Jonathan Sutherland is a graduate of the Sydney Conservatorium of Music and the Hochschule Mozarteum in Salzburg. He is also an internationally renowned concert pianist specializing in the music of the 1930s. Jonathan’s first operatic experience was hearing Maria Callas sing Tosca in Covent Garden and he has since heard performances in all continents of the world including over 60 different productions at the Wiener Staatsoper. He has written for The Australian, Opera Today and The Opera Critic as well as Bachtrack. Jonathan speaks English, French, German and Italian fluently and is based in the south of France near Nice.
Unlike the conucopia of duets Verdi wrote for soprano and baritone, his music for soprano and bass is much more limited and what exists is not exactly the acme of his output.
A stellar performance of Mahler’s cosmic Third symphony reinforces the reputation of Katowice as a bone fide member of the premier European music league.
A swindler and a seducer who met his death at the hands of a seducee's furious brothers, Stradella was also one of the pioneering figures of the baroque, whose little remembered music sounds fresh and exciting to this day.
With a pianist of the calibre of Jan Lisiecki, Krzysztof Urbański has created an award winning collaboration which puts the two Poles way apart from many other soloist-conductor combinations.
L’Opéra de Lyon’s new production of Respighi’s La bella dormente nel bosco was an operatic pastiche with fairy tale fantasy and foxtrots thrown in for good measure.
Christian Thielemann and the Staatskapelle Dresden orchestra are let down by sub-optimal singers in Willy Deckers chair-laden production of Die Walküre.
In Jussi Wieler and Sergio Morabito’s pugilistic production of Ariodante, the singers needed as much physical and gymnastic dexterity as vocal finesse.
