passion for the art form, inspiring to see, undoubtedly grew and developed under the direction of Vázquez and the Vincerò Academy. It’s important to note that the Academy is online, so all the artists met their colleagues in person for the first time when they arrived in New York. The duets, and large ensemble pieces, the vocalists hashed out virtually.
Sopranos Alejandra Toledo (Mexico); Athena Christine Palombi (USA); Caroline Morales (Peru); Daniela Yurrita (Guatemala); Diana Monacelli (USA); Leslie Gonzàlez (Guatemala); Mariana Echeverría (Mexico); Quirina Lechmann (Switzerland); Stephanie Kim (Korea-Canada); and Taylor Gonzaga (USA) wowed with their unique voices and techniques.
Mezzos included Kelly O’Shea (USA) and Madeleine Gutiérrez (Peru), both able to navigate the lowest edges of their ranges.
The bass-baritones on the program, Antonio Azpiri (Mexico); Hongyu Chen (China); Enes Pektas (Turkey); and Victor Rodrigo Pérez, revealed low voices aren’t all the same, and each brings something to the table.
Mozart, Mozart, Mozart
The program opened with seven arias from “The Marriage of Figaro”: “Cinque, dieci;” “Bravo!… Se vuol ballare;” “Via resti, servita;” “Porgi Amor;” “Hai già vinta la causa;” “Sull’ aria;” and “Giunse al fin il momento… Deh, vieni.”
When Enes Pektas took the stage to sing “Hai già vinta la causa,” His voice, a booming, theater-filling sound, commanded attention from the moment he began singing.
Even more impressive, the confidence and ease with which he sang gave the impression that Pektas was at home on stage. He sang and moved with intention, his unique instrument on full display.
“Sull’ aria,” sung by Alejandra Toledo and Athena Christine Palombi, was another delight within “The Marriage of Figaro” sequence. The two singers took on the roles of Susanna and the Contessa and did it well.
Smooth as silk, with gorgeous lyricism, Toledo’s singing came across crystal clear with a light touch, well suited to the role of Susanna. Athena Christine Palombi, equally impressive, shimmered with a voice of refined silver.
The chemistry between the two brought out the best in the other.
Stephanie Kim also stood out during the Mozart portion of the concert. She performed the role of Ilia, singing “Padre, germani, addio” from “Idomeneo.” Precise and sharp, Kim’s coloratura never muddied during her dramatic phrasing.
The Mezzos Get the Spotlight
Emma Robertson, the audience’s favorite mezzo-soprano of the night, sang “Nel profundo cieco mondo” from Vivaldi’s “Orlando furioso” and “Quanto amore” from “L’elisir d’amore,” and she slew. Her performance captivated the audience and she had an absolute blast on stage.
While other singers added some stage movement, hers reached another level, using comic expressions and gestures that gave the audience an understanding of the character.
The mezzo’s range is outstanding, and she is gifted as a stage performer. She was a natural entertainer, and the audience took notice, giving her loud and extended applause.
Kelly O’Shea, a second striking mezzo, joined Stephanie Kim to sing the well-known (and therefore dangerous) “Dôme épais le jasmin,” from Delibes “Lakmé” The danger is that most everyone has heard the tune at some point, so if the vocalists are not quite in tune or the timing is problematic, the untrained ear will notice.
The duo sang with precision, confidence, effortless harmonies, and a flowing melody that charmed the audience and left them wanting more.
After her duet with Kim, O’Shea gave a solo performance of “Va! Laisse Couler mes larmes” from Massenet’s “Werther.” She fired up those in the seats with unleashed opening notes that made you sit up straight.
O’Shea’s voice is a force. Her expansive vocal range, commanding presence, and navigation through the low notes added a layer of drama to her performance.
Madeleine Gutiérrez took an aria from the sporadically staged “Adriana Lecouvreur” by Cilea. Gutiérrez gave a strong performance of “Acerba voluttá.” With her impressive range and vibrancy, she possessed the amount of vocal heft the aria required. She sang with a sense of drama fitting for the role, and her dynamic delivery impressed.
Verdi & Puccini Favorites
Moving into the Verdi repertoire, Alejandra Toledo sang Gilda’s aria, “Caro nome,” from “Rigoletto.” Toledo’s top notes rang with stunning squillo. Like a delicate butterfly, fluttering through the notes with ease and grace, she fit the aria to a T.
Taylor Gonzaga gave a notable rendition of “Quando m’en vo (Musetta’s Waltz)” from “La Bohème.” Her rich, natural-sounding vibrato added a lovely touch to her singing. Exciting top notes rang in the ears—always a pleasing sensation.
Leslie González, sang the classic crowd-pleaser “Vissi d’arte” from Puccini’s “Tosca” . It was a convincing rendition that met the demands of the aria, depth, emotion, and a wide range of dynamics, all of which she met brilliantly.
Baritones Rule
Hongyu Chen showcased his vocal abilities with “Avant de quitter ces lieux,” sung by Valentin in Gounod’s “Faust.” He also portrayed Figaro in “The Barber of Seville,” where his firm tone blended well with Quirina Lechmann’s. Later in the evening, the soprano gave a fine performance of “Der Hölle Rache,” from Mozart’s “The Magic Flute.” Lechmann navigated the runs, jumps, and tippy-top notes well with sparkling coloratura.
Mozart served as the finale of the evening as the ensemble performed the last scene of “Don Giovanni,” an extraordinary way to showcase the talents of the entire ensemble.
