Covent Garden’s new Wotan jumps ship
OperaWe hear that the leading British baritone Christopher Maltman has left AskonasHolt, moving his worldwide management to Maria Mot’s boutique agency.
Maltman is to sing Wotan at Covent Garden in Barrie Kosky’s new Ring Cycle next month.
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- Christopher Maltman by Chris Singer
Nice typo of Baaritone. Hope he’s not sheepish..
Christopher Maltman as Wotan? Is someone playing a joke on us?
He didn’t play a joke on me in Naples three months ago.
I want to give him the benefit of the doubt, but having heard him many times before over the years, I have my doubts. Let’s hope Mr. Maltman surprises us…
Not the least bit suitable for the role, anymore than similar lyric baritone voice types such as the vastly superior Keenlyside (or before him Thomas Allen) would have been. Never detected a hint of bass-baritone in Maltman.
I think you are wrong. He is a very different singer to Keenlyside and Allen and has not only more heft in his voice, but a very strong bottom..he is one of our truly great British singers, and someone who should be taken seriously in every part he takes on. Askonas Holt seem to be draining low voice talent. Seems only the vastly overrated Matthew Rose is left, with notably the very gifted Mark Stone and a few Russians..
Not sure I agree. The last two things I heard him in were Ford in Falstaff and Rigoletto, and both were risible. High notes flat, boring stage presence, ugly craggly voice. No doubt he was a decent Don Giovanni, but the idea that he is anything close to a dramatic baritone is baffling.
Katona wouldn’t know that though, would he?
Reviews for Die Walküre in Naples. April this year.
Bachtrack: ‘The vocal cast was excellent. Christopher Maltman’s Wotan was remarkable, his voice authoritative and tormented, with a firm emission’
New Criterion: ‘ Maltman’s portrayal of Wotan was a personal triumph. A few years ago the baritone, known especially for his Mozart, set his sights on the heavier roles of Verdi and Wagner. Here he proved that his confidence was justified. The voice carried beautifully in the theater, one of Europe’s largest, and his excellent diction proved essential in animating Wotan’s long Act II narration. Maltman’s legato singing often had a bel canto smoothness that made his farewell to Brünnhilde particularly moving.’
L’ape musicale: ‘ Christopher Maltman è Wotan, dal bel timbro e, soprattutto, magnifico per la sfaccettata interpretazione del personaggio: grazie a una raffinata tecnica di emissione farcisce la scrittura di mezzevoci, forti disperati, indaga nella profondità il testo. Nel lungo monologo di Wotan dell’atto II – momento cruciale dell’intero Ring, laddove Richard Wagner quasi riassume quanto accaduto prima e preannuncia ciò che accadrà – a giganteggiare è la personalità artistica di Maltman; altrettanto analitico e raffinato cesellatore si dimostra nello struggente “Addio di Wotan” a Brünnhilde. E qui il lavoro di cesello, il magnifico legato, l’acume interpretativo che si sofferma su ogni singola parola, sostenuti dal manto orchestrale che gli stende Dan Ettinger, rendono l’addio di un padre alla figlia prediletta malinconico, intensamente suggestivo e doloroso nella suo processo di umanizzazione.’
The European Conservative: ‘ The excellent English baritone Christopher Maltman took on the role of Wotan for the first time in this revival. A versatile singer who has made a strong international tour through the challenging baritone roles of Giuseppe Verdi’s operas, the voice reaches sufficient depth for Wagner’s deity. Carried by a solid technique and superb legato, his Wotan had an almost lyric quality as he explored its emotional range from sorrow to rage to resignation. The portrayal was sad rather than furious, but Maltman imparted the character’s pathos with a fresh consistency of sorrow that few other singers have explored in it. Audiences awaiting the Royal Opera House’s new production next season will delight in him.’
Perhaps just wait and see?
Wotan/Wanderer is so problematic: he’s reasonably middle-ranged and hectoring in Rheingold (how he matches with Alberich is as important, here: he has to dominate him and his needling tone), higher in Walkure (to match Brunhilde) and lower again, and more weary, in Siegfried.
It’s a bastard to cast. But not as difficult as it is to sing!
Ooops. Looks like the joke’s on you now Brian. Rheingold was a huge success and Maltman is covered in glory… Who’d a thunk it? Well, not you.