#Hila Fahima

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Neujahrskonzert - Dan Ettinger & Stuttgarter Philharmoniker

Neujahrskonzert – Dan Ettinger & Stuttgarter Philharmoniker

Foto: Stuttgarter Philharmoniker/FB Il 2023 del mondo musicale tedesco inizia all’ insegna di una ritrovata normalità, con tutti i concerti di Capodanno delle varie istituzioni teatrali e orchestrali. (more…)

[automaticdreamlandkid]

Piort Beczala & Hila Fahima in Un ballo in maschera

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Free stream of Ariodante from the Wiener Staatsoper

The Wiener Staatsoper’s 2018 production of Ariodante, with Sarah Connolly in the title role, will become available for streaming today, Wednesday, April 8 at 5:00 p.m. CET (4:00 p.m. BST / 11:00 a.m. EDT / 8:00 a.m. PDT) and will remain available for 24 hours. To watch for free, go to Staatsoperlive.com and either log in with an existing account or create a new one. More details here. 

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also apparently it’s Mozart Week at Vienna and here’s the lineup:

Sunday, February 7, 2021, 7:00 p.m. Wolfgang Amadeus Mozart LE NOZZE DI FIGARO (performance of February 4, 2021) Opera buffa in four acts Musical direction: Philippe Jordan Production: Jean-Pierre Ponnelle With among others: Andrè Schuen, Federica Lombardi, Philippe Sly, Louise Alder, Virginie Verrez Tuesday, February 9, 2021, 7:00 p.m. Wolfgang Amadeus Mozart DON GIOVANNI (performance of November 1, 2015) Dramma giocosa in two acts Musical direction: Adam Fischer Production: Jean-Louis Martinoty With, among others: Mariusz Kwiecien, Erwin Schrott, Marina Rebeka, Juliane Banse, Benjamin Bruns Wednesday, February 10, 2021, 7:00 p.m. Wolfgang Amadeus Mozart LA CLEMENZA DI TITO (performance of April 4, 2016). Dramma serio per musica in two acts Musical direction: Adam Fischer Production: Jürgen Flimm With among others: Benjamin Bruns, Caroline Wenborne, Margarita Gritskova, Hila Fahima, Miriam Albano Thursday, February 11, 2021, 7:00 p.m. Wolfgang Amadeus Mozart LE NOZZE DI FIGARO (performance of February 4, 2021) Opera buffa in four acts Musical direction: Philippe Jordan Production: Jean-Pierre Ponnelle With among others: Andrè Schuen, Federica Lombardi, Philippe Sly, Louise Alder, Virginie Verrez Friday, February 12, 2021, 7:00 p.m. Wolfgang Amadeus Mozart THE MAGIC FLUTE (performance of January 4, 2015) Opera in two acts Musical direction: Adam Fischer Production: Moshe Leiser, Patrice Caurier With among others: Benjamin Bruns, Olga Bezsmertna, Íride Martínez, Markus Werba, Annika Gerhards Saturday, February 13, 2021, 7:00 p.m. Wolfgang Amadeus Mozart DIE ENTFÜHRUNG AUS DEM SERAIL (performance from October 12, 2020) German Singspiel in three acts Musical direction: Antonello Manacorda Production: Hans Neuenfels With among others: Lisette Oropesa, Christian Nickel, Regula Mühlemann, Emanuela von Frankenberg, Stella Roberts, Daniel Behle, Michael Laurenz, Christian Natter, Ludwig Blochberger, Goran Jurić.

(they also did Idomeneo last week instead for some reason but I did catch it and it was very strangely edited and the production concept was strange but Idamante was very cute) (also the very cute Idamante is playing Sesto in the Clemenza) (also this is like the third time they’ve changed the streaming date for Nozze so I hope this one sticks)

https://www.wiener-staatsoper.at/en/staatsoper/media/detail/news/current-streaming-schedule/

(Final note: they do make you log into an account to watch now but it’s still free and you just need a username and password)

[joaquimblog]

STAATSOPER DE VIENA 2018/2019: ARIADNE AUF NAXOS

STAATSOPER DE VIENA 2018/2019: ARIADNE AUF NAXOS

Adrianne Pieczonka (Adriane) i Charles Workman (Bacchus) a la Staatsoper de Viena 13 de setembre de 2018

Com cada any inaugurem l’activitat de les temporades regulars operístiques dels millors teatres amb els streamings de l’òpera estatal vienesa, que és la primera en inaugurar temporada i la primera en oferir-la en directa a través del seu canal privat de pagament  moltes de les representacions,…

[eventoos]

Entra en www.Turriventas.com y mira mucha más música. Opernkomponisten als Kammermusiker │ Ensemble Wien Ensemble Wien Hila Fahima, Sopran O

[operaeoperanews]

Live streaming tonight from the @wienerstaatsoper FALSTAFF Don’t miss it! #falstaff #verdi #wienerstaatsoper #soprano #nannetta #davidmcvicker #livestreaming #toitoitoi #jamesconlon BESETZUNG | 30.01.2019 DIRIGENT James Conlon REGIE David McVicar BÜHNENBILD Charles Edwards KOSTÜME Gabrielle Dalton LICHT Paul Keogan BEWEGUNGSREGIE Leah Hausman Falstaff Carlos Álvarez Ford Simon Keenlyside Fenton Jinxu Xiahou Alice Ford Olga Bezsmertna Nannetta Hila Fahima Mrs. Quickly Monika Bohinec Meg Page Margaret Plummer Dr. Cajus Michael Laurenz Bardolfo Herwig Pecoraro Pistola Ryan Speedo Green Photo: Michael Pöhn . #Repost @hila.fahima • • • • • https://www.instagram.com/p/BtRNXg-hpu-/?utm_source=ig_tumblr_share&igshid=1a05wiphxbzix

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From YouTuber Felices Cantus Händel:

George Frideric Handel [Georg Friedrich Händel] 1735 Ariodante HWV 33 Opera from "Orlando Furioso" by Ludovico Ariosto William Christie : Conductor David McVicar : Stage Director Sarah Connolly : Ariodante Chen Reiss : Ginevra Hila Fahima : Dalinda Christophe Dumaux : Polinesso Rainer Trost : Lurcanio Wilhelm Schwinghammer : Il Re di Scozia

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From the extensive collection of Carlos O on YouTube: Acts I and II of Handel’s Ariodante, in the McVicar staging seen earlier this year at the Wiener Staatsoper. Act III is here. The production stars Sarah Connolly (Ariodante), Chen Reiss (Ginevra), Christophe Dumaux (Polinesso), Hila Fahima (Dalinda), Rainer Trost (Lurcanio), and Wilhelm Schwinghammer (Il Re). 

