Thomas Tallis’s motet, Spem in alium, written for 8 choirs with 5 parts each, is one of the most intricate works of music of its time.

In the age of Covid, when singing spells mortal danger, it has fallen silent.

In the middle of England, members of the Parish of Nottingham St Peter and All Saints set out remotely to resurrect it.

We listen in wonderment.

 

The prosecution has demanded a six-year sentence in the long-running trial of the opera director Kirill Serebrennikov, who is accused of embezzling theatre funds.

He denies the charges, which many believe to have been trumped up after he voiced opposition to the Putin regime.

Serebrennikov has a busy international career, especially in German opera houses, and many friends in the music community. So far, only Teodor Currentzis (below) has spoken up for him.

 

The formidable Nikolai Fadeyechev has died in a Moscow hospital.

A member of the first Bolshoi company to visit London in 1956, he was a mainstay of the company for quarter of a century, a maget for balletomanes.

 

The French tenor Yann Beuron is calling it quits after 30 years on stage. Renowned for Pelleas and for many Offenbach roles, he appeared on most major European stages.

He writes:

 

 

Chers tous,

avant de clôturer mon compte professionnel dans quelques mois, je vous adresse (et à la profession par la même occasion) ce message d’au revoir.

J’ai décidé de mettre un terme à mon métier de chanteur lyrique (sans renoncer bien sûr à mon activité d’intervenant dans le cadre des Masterclasses, ce que j’adore partager) et de profiter de la vie différemment. A presque 52 ans, je sens que c’est le moment pour moi de passer la main.

La création du « Soulier de Satin » à l’opéra de Paris Bastille la saison prochaine sera ma dernière participation à une production scénique, Don Pélage, mon dernier rôle.

J’ai commencé à vivre professionellement de ce métier en 1989. Je chantais alors comme choriste à l’opéra de Rennes (et accessoirement comme baryton). 32 années à parcourir la planète en chantant, bien des questions sur cet art complexe et exigeant resteront en suspend et c’est tant mieux. On en a jamais fait le tour.

Cela a été un grand privilège pour moi d’interpréter et de servir notre musique à travers le monde, une joie sans cesse renouvelée. C’est un joyau. Chérissez là ainsi que nos artistes, je tire ma révérence 🙂
Bien à vous, Yann Beuron.

ps : longue vie à l’agence artistique “Intermezzo” et aux deux jeunes femmes fantastiques qui la représentent. A elles mes remerciements.

(A paraître, on ne se refait pas et après tout ce sera mon dernier cd : mélodies de Mel Bonis, piano David Zobel, Palazzetto Bru Zane)

Dear all,

Before closing my business account in a few months, I want to send you (and to the profession) this message of goodbye.

I have decided to end my job as a singer (without giving the Masterclasses, which I love to share) and to enjoy my life differently. At almost 52 years old, I feel it’s time for me to pass the baton.

The creation of “Soulier de Satin” at the Bastille Opera next season will be my last stage production, Don Pelagius, my last role.

I began this profession in 1989. I was singing at Rennes Opera (also as a baritone). 32 years of traveling the planet singing, many questions about this complex and demanding art stay up in the air and that’s so much better. We’ll never get our heads around it.

It has been a great privilege for me to interpret and serve our music around the world, an ever renewed joy. It’s a jewel. Cherish it and our artists, I take my bow 🙂
Good wishes, Yann beuron.

ps: long life to the artists agency Intermezzo and the two fantastic young women who represent it. To them, my thanks.

(To be released… my last cd: melodies by Mel Bonis, piano David Zobel, Palazzetto Bru Zane)

The veteran US-Japanese violinist has removed her North American management from main agent Intermusica in London and placed it with Kirshbaum Associates in New York.


Coming home time?

The director of the Estonian National Opera, Aivar Mäe, is accused in a national newspaper today of groping women in the company and making belittling sexual remarks to and about them.

More than 10 c0mpany members, past and present, have spoken about incidents that go back seven years.

Aivar Mäe, who is 60, has been in charge of the company since 2009. He has issued a point by point denial.

 

 

From the prime minister’s statement to the House of Commons in the past hour:

My RHFs the Business and Culture Secretaries will establish taskforces with public health experts and these sectors to help them become Covid-secure and re-open as soon as possible.

We will also work with the arts industry on specific guidance to enable choirs, orchestras and theatres to resume live performances as soon as possible.

Let’s go!

 

An Instagram microsite that collects incidents of racial prejudice in the opera world had 9,258 followers as of today.

@orchestra is racist had 3,035 followers and some graphic accounts of alleged misconduct in Cleveland.

@composingis racist has 1,458 followers.

 

 

La Repubblica reports that Placido Domingo’s name has been mentioned a police investigation into alleged corruption between a Swiss-Italian agency and the former sovrintendente of the Teatro Regio di Torino, William Graziosi.

It is alleged that, under Graziosi’s regime, the agency of Alessandro Ariosi tripled its commissions from 200,000 to 700,000 euros. Ariosi had helped Graziosi at his previous opera post in Kazakhstan. He is said to have profited from many engagements of Placido Domingo, who has pride of place on Ariosi’s website for ‘special collaboration’. He has also worked closely with Cecilia Gasdia at the Arena di Verona.

The investigation, which is at an early stage, continues.

 

 

Daniel Froschauer (pic) and Michael Bladerer were reconfirmed for a second term at yesterday’s general meeting. They will serve as chairman and managing director for the next three years.

No surprise here. The duo have negotiated smoothly with the incoming regime at the Vienna State Opera and are looking ahead to regime change at Salzburg. The orchestra is the central unchanging factor in these upheavals.

 

The funeral of Michael Stennett will be held on June 30 at Yoxford in Suffolk.

Michael Stennett designed many productions for Australian Opera, Royal Opera House Covent Garden and the Royal Shakespeare Company before ending his stage career in 1994 to concentrate on making art. Many of his finest costumes and jewellery were designed for Dame Joan Sutherland, who had unfailing trust in his good taste.

 

 

 

In 1993, HM the Queen commissioned a portrait drawing of Sutherland from Stennett for the Order of Merit series at Windsor Castle. Stennett had his first solo show in 1998 at Aldeburgh Theatre Gallery and ran a gallery of his own at Yoxford.

 

The family and friends of Kristin Linklater are sad to announce her death at the age of 84 at Housegarth, Quoyloo, Orkney in the early hours of Friday 5th June.

An inspirational writer, teacher of voice and Shakespeare, she helped a generation of performers, artists and people from all walks of life, to free their natural voice.

Kristin Linklater taught at Columbia University in New York and worked with many US theatre companies. Her students included Sir Patrick Stewart, Donald Sutherland, Mary Tyler Moore, Bill Murray, Sigourney Weaver and Bernadette Peters.

She was the daughter of the successful Scottish novelist, Eric Linklater. ‘Rain and wind are very good for opening up the voice,’ she’d quip.

Rest her soul.