The vocal part requires a range covering over five octaves, from the lowest bass notes to a high falsetto and Robert Tucker coped amazingly with the score’s lyrical elements and the various shrieking, whispering and clucking noises he was called upon to create.
Notwithstanding Esfahani and McKeish’s sterling account of the Poulenc and the orchestra’s thrilling take on The Sorcerer’s Apprentice, this was not a consistent enough concert to be called a complete success.
English National Ballet opens its season at Sadler’s Wells with a quadruple bill showcasing the versatility, virtuosity and endless capabilities of the company throughout the ranks.
Wotan's predicaments provide Sydney's victory: Chief Conductor Simone Young has her musicians on some of their best form in recent years, with only a few question marks over an excellent concert performance.
Centred around Scriabin’s mystical Poem of Ecstasy, a thrilling journey through the byways of twentieth century music takes in New Zealand, Finland and France.
Simon is an operaphile based in Auckland, New Zealand. He wrote his
dissertation on Japanese popular music. With a background in piano and
classical music retail, he spends his time attending as much
opera or vocal concert as he can and blogs at
irishenceaway.blogspot.com.
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