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Mostly Mezzo Mondays: Connolly!!!, Williams, Piau (x2), Gens, Koch, Devieihle, ASvO, & more

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Sarah Connolly sings the title role in a live broadcast of the opening night of Ariodante from the Wiener Staatsoper. Her co-stars include Christoph Dumaux, Chen Reiss, Hila Fahima, Rainer Trost, and Wilhelm Schwinghammer. Saturday, February 24 on Ö1.*

Roderick Williams sings the title role in a deferred broadcast of Il ritorno d'Ulisse in patria from the Royal Opera (performed at the Roundhouse with the Early Opera Company Orchestra). I hear that Williams is very good in this role. Mezzo fans may also want to listen out for Caitlin Hulcup, Susan Bickley, and Catherine Carby. Saturday, February 24 on BBC Radio 3.*

Poulenc’s Dialogues des Carmélites is not my usual cuppa but I couldn’t help but take note of this cast: Patricia Petibon, Sophie Koch, Véronique Gens, Sabine Devieihle, and Sandrine Piau are the top billed soloists in the WCH listing. Deferred broadcast from the Théâtre des Champs-Elysées. Sunday, February 25 on France Musique.*

Fans of Sandrine Piau can hear her again in the deferred broadcast of a concert by the Chicago Symphony Orchestra featuring Poulenc’s Gloria and Gounod’s St. Cecilia Mass. Sunday, February 25 on WFMT. (NOTE: because WCH uses GMT for all schedule listings, this concert is displayed on WCH as taking place early in the morning of Monday, February 26, It is in fact scheduled for broadcast at 8:00 pm local Chicago time on February 25.)

Broadcasts marked with an asterisk (*) are on channels known to me to have a history of making most if not all of their live concert broadcasts available for catch-up listening for at least a week afterward. I can’t guarantee that any of these will be archived online but if you miss the live broadcast, there may be hope!

[joaquimblog]

Hila Fahimaorin i Gould. Siegfried Viena 2018

Gould i Pecoraro. Siegfried 2018

Tomasz Konieczny (Wanderer) Siegfried Viena 2018

Arribem a la segona jornada de l’edició 2018 del Ring a la Staatsoper de Viena i es confirmen tots els pronòstics: una direcció esplèndida i un equip vocal irregular on per sort hi ha la Brünnhilde esplèndida de Iréne Theorin que quasi fa oblidar el penós Wanderer de Konieczny

El rol protagonista va a càrrec del sòlid i sovint maldestre Stephen Gould en una nit més lluïda que de costum, tot i que sempre cal obviar un estil poc musical, d’una rudesa tècnica sovint irritant però que llueix amb desvergonyiment potser l’única veu veritablement de heldentenor de l’actualitat. Això si, cal passar per alt els exagerats i abusius portamentos, l’emissió sense cap mena de subtilesa en els moments més lírics, la recerca de l’afinació més ajustada i la utilització vocal a cops de mall, que no per ser la forja una de les escenes més esperades i que treu amb absolut convenciment, s’ha de mantenir de la amteixa manera durant els tres actes. És el que hi ha, però és veritablement trist que una veu autèntica no tingui al darrere un millor cantant.

Tomasz Konioeczny que no s’acomiada del Ring, ja que a la darrera jornada canta Gunther, però si del Wotan, signa la pitjor prestació de les tres, amb un Wanderer vulgar, desafinat i baladrer.

Millor el sòlid Alberich de Martin Winkler i l’excessivament caricaturesc Mime  d’Herweig Pecoraro, mentre que al Fafner de Jongmin Park li manca la temible grandesa d’un registre greu sense discussió.

Iréne Theorin està en un moment vocal gloriós, capaç d’arreplegar la veu en unes mitges veus que ara sovinteja molt i que tenen un impacte molt adequat en l’escena del despertar de ¨la Brünnhilde humana i alhora amb una imponent solidesa en el registre més heroic i agut (amb alguna que altra nota vorejant amb estrèpit els límits admissibles). El què és més lloable en la cantant sueca és la personalitat dramàtica de la seva interpretació càlida, humana i pletòrica, allunyada del glaç d’altres col·legues. Ella és potser la darrera representant d’una manera de fer front a l’òpera que sembla reservada als cantants referencials de la dècada dels 50’s del segle passat, segurament la millor. Ella aleshores envoltada del bo i millor no hauria desentonat gens. Admirable Theorin

La bona Erda  de Monika Bohimec encara que lluny d’una veritable i tel·lúrica Erda fa més despistat i desafinat el pardalet de Hila Fahima..

Adam Fischer s’emporta un sorollós èxit i cal dir que és just perquè el seu Ring és  sòlid, creatiu, dramàtic, contrastat, enèrgic, líric i amb grans dosis d’èpica discursiva a càrrec d’una bona orquestra que a estones esdevé sensacional.

D’acord que reunir un cast immaculat per a un Ring és  una empresa impossible, ja ni a l’abast de les discogràfiques que han renunciat a reunir en un estudi el “bo i millor” per deixar constància de la mediocritat actual, però Viena bé podria afinar un amica més perquè només amb un parell de retocs imprescindibles, en aquesta edició del 2018 li hagués sortit un Ring ben arregladet.

La producció és a cada visió més incomprensible poca cosa per  auna casa amb un historial tan gran.

