On the art of recital-programming

Many years ago, when I was still tentatively dipping my toes in the world of professional singing (not a career choice for the faint-hearted) I attended a summer school that included a very interesting talk given by the accompanist and broadcaster Iain Burnside, who had much to say about what to do – and avoid

Staging baroque opera: two contrasting examples (sample while you can)

This year, Glyndebourne festival staged its first production of an opera by Jean-Philippe Rameau, Hippolyte et Aricie, first staged in Paris in 1733. By coincidence, this comes just one year after the revival of Ivan Alexandre’s production of the same work at the Paris Opéra, having been staged originally in 2009 in Toulouse. While Alexandre’s

Opera Atelier/Opéra Royal de Versailles: Armide (Lully)

Armide, music by Jean-Baptiste Lully; text by Philippe Quinault, after Gersusalemme liberata by Torquato Tasso. First performed: Palais Royal, Paris, 15 Feb. 1686. Royal Opera, Versailles – 11 May 2012, presented by Opera Atelier (Toronto) Cast: Peggy Kriha Dye (Armide), Colin Ainsworth (Renaud/Amant fortunée), João Fernandes (Hidraot), Meghan Lindsay (Sidonie/Nymphe), Carla Huhtanen (Phénice/Lucinde), Olivier Laquerre (Artémidore/Ubalde), Aaron Ferguson (Chevalier Danois), Curtis Sullivan (La Haîne), Vasil Garvanliev (Aronte).