Radio 3 has chosen the six young artists it will promote over the next two years. They are:

Alessandro Fisher – UK, tenor

James Newby – UK, baritone

Facebook cover pic

Katharina Konradi – Krygyszstan, soprano

Anastasia Kobekina – Russia, cello

Elizabeth Brauss – Germany, piano

Aris Quartet – Germany

From the Lebrecht Album of the Week:

What are we to make of songs that were written for people to sing and play at home, when nobody plays at home anymore? The great canon of so-called ‘art song’ (horrible term) has shifted from the drawing room to the public stage and, in doing so, has lost something of its intended intimacy and improvisation. It seems to be that English song suffers more in this transition than French or German. All too often, in a concert setting, the singer feels obliged to pop a peach in his/her mouth for a declamatory purpose…..

Read on here.

And here.

This communication comes from Seattle Opera:

SEATTLE—When you think of the song, “Summertime,” perhaps you hear the elegant Ella Fitzgerald—or the earthy Janis Joplin—singing in your mind. But, while many great covers exist, there’s nothing like experiencing the song where “fish are jumpin’ and the cotton is high,” as Gershwin first wrote it: for the powerful voice of an opera singer. This August, come experience the origin of songs such as “Summertime,” and “I Loves You, Porgy” when Seattle Opera presents The Gershwins’ Porgy and Bess.

“Not only is the music in Porgy and Bess iconic, but this opera offers a rare and beautiful moment to see so many People of Color onstage,” said ChrisTiana ObeySumner, Social Impact Consultant for Seattle Opera. “As audience members, Porgy is an opportunity for us to celebrate the Black American experience, and to wrestle with aspects of America’s complicated racial history.”

Through lobby displays, program articles, and blog pieces, Seattle Opera will center Black narratives as it provides historical and cultural context for Porgy. Prior to the August performances, all are encouraged to attend Breaking Glass: Hyperlinking Opera & Issues, a free public forum on July 28 that will tackle issues of diversity, equity, and representation in a conversation led by arts leaders of color.

The culture minister Monika Grütters has secured a huge spending increase next year, upping the federal arts budget to 1.8 billion Euros.

Among other beneficiaries, the Berlin Philharmonic and the Berlin opera houses will receive a one-off boost.

‘I am grateful for this signal of confidence in culture from members of parliament,’ said Grütters.

So are we.

The new production of Parsifal at the Munich Festival was greeted last night with vociferous booing.

photo: Wilfried Hösl

The hostility was targeted at Georg Baselitz’s stage design and at the director, Pierre Audi.

Kaufmann in the title role, with  Christian Gerhaher as Amfortas and Nina Stemme as Kundry, were loudly acclaimed, as was the conductor, Kirill Petrenko.

Tonight, La Scala will give its first performance of Bellini’s Il Pirata for 60 years.

Back in 1958, Antonino Votto conducted a truncated version with Maria Callas, Franco Corelli and Ettore Bastianini.

Imogene is one of three Callas roles that La Scala has never revived. The others are Medea – and Paolina in Donizetti’s Poliuto (but let’s not go there).

Tonight, Sonya Yoncheva will take the Callas role. Riccardo Frizza will conduct almost the complete score.

Stand by for reactions.

After a Carnegie Hall debut in 1942, Lonore Engdahl made several albums for MGM Records. She died on June 19, at home, near Boston.

Obit here.

The incoming intendant of Bavarian State Opera has settled his unfair dismissal case against Dresden’s Semper Oper.

Serge Dorny, you may recall, was fired before he could even start work.

He sued for 1.7 million Euros and won. He has now settled for a fifth of that amount.

Who pays? The long-suffering taxpayer.

Let’s hope he gives it to charity.

The question is raised bilingually risk week on VAN, the irreverent classical magazine:

Ist Slipped Disc das Breitbart der Klassik? Oder die einzige Plattform, die über klassische Musik so schreibt, wie innerhalb der Szene über sie gesprochen wird? Jeff Brown traf den Gründer Norman Lebrecht in Berlin.

You can read our interview in English here.

In German here.

Some differences between Slipped Disc and Breitbart:

1 Slipped Disc is not funded by Texan billionaires.

2 Slipped Disc does not support the far right, alt right, new right, or any other kind of right, except human rights.

3 Slipped Disc deplores Trump.

4 Er, whatever.

Thanks, VAN!