Richard Wagner SIEGFRIED

Siegfried Stephen Gould Brünnhilde Iréne Theorin Der Wanderer Tomasz Konieczny Alberich Martin Winkler Mime Herwig Pecoraro Fafner Jongmin Park Stimme des Waldvogels Hila Fahima Erda Monika Bohinec

Orchester der Wiener Staatsoper Direcció musical: Adam Fischer

Director d’escena: Sven-Eric Bechtolf Escenografia: Rolf Glittenberg Disseny de vestuari: Marianne Glittenberg fettFilm (Momme Hinrichs und Torge Möller)

Wiener Staatsoper 11 d’abril de 2018

STAATSOPER DE VIENA 2017/2018: SIEGFRIED (GOULD-THEORIN-KONIECZNY-PECORARO-WINKLER-BOHINEC-FAHIMA-PARK;BECHTOLF-FISCHER) Arribem a la segona jornada de l'edició 2018 del Ring a la Staatsoper de Viena i es confirmen tots els pronòstics: una direcció esplèndida i un equip vocal irregular on per sort hi ha la Brünnhilde esplèndida de…

[joaquimblog]

Siegfried Stefan Vinke

Brünnhilde Petra Lang

Der Wanderer Thomas Johannes Mayer

Erda Okka von der Damerau

Mime Wolfgang Ablinger-Sperrhacke

Fafner Sorin Coliban

Retornem a la Tetralogia de Viena per recuperar el Siegfried que va tenir lloc el passat 28 de maig i que suposa una notabilíssima millora sobre aquella decebedora edició de gener del 2016, ja que l’immensa majoria del cast ha canviat, començant per el rol protagonista que ha passat del calamitós Christian Frantz al més que voluntariós Stefan Vinke que com sempre garanteix heroïcitat, dignitat musical i vocal, amb empenta i molta entrega, quelcom que en un Siegfried és imprescindible per tirar endavant una  representació.

En aquesta representació sembla descansat i es mostra pletòric. La veu ja sabem que no és un prodigi de bellesa però no emet sons fixats, ni fa els enutjosos portamentos de tants col·legues per intentar arribar a les notes, perquè ell les clava quasi sempre amb precisió. El seu primer acte és veritablement rellevant amb una forja consistent, sense reserves i molt valenta. Després de tants patiments en els darrers Rings comptar amb un Siegfried com ell, encara jove i sense defalliments és com un gran premi i per això els vienesos embogeixen en acabar el primer acte. En el segon i tercer manté aquesta empenta, malgrat l’extenuant extensió d’una partitura inclement, matisant quan el rol ho requereix i sempre mantenint aquesta insolència que caracteritza el rol i que degut al seu aspecte encara juvenil resulta tan convincent,

Thomas Johannes Mayer és un excel·lent Wanderer, potser dels tres Wotan aquest és el més convincent, amb autoritat i seguretat, superant amb escreix el Wotan de l’edició del 2016, Tomasz Konieczny.

També el Mime de Wolfgang Ablinger-Sperrhacke m’ha agradat més que Herwig Pecoraro, que no era precisament el pitjor d’aquell Siegfried desastrós de l’any passat. Ablinger-Sperrhacke `potser el caricaturitza en excés, però això ja forma part del estigma del rol excessivament estereotipat.

Jochen Schmeckenbecher repeteix el seu Alberich mancat de registre malèfic, però envoltat de mediocritat l’any passat ressaltava més que aquest, tot i que la prestació és del tot correcte, sense més.

Sorin Coliban és un Fafner de sonoritat potent però en aquesta ocasió amb un registre greu en algunes notes una mica precari. La veu és la que ha de ser i suposo que en el teatre impressiona més.

El pardalet del bosc de Hila Fahima és del tot genèric en una veu de líric lleugera no sempre precisa però si degudament radiant i lluminosa.

L’Erda de la contralt Okka von der Damerau no té la superba majestat d’Anne Larsson, el millor de l’edició del 2016, però és magnífica en la gravetat central d’una v  veu noble.

I per a Petra Lang aquesta és la Brünnhilde més dificultosa, ja que és la més radiant i de registre agut més esclatant i incisiu, sense gaires possibilitats d’escalfar la veu i amb una exigència creixent que acaba o hauria d’acabar amb un esclatant Do després d’haver desplegat un fraseig encisador amb una de les frases més inspirades del opus wagnerià. Ella s’esforça i té moments de bon control i de veritable convicció, però la seva veu de mezzosoprano no s’adequa bé i pateix, mentre Vinke sembla que no faci quatre hores que canta.

Peter Schneider, una vegada més, demostra un coneixement profund de l’obra i tot i que a vegades li manca una mica més de personalitat, condueix amb ma ferma una orquestra amb algunes defallences en els metalls, però globalment esplèndida. Els vienesos el reben a l’inici de cada acte amb estrepitosa satisfacció, així com també al final, i no serà que no han passat per aquell fossat memorables directors a fer-se càrrec del Ring, però ell forma part de la tradició més venerable de directors capaços fins i tot de treure a Bayreuth de situacions més que compromeses amb èxit. Bravo!

Richard Wagner SIEGFRIED

Siegfried Stefan Vinke Brünnhilde Petra Lang Der Wanderer Thomas Johannes Mayer Alberich Jochen Schmeckenbecher Erda Okka von der Damerau Mime Wolfgang Ablinger-Sperrhacke Fafner Sorin Coliban Waldvogel Hila Fahima

Orchester der Wiener Staatsoper, Direcció musical: Peter Schneider

Director d’escena: Sven-Eric Bechtolf Escenografia: Rolf Glittenberg Disseny de vestuari: Marianne Glittenberg

Wiener Staatsoper, 28 de maig de 2017

Stefan Vinke és el gran triomfador, de manera justa ja que el rol és extenuant i arriba al final amb molt més que dignitat i feia temps que no teniem un tenor tan decent per a un rol tan inclement. La resta completen amb solidesa una producció que segueix la tònica de la modèstia sense ferir susceptibilitats, quelcom en un Ring deu ser senyal de fracàs.

Quedo a l’espera d’oferir-vos aquí mateix la crònica de la darrera jornada d’un Ring que sense gaires pretensions està resultant satisfactori, espero que ho acabi sent del tot.