Sometimes, when you listen to a baritone, you might think, “Wow, they would make a great Leporello or Don Giovanni.” Likewise, when you discover a young bass well-suited to sing the Commendatore. It was a treat to hear a talented group of baritones perform the finale. It was well cast.
Antonio Azpiri, in particular, stood out for his versatility, Figaro arias in “The Marriage of Figaro,” sequence, Dulcamara in “L’elisir d’amore,” and in the finale, “Don Giovanni’s” Leporello. His knack for bringing something different to each character showed his range as an artist and made each piece distinct and gratifying.
Azpiri displayed a robust and plush baritone with a rich low end, and he gave an animated performance, embodying the character’s comical nature. He portrayed Leporello’s cowering, pleading, and cajoling of his master, Don Giovanni, with fine comedic timing, which felt natural and well-honed.
As the Don, Enes Pektas shone. He embodied the stubborn and rapacious nature of the aristocrat. His boldness in the face of the Commendatore and nonchalance regarding his eternity rivaled any well-played Don.
As one of the more terrifying characters in Mozart’s operas, the supernatural statue of the Commendatore serves up a cold dish of revenge. Victor Rodrigo Pérez, who earlier in the night portrayed the swaggering Escamillo in “Carmen,” appeared more assured in this character, and his deep bass voice added the otherworldly element to the performance. The rest of the ensemble gathered behind the characters and served as the demonic chorus that sounded more heavenly than hellish.
Wrapping it Up
Three singers not previously mentioned, Mariana Echeverría, Diana Monacelli, and Daniela Yurrita, all performed with verve and energy. Echeverría sang “Silvio, a quest’ora” from “Pagliacci” and delivered a delicate portrayal of Nedda opposite Chen. They were perfectly paired, and their voices filled the auditorium beautifully. Monacelli selected an aria from “Les pêcheurs de perles,” “Comme autrefois.” Her voice has a wonderful ping, and when she lets loose during a forte passage, look out! And Daniela Yurrita went with an aria from “Falstaff,” “Sul fil d’un soffio etesio.” She effortlessly floated notes and had a keen sense of humor that was well suited to the performance. All three singers added their own unique flair to the performance.
Every one of the 19 young artists sang splendidly and have much to be proud of in their Carnegie Hall debuts. The tired joke about a lost gentleman asking a violinist for directions is a truism: “How do I get to Carnegie Hall?” “Practice, practice, practice.” While practicing never stops, these vocalists put in the requisite amount to sing at the prestigious venue and bowled over the audience with their art.
By Francisco Salazar
(Credit: Patricio Melo)
The Ópera de Oviedo has announced its 2023-24 season.
The season will open with a production of Massenet’s “Manon” with Emilio Sagi conducting. The production will celebrate Victoria de los Angeles’ centennial.
Performance Dates: September 2023
In October the company will present Puccini’s “Il trittico” featuring “Il tabarro,” “Suor Angelica,” and ” “Gianni Schicchi.”
Performance Dates: October 2023
The season continues with a double bill of Granado’s “Goyescas” and Manuel de Falla’s “El retablo de Maese Pedro.”
Performance Dates: November 2023
In December Verdi’s “La Traviata“ will return in a co-producción with the Festival Internacional de Peralada.
Performance Dates: December 2023
Wagner’s “Lohengrin” will open the 2024 year and close the season.
Performance Dates: TBA
Casts will be announced at a later date. When the Ópera de Oviedo unveils them, this article will be updated accordingly.
By Afton Wooten
(Photo Credit: Alexander Raevsky)
Composer Aziza Sadikova recently signed an exclusive contract with Boosey & Hawkes under Concord Music Publishing.
Sadikova’s role will expand the Boosey & Hawkes | Sikorski program by featuring works of former Soviet regions. Her agreement also includes worldwide rights to nearly all of Sadikova’s earlier works and any future compositions.
Sadikova’s extensive catalog includes the chamber opera “All About Sally,” “Beethoven-Sadikova,” “Silberklang” for soprano and chamber ensemble, and “Untitled” for choir and orchestra, as well many well-known instrumental works. Alongside German director Anna Peschke, Sadikova wrote “Ring des Nibelungen” for a Chinese- German experimental opera project. The piece which features western-Chinese instruments and singers was performed at the Radialsystem Berlin and Elbphilharmonie Hamburg.
She studied composition with Dmitri Yanov-Yanovsky’s class at Tashkent State Conservatory and continued onto the Royal Birmingham Conservatoire and Trinity College London. Sadikova has worked with musicians from the UK, USA, Germany, Austria, the Netherlands, Italy, Japan, and more. Her music has been performed at the BBC Proms, Bachfest Leipzig, Wien Modern, and the Philharmonic Academy Concerts in Hamburg to name a few.
Sadikova is the recipient of several awards including the Brandenburg Ministry of Education and Cultural Affairs’ Arts Advancement Award and the European Composition Prize, and was featured in BBC World Service’s documentary “100 Women.” This season she serves as a composer in residence at the Filarmonica Arturo Toscanini and will have several world premieres.
Gabriel Teschner the Composer & Repertoire Manager at Boosey & Hawkes | Sikorski says in a press release, “when I heard Aziza Sadikova’s music for the first time a few years ago, I was touched and fascinated by her world of sound and followed her further development with great interest. Today we are very happy to be able to accompany and support the musical path of this versatile and unique composer, who has her roots in Uzbekistan.”
