29 October 2010 / 19:30
Barbican Hall, London
Scarlatti: Se non qual vento
Vivaldi: La tiranna
Caldara: Lo so con periglia
Handel: Scorta siate
Handel: From celestial seats
Boyce: Softly rise
Fabio Biondi, conductor
Ian Bostridge, tenor
9 March 2011 / 19:30
Barbican Hall, London
An evening of chamber music
Dawn Upshaw, soprano
Gerald Finley, baritone
“If lethargic tempos and portentous pauses were a recipe for artistic depth, then Tuesday’s Herbst Theatre recital by baritone Nathan Gunn would have been a dazzler.”–Joshua Kosman, San Francisco Chronicle Music Critic
Review: Nathan and Julie Gunn team for masterful performance in S.F. recital–Sue Gilmore, Contra Costa Times
Examiner.com review and a blog entry about it
San Francisco Classical Voice
San Francisco Sentinel
Great Operatic Arias, in English
The Chandos recording of opera arias sung in English by Gerald Finley has a scheduled release date of 1 February 2010 at amazon.co.uk.
The release date is 23 February 2010 at amazon.com.
Leading baritone and dramatic interpreter of his generation, Gerald Finley is an artist who sets alight the stage and delights the ear, whatever the role he portrays.
On this his first arias disc, and first for Opera in English, he explores a broad range of repertory: old favourites, hidden treasures and roles which he himself has created, among them J.Robert Oppenheimer in John Adams’s Doctor Atomic and Harry Heegan in Mark-Anthony Turnage’s The Silver Tassie.
English National Opera director, Edward Gardner offers a great understanding of Opera in English and here conducts the London Philharmonic Orchestra in his debut on Chandos.
Photos of the recording session can be seen at geraldfinley.info.
“Le baryton canadien Gerald Finley est maintenant reconnu comme l’un des grands interprètes actuels de la mélodie.”–Claude Gingras, La Presse
The book Game Change: Obama and the Clintons, McCain and Palin, and the Race of a Lifetime by John Heilemann and Mark Halperin, about the most recent presidential election campaign, is being released on January 11, 2010.
Marc Ambinder writes about some of the book’s juiciest revelations at