STAATSOPER DE VIENA 2016/2017: SIEGFRIED (Vinke, Mayer, Ablinger-Sperrhacke, Lang, Schmeckenbecher; Bechtolf, Schneider) Retornem a la Tetralogia de Viena per recuperar el Siegfried que va tenir lloc el passat 28 de maig i que suposa una notabilíssima millora sobre aquella decebedora edició de gener del 2016, ja que l'immensa majoria del cast ha canviat, començant per el rol protagonista que ha passat del calamitós Christian Frantz al més que voluntariós…

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Christopher Ventris (Parsifal) Viena 2017 Producció Alvis Hermanis

Parsifal Viena 2017 Producció Alvis Hermanis

Nina Stemme (Kundry) Parsifal 2017 Producció Alvis Hermanis

Parsifal Viena 2017 Acte 3er Producció Alvis Hermanis

Noies flor (Parsifal) Viena 2017 Producció Alvis Hermanis

Kwangchul Youn (Gurnemanz) Parsifal Viena 2017 Prodcucció Alvies Hermanis

Gerald Finley (Amfortas) Parsifal Viena 2017 Producció Alvis Hermanis

Avui us parlo del nou streaming de la nova producció del sempre desconcertant  Alvis Hermanis pel Parsifal de Richard Wagner a la l’òpera de Viena, amb la direcció musical de Semyon Bychkov i un equip de cantants notable en el que destaquen el debut en el rol de Kundry de la soprano sueca Nina Stemme i l’Amfortas del baríton canadenc Gerald Finley, ben acompanyats per la solvència de Christopher Ventris en el rol titular i Kwangchul Youn com a solid més que definitiu Gurnemanz.

El director rus Semyon Bychkov es fa càrrec de la relaxadíssima direcció musical, amb temps més que amples i una bella lentitud que mai fa que es perdi el discurs dramàtic. Ja vaig dir-ho arran de les representacions al Teatro Real i aquí a Viena es torna a repetir, els actes extrems més místics i contemplatius l’inspiren més que no pas la carnalitat del segon, que malgrat la poderosa presència d’una Stemme en plena forma, li queda massa distant. A vegades la intensitat sonora ofega a les veus menys poderoses (el sempre eficient Ventris), però la seva direcció té moments esplèndids i el conjunt és coherent, obtenint de l’orquestra de la Staatsoper una sonoritat wagneriana esplèndida.

Magnífic també el cor reforçat de la casa, `peça fonamental per l’èxit d’aquesta òpera.

Vocalment la representació té un bon nivell de conjunt. Ningú grinyola i alguns excel·leixen.

El tenor Christopher Ventris és Parsifal, un rol que ha fet arreu (també al Liceu) i és garantia de seguretat, musicalitat  i solvència. No té una veu que colpeixi en els moments més intensos,ja que el instrument és molt líric i la intensitat és relativa. Malgrat que ha fet front a rols exigents al llarg de la seva carrera, sembla que a la veu aquests esforços no li han passat excessiva factura. El seu cant és distingit, amb detalls de classe i un us de les mitges veus en el tercer acte, que s’agreixen en un rol que està a mig camí entre el misticisme de Lohengrin (no cal oblidar que és el seu pare) i l’heroïcitat impertinent del jove Siegfried.

També està garantida la musicalitat, la bellesa sonora i la noblesa en el Gurnemanz de Kwangchul Youn, potser mancat de més presència sonora en els grans moments on ha d’imposar autoritat i també personalitat. És tota una garantia i malgrat que avui en dia hi ha un parell o tres de baixos que el superen, el seu Gurnemanz és tota una referència i un goig.

Magnífic l’Amfortas de Gerald Finley, per la intensitat de la interpretació, gens exagerada, més aviat austera i interioritzada, amb una veu molt homogènia de color i de timbre bell.

No em va agradar tant el Klingsor de Jochen Schmeckenbecher, no per la intensitat sinó per l’oscil·lació de les notes més sostingudes.

Rotund i ajudat per l’amplificació que l’aproximava més al Fafner que no al moribund para d’Amfortas, el Titurel de Jongmin Park,

La nova producció del director letó Alvis Hermanis és visualment impactant i dramàticament incomprensible o si ho voleu més gràfic, una bogeria.

Visualment impactant perquè Hermanis que també es fa càrrec de la magnífica escenografia, embolcalla l’acció a l’interior d’un hospital psiquiàtric en plena ebullició del Jugendstil, moviment artístic que tenia en la vessant arquitectònica entre els seus representants més il·lustres a Otto Wagner (Wagner spital) de qui Hermanis copia els espais de les sales o la capella del hospital psiquiàtric Steinhof amb una fidelitat admirable.

L’escenografia pràcticament no canvia i només hi ha unes vidrieres bellíssimes que separen les escenes i els diferents espais, amb uns despatxos laterals on no hi faltarà el divan de Freud o unes prestatgeries farcides de llibres, cervells i fetos, tot molt estètic, tot molt malaltísment bell, tot extraordinàriament gèlid, asèptic i distant.

I dramàticament incomprensible perquè la bogeria de Hermanis de portar l’acció a un  hospital psiquiàtric on hi ha dos metges, un bo i humà  (Gurnemanz) i un dolent i pervers (Klingsor) mentre la resta estan tots tocats del bolet, amb una Kundry que al primer acte necessita camissa de força i a la segona, després d’una sessió d’electroshock esdevé una mena de diva extreta d’un quadre de Klimt o un Amfortas que la llança li va travessar el cervell, grinyolen en l’immensa majoria de les escenes, sobretot perquè el personatge de Parsifal no hi pinta res en mig d’una narració on sembla que a Hermanis el molesti.

La producció està allunyada de qualsevol connotació religiosa, tot és presumiblement molt més científic, malgrat que lluitar contra l’espiritualitat de la partitura esdevé un anar contracorrent sense sentit.

No us negaré que hi ha imatges molt potents, però res s’explica bé o allò que s’inicia amb una certa coherència narrativa acaba per no desenvolupar-se de manera comprensible  perquè a Hermanis li costa molt adaptar la seva bogeria amb el llibret de Wagner. El director té moltes idees, moltes robades o prestades d’altres muntatges (la referència hospitalària funcionava molt millor en la magnífica producció de Guth) o aquella gramola  on Gurnemanz sembla que a l’inici es posi a escoltar una gravació del Parsifal wagnerià que em remet a la producció de les produccions (Herheim). No conec l’alemany i per tant no sé el que diu un espectador en els segons de silenci amb l’escena encara oberta del final del tercer acte, segur que alguna cosa ocurrent o per no desentonar, una bogeria.

Al final del primer acte l’intent d’aplaudiment és avortat per l’ortodòxia wagneriana vienesa. En els altres dos actes l’èxit és més que notable.

Richard Wagner PARSIFAL

Amfortas – Gerald Finley Gurnemanz – Kwangchul Youn Parsifal – Christopher Ventris Klingsor – Jochen Schmeckenbecher Kundry – Nina Stemme Titurel – Jongmin Park 1. Gralsritter – Benedikt Kobel 2. Gralsritter – Clemens Unterreiner 1. Knappe – Ulrike Helzel 2. Knappe – Miriam Albano 3. Knappe – Thomas Ebenstein 4. Knappe – Bror Magnus Tødenes 1. Blumenmädchen – Ileana Tonca 2. Blumenmädchen – Olga Bezsmertna 3. Blumenmädchen – Margaret Plummer 4. Blumenmädchen – Hila Fahima 5. Blumenmädchen – Caroline Wenborne 6. Blumenmädchen – Ilseyar Khayrullova Stimme von oben – Monika Bohinec

Orchester der Wiener Staatsoper Chor der Wiener Staatsoper Bühnenorchester der Wiener Staatsoper Extrachor der Wiener Staatsoper Kinder der Opernschule der Wiener Staatsoper Director del cor: Martin Schebesta Director musical: Semyon Bychkov

Director d’escena: Alvis Hermanis Escenografia: Alvis Hermanis Disseny de vestuari: Kristine Jurjane Video: Ineta Sipunova Disseny de llums: Gleb Filshtinsky

Staatsoper de Viena, 13 d’abril de 2017

La proposta és bastant inútil però no molesta, ni tampoc irrita, perquè el disseny és esplèndid, ja sigui l’escenogràfic, com el del vestuari de Kristine Jurjane o el gèlid, fins i tot en les estances càlides de Gurnemanz o el divan freudià de Klingsor, disseny de llums de Gleb Filshtinsky. El millor rau en la vessant musical i vocal, quelcom que sempre, sempre, sempre, s’agraeix, sobretot aquí a can IFL

STAATSOPER DE VIENA 2016/2017: PARSIFAL (Ventris-Finley-Youn-Stemme-Schmeckenbecher;Hermanis-Bychkov) Avui us parlo del nou streaming de la nova producció del sempre desconcertant  Alvis Hermanis pel…

[verdiprati]

Mostly Mezzo Mondays: Röschmann, Watson, Puértolas, and Amereau

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Dorothea Röschmann sings Strauss’s Vier letzte Lieder as part of a concert with the Orchestra Sinfonica Nazionale della Rai. Live broadcast Thursday, January 17 on Rai Radio 3.

Katherine Watson and Robert Murray sing works by Händel in a concert with The Sixteen. Live broadcast Saturday, January 19 on OE1.

We get more Handel the next day in the form of a performance of his opera Rodelinda, recorded last month in Lyon. Sabina Puértolas stars in the title role, with up-and-coming contralto Avery Amereau as her sister-in-law Eduige. Sunday, January 20 on France Musique.

OE1 generally keeps broadcasts online for a week, and France Musique keeps most (but not all) broadcasts online even longer than that. Rai does not offer broadcast archives online.

Bonus Connolly content:

The Wiener Staatsoper Ariodante from last March was recently re-broadcast by the Swedish radio station P2. Besides Sarah Connolly in the title role, the stars include Chen Reiss (Ginevra), Christophe Dumaux (Polinesso), and Hila Fahima (Dalinda). You can listen to the audio on demand here for the moment; I’m not sure how long it will stay online but I think it’ll be around for 30 days from its date of broadcast, January 12.

On January 17, the Teatro Real will open its revival of Robert Carsen’s production of Das Rheingold (originally seen at the Oper Köln). Sarah Connolly will sing the role of Fricka in Madrid. The theater has announced that there will be a deferred broadcast of the opera on RNE Radio Clásica, on a date to be determined. I will of course keep an eye out for it and publish the details on my blog when I know more.

[verdiprati]

Upcoming performances by Dame Sarah Connolly

[NOTE: this post is now out of date. Check the schedule tag on my blog for the most recent version of this list.]

After the jump: an unofficial schedule of Dame Sarah Connolly’s future performances. Those of you in Britain may catch a performance in London, Nottingham, Oxford, Gloucester, Lewes, Cheltenham, or Painswick, or possibly a public masterclass in Aldeburgh. Those on the Continent may see her in Berlin, Paris, Vienna, Brussels, Amsterdam, Rotterdam, or Vilabertran (Catalunya). And finally, those of us in North America have engagements in New York and Philadelphia to look forward to! Plus, Dame Sarah's agency has mentioned future performances in Paris and Madrid, though no details are available yet. Don’t live near one of these places? Take in a concert from afar: I am adding online broadcast and livestream details as they become available.

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah's website (not currently being updated), her agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

Handel, Ariodante (title role) at the Wiener Staatsoper, February 24 and 26 and March 1, 4, and 8, 2018. With Chen Reiss (Ginevra), Hila Fahima (Dalinda), Christphe Dumaux (Polinesso), Rainer Trost (Lurcanio), and Wilhelm Schwinghammer (Il Re di Scozia). In a new production directed by David McVicar with music is supplied by Les Arts Florissants conducted by William Christie. Note: although Christie, LAF, and many of the soloists from this Ariodante will be performing the opera in a concert tour following its staging in Vienna, Dame Sarah is not scheduled to join them; Kate Lindsey has been announced to take over the title role for the tour.

[Broadcast] The opening night performance, February 24, is scheduled for live radio broadcast on OE1. It will also be carried live by Radio Clásica in Spain and possibly other European radio stations that I have not run across yet.

[Livestream] The opera is scheduled for video livestreaming on Sunday, March 4. There is a fee of €14 to watch the livestream.

Schubert, “Zögernd leise” in a Mothering Sunday concert at Gloucester Cathedral, March 11, 2018. With the Girl Choristers of Gloucester Cathedral; conducted by Nia Llewelyn Jones. This concert is just an hour long altogether and the one song Dame Sarah is scheduled to sing runs about five or six minutes, but it’s one of my favorite pieces I’ve heard her sing live—she’s like a storyteller in this song—and the £16 ticket price a) is pretty affordable and b) includes “a glass of pink fizz.”

Mahler, Symphony No. 8 “Symphony of a Thousand” at de Doelen, Rotterdam, March 23 and 25, 2018. With the Rotterdam Philharmonic Orchestra conducted by Yannick Nézet-Séguin. The other soloists are Angela Meade, Erin Wall, Erin Morley, Mihoko Fujimura, Michael Schade, Markus Werba, and Christof Fischesser. On choral duty are the Groot Omroep Koor, Rotterdam Symphony Chorus, Orfeon Donostiarra, and Nationaal Kinderkoor. UPDATE: Dame Sarah, citing illness in a tweet, withdrew from all three performances with the Rotterdam Phil and was replaced by Michelle DeYoung.

[New! Broadcast] The March 23 performance will be broadcast in live video by Medici.tv. My understanding is that the video will be available for “limited replay” to those with free accounts on the service and “unlimited replay” to those with paid accounts.

Mahler, Symphony No. 8 “Symphony of a Thousand” at BOZAR Centre for Fine Arts, Brussels, March 24, 2018. With the Rotterdam Philharmonic Orchestra; same details as the Rotterdam performances listed above. UPDATE: Dame Sarah, citing illness in a tweet, withdrew from all three performances with the Rotterdam Phil and was replaced by Michelle DeYoung.

[Broadcast] I found a web page saying that all concerts at the 2018 Klarafestival can be followed live on the Klara radio station (“Tot slot zijn ook dit jaar alle concerten van Klarafestival live te volgen op radiozender Klara��); I should be able to confirm the Klara broadcast schedule closer to the time. UPDATING just slightly to add: although I can’t find a page specifically for the Mahler 8 broadcast, I can confirm that “Klara Live - Klarafestival” is appearing in the relevant slot of the program grid for March 24.

[Masterclasses] Public masterclasses for the Britten-Pears Young Artist Programme at Snape Maltings in Aldeburgh, England, March 26, 27, 28, and 30. Part of a course on Handel’s Theodora to be co-taught with conductor Christian Curnyn. Although this doesn’t really count as a performance by Sarah Connolly, I am adding it to my “unofficial schedule” of her work with the thought that fans who live in the area might want to attend some of the public masterclasses Sarah Connolly will be co-teaching or the culminating performance on March 31 by young artists she will have coached.

Verdi, Requiem at the Royal Concert Hall in Nottingham, April 28, 2018. With Elizabeth Llewellyn, Gywn Hughes Jones, Wojtek Gierlach, and the London Philharmonic Orchestra. The chorus will be supplied by Nottingham Trent University, where Dame Sarah was awarded an honorary doctorate of music in July of 2017. 

Recital at St Mary’s Church, Painswick, Glos., May 12, 2018. With Joseph Middleton; sponsored by the Painswick Music Society. Works to include songs by Vaughan Williams, Gurney, Parry, Howells, Holst, Britten, Tippett, “and others,” as well as the premiere of a new song cycle by Sally Beamish.

Handel, Giulio Cesare (title role) at Glyndebourne, June 10 through July 28, 2018. In a revival of the legendary 2005 production by David McVicar, with the Orchestra of the Age of Enlightenment conducted by William Christie. With Joélle Harvey as Cleopatra, plus Christophe Dumaux and Patricia Bardon reprising the roles of Tolomeo and Cornelia respectively; also starring Anna Stéphany (Sesto), John Moore (Achilla), and Kangmin Justin Kim (Nireno).

Bach, cantata selections in a concert with Mahan Esfahani at the Cheltenham Music Festival, July 1, 2018. Specifically, Dame Sarah is scheduled to sing “arias from Bach’s cantatas Widerstehe doch der Sünde and Ich habe genug and a complete performance of Vergnügte Ruh, beliebte Seelenlust,” according to the festival website.

[New!] Recital for the Cheltenham Music Festival at the Pittville Pump Room, July 4, 2018. With Joseph Middleton. They will be performing “a survey of composers from the Royal College of Music,” including songs by Stanford, Parry, Vaughan Williams, Holst, Gurney, Howells, Bridge, Britten, and Tippett. Tickets go on sale to the public April 4. 

[New details!] Recital at the Schubertíada Vilabertran, August 18, 2018. With pianist Malcolm Martineau and viola player Jonathan Brown. Repertoire includes songs by Brahms, Mahler’s Kindertotenlieder, and a selection of traditional English songs. 

Wagner, Das Rheingold and Die Walküre (Fricka in both) at the Royal Opera, London, September 24 through October 28, 2018. A revival of Keith Warner’s Ring Cycle, with Antonio Pappano conducting. For cast and date details, see the ROH web pages linked above. As of this writing, the ROH is only allowing customers to purchase tickets for an entire cycle of the four operas; I’m not sure whether they’ll allow separate booking later. Curiously, two performances of Die Walküre—but none of Das Rheingold (nor of the other two operas)—are marked “Filming” on the ROH website. Do we have a Walküre webcast or DVD to look forward to? Or is Pappano gathering clips for a future documentary? I do not know.

Mahler, Das Lied von der Erde at the Royal Festival Hall, London, September 29, 2018. With Stuart Skelton and the London Philharmonic Orchestra conducted by Vladimir Jurowski. In a concert with Mitsiko Uchida playing Mozart’s Piano Concerto No. 27.

Mahler, Das Lied von der Erde at the Philharmonie Berlin [PDF], October 14, 2018. With Torsten Kerl and the Rundfunk-Sinfonieorchester Berlin conducted by Vladimir Jurowski.

[New! Broadcast] The concert listing on the RSB website includes a notation “Konzert mit Deutschlandfunk Kultur,” implying (I believe) that it will be broadcast on said radio station.

[New! Details TBA] Appearance with the Oxford Lieder Festival, sometime in the range October 12-27, 2018. I can’t find any details on the OLF website as of this writing, but a story published by The Ocelot and presumably based on an OLF press release promises that Dame Sarah will be among the artists involved with the 2018 festival. 

Concert with the Tenebrae Consort at Wigmore Hall, London, October 24, 2018. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA. Listed in the season preview brochure [PDF].

[New!] Blow, Venus and Adonis and Purcell, Dido and Aeneas in concert at the Concertgebouw, Amsterdam, November 3, 2018. With the Early Opera Company conducted by Christian Curnyn. Dame Sarah’s co-stars are Jonathan McGovern, Lucy Crowe, Susan Bickley, and Rowan Pierce. Tickets go on sale June 1. 

[New!] Tippett, A Child of our Time at the Paris Philharmonie, November 7 and 8, 2018. With Michelle Bradley, Mark Padmore, John Relyea, and the Orchestre de Paris conducted by Thomas Adès in a concert also featuring symphonic works by Berlioz and Adès.

Ravel song recital at Wigmore Hall, London, November 16, 2018. With James Newby and Joseph Middleton. Part of a Ravel song series being presented by the Wigmore over the course of the year. Listed in the season preview brochure [PDF].

[New!] Recital with Julius Drake at the Concertgebouw, Amsterdam, March 5, 2019. Works by R. Schumann, Brahms, Wolf, A. Mahler, and Zemlinsky. 

Recital with Julius Drake at Wigmore Hall, London, March 15, 2019. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA, but may have some works in common with those programmed for Connolly and Drake’s other recitals in the same month. Listed in the season preview brochure [PDF].

[New!] Recital with Julius Drake at the Kimmel Center, Philadelphia, March 22, 2019. Sponsored by the Philadelphia Chamber Music Society. Repertoire includes works by Brahms, Wolf, Roussel, Debussy, and Zemlinksy. 

[New!] Wagner, Götterdämmerung (Waltraute) at the Metropolitan Opera, New York, April 27, May 4, and May 11, 2019. In a revival of Robert Lepage’s production of the Ring cycle, with all shows to be conducted by Philippe Jordan. Dame Sarah’s co-stars in Götterdämmerung include Christine Goerke (Brünnhilde), Stefan Vinke / Andreas Schager (sharing the role of Siegfried), Edith Haller (Gutrune), Eric Owens (Hagen), Evgeny Nitikin (Gunther), and Tomasz Konieczny (Alberich).

Recital with Malcolm Martineau at Wigmore Hall, London, July 23, 2019. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA. Listed in the season preview brochure [PDF].

[Details TBA] Future appearances at the Opéra national de Paris and the Teatro Réal in Madrid are mentioned in the current bio that can be downloaded from Dame Sarah’s page on the Askonas Holt website (click “Publicity Pack”). 

Previous versions of this list can be found under the schedule tag on this blog. This version published on February 10, 2018. Edited February 15 to add the Scubertíada Vilabertran, the Met Götterdämmerung, and the Elgar concert at the Barbican. Edited February 16 to delete the Elgar concert at the Barbican after clarifying with Dame Sarah’s agent that the listing was erroneous. Edited February 27 to add the Concertgebouw double header of English baroque operas in concert. Edited February 28 to add the Philadelphia Chamber Music Society link. Edited March 1 to add the Concertgebouw recital with Julius Drake and fill in more details on the Philadelphia recital. Edited March 8 to add details to the Vilabertran recital and to add the Tippett piece with the Orchestre de Paris. Edited March 10 to confirm the appearance of the Klara Festival on the Klara program schedule for March 24. Edited March 17 to add the recital with Joseph Middleton at the Cheltenham Music Festival, the broadcast note on the Berlin Das Lied, and the Medici.tv livestream of Mahler 8. Edited March 26 to correct a typo in one of the Cheltenham Music Festival entries (I had mistakenly placed both concerts on the same day, July 1) and to belatedly reflect Dame Sarah’s withdrawal from the Rotterdam Philharmonic Mahler 8 concerts. Edited April 4 to add the Oxford Lieder Festival. I may continue to edit this list as I receive new information.

[verdiprati]

Upcoming performances by Dame Sarah Connolly

[NOTE: this post is now out of date. Check the schedule tag on my blog for the most recent version of this list.]

After the jump: an unofficial schedule of Dame Sarah Connolly’s future performances. Those of you in Britain may catch a performance in London, Nottingham, Gloucester, Lewes, Cheltenham, or Painswick, or possibly a public masterclass in Aldeburgh. Those on the Continent may see her in Berlin, Vienna, Brussels, or Rotterdam. Plus, Dame Sarah’s agency has mentioned future performances in Paris, Madrid, and New York, though no details are available yet. Don’t live near one of these places? Take in a concert from afar: I am adding online broadcast and livestream details as they become available.

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah's website (not currently being updated), her agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

Handel, Ariodante (title role) at the Wiener Staatsoper, February 24 and 26 and March 1, 4, and 8, 2018. With Chen Reiss (Ginevra), Hila Fahima (Dalinda), Christphe Dumaux (Polinesso), Rainer Trost (Lurcanio), and Wilhelm Schwinghammer (Il Re di Scozia). In a new production directed by David McVicar with music is supplied by Les Arts Florissants conducted by William Christie. Note: although Christie, LAF, and many of the soloists from this Ariodante will be performing the opera in a concert tour following its staging in Vienna, Dame Sarah is not scheduled to join them; Kate Lindsey has been announced to take over the title role for the tour.

[New! Broadcast] The opening night performance, February 24, is scheduled for live radio broadcast on OE1. It will also be carried live by Radio Clásica in Spain and possibly other European radio stations that I have not run across yet.

[Livestream] The opera is scheduled for video livestreaming on Sunday, March 4. There is a fee of €14 to watch the livestream.

[New!] Schubert, “Zögernd leise” in a Mothering Sunday concert at Gloucester Cathedral, March 11, 2018. With the Girl Choristers of Gloucester Cathedral; conducted by Nia Llewelyn Jones. This concert is just an hour long altogether and the one song Dame Sarah is scheduled to sing runs about five or six minutes, but it’s one of my favorite pieces I’ve heard her sing live—she’s like a storyteller in this song—and the £16 ticket price a) is pretty affordable and b) includes “a glass of pink fizz.” 

Mahler, Symphony No. 8 “Symphony of a Thousand” at de Doelen, Rotterdam, March 23 and 25, 2018. With the Rotterdam Philharmonic Orchestra conducted by Yannick Nézet-Séguin. The other soloists are Angela Meade, Erin Wall, Erin Morley, Mihoko Fujimura, Michael Schade, Markus Werba, and Christof Fischesser. On choral duty are the Groot Omroep Koor, Rotterdam Symphony Chorus, Orfeon Donostiarra, and Nationaal Kinderkoor.

Mahler, Symphony No. 8 “Symphony of a Thousand” at BOZAR Centre for Fine Arts, Brussels, March 24, 2018. With the Rotterdam Philharmonic Orchestra; same details as the Rotterdam performances listed above. 

[Broadcast] I found a web page saying that all concerts at the 2018 Klarafestival can be followed live on the Klara radio station (“Tot slot zijn ook dit jaar alle concerten van Klarafestival live te volgen op radiozender Klara”); I should be able to confirm the Klara broadcast schedule closer to the time.

[New details!] [Masterclasses] Public masterclasses for the Britten-Pears Young Artist Programme at Snape Maltings in Aldeburgh, England, March 26, 27, 28, and 30. Part of a course on Handel’s Theodora to be co-taught with conductor Christian Curnyn. Although this doesn’t really count as a performance by Sarah Connolly, I am adding it to my “unofficial schedule” of her work with the thought that fans who live in the area might want to attend some of the public masterclasses Sarah Connolly will be co-teaching or the culminating performance on March 31 by young artists she will have coached.

Verdi, Requiem at the Royal Concert Hall in Nottingham, April 28, 2018. With Elizabeth Llewellyn, Gywn Hughes Jones, Wojtek Gierlach, and the London Philharmonic Orchestra. The chorus will be supplied by Nottingham Trent University, where Dame Sarah was awarded an honorary doctorate of music in July of 2017. (Booking info at the link above; news of the concert first surfaced in this announcement from NTU.)

[New!] Recital at St Mary’s Church, Painswick, Glos., May 12, 2018. With Joseph Middleton; sponsored by the Painswick Music Society. Works to include songs by Vaughan Williams, Gurney, Parry, Howells, Holst, Britten, Tippett, “and others,” as well as the premiere of a new song cycle by Sally Beamish. 

Handel, Giulio Cesare (title role) at Glyndebourne, June 10 through July 28, 2018. In a revival of the legendary 2005 production by David McVicar, with the Orchestra of the Age of Enlightenment conducted by William Christie. With Joélle Harvey as Cleopatra, plus Christophe Dumaux and Patricia Bardon reprising the roles of Tolomeo and Cornelia respectively; also starring Anna Stéphany (Sesto), John Moore (Achilla), and Kangmin Justin Kim (Nireno).

[New!] Bach, cantata selections in a concert with Mahan Esfahani at the Cheltenham Music Festival, July 1, 2018. Specifically, Dame Sarah is scheduled to sing “arias from Bach’s cantatas Widerstehe doch der Sünde and Ich habe genug and a complete performance of Vergnügte Ruh, beliebte Seelenlust,” according to the festival website.

Wagner, Das Rheingold and Die Walküre (Fricka in both) at the Royal Opera, London, September 24 through October 28, 2018. A revival of Keith Warner’s Ring Cycle, with Antonio Pappano conducting. For cast and date details, see the ROH web pages linked above. As of this writing, the ROH is only allowing customers to purchase tickets for an entire cycle of the four operas; I’m not sure whether they’ll allow separate booking later. Curiously, two performances of Die Walküre—but none of Das Rheingold (nor of the other three operas)—are marked “Filming” on the ROH website. Do we have a Walküre webcast or DVD to look forward to? Or is Pappano gathering clips for a future documentary? I do not know.

[New!] Mahler, Das Lied von der Erde at the Royal Festival Hall, London, September 29, 2018. With Stuart Skelton and the London Philharmonic Orchestra conducted by Vladimir Jurowski. In a concert with Mitsiko Uchida playing Mozart’s Piano Concerto No. 27.

[New!] Mahler, Das Lied von der Erde at the Philharmonie Berlin [PDF], October 14, 2018. With Torsten Kerl and the Rundfunk-Sinfonieorchester Berlin conducted by Vladimir Jurowsky.

[New!] Concert with the Tenebrae Consort at Wigmore Hall, London, October 24, 2018. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA. Listed in the season preview brochure [PDF].

[New!] Ravel song recital at Wigmore Hall, London, November 16, 2018. With James Newby and Joseph Middleton. Part of a Ravel song series being presented by the Wigmore over the course of the year. Listed in the season preview brochure [PDF].

[New!] Recital with Julius Drake at Wigmore Hall, London, March 15, 2019. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA. Listed in the season preview brochure [PDF].

[New!] Recital with Malcolm Martineau at Wigmore Hall, London, July 23, 2019. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA. Listed in the season preview brochure [PDF].

[Details TBA] Future appearances at the Metropolitan Opera in New York, the Opéra national de Paris, and the Teatro Réal in Madrid are mentioned in the current bio that can be downloaded from Dame Sarah’s page on the Askonas Holt website (click “Publicity Pack”). Dame Sarah herself has made mention of a Philadelphia recital on Twitter, though she says it is “not for a while yet” and it is apparent that she is not at liberty to give any details yet.

Previous versions of this list can be found under the schedule tag on this blog. This version published on December 27, 2017. Edited December 30 to add the specific dates of the Snape Maltings masterclasses. Edited January 17 to add the Klara broadcast of the Brussels Mahler 8. Edited January 24 to add David Matthews’ “White Flame.” Edited January 30 to add Das Lied with the LPO. Edited February 7 to add the Wigmore concerts. Edited February 8 to add Das Lied with the RSB, delete “White Flame,” and correct the year in the date of the Gloucester Cathedral concert. Edited February 10 to add the radio broadcasts of Ariodante. I may continue to edit this list as I receive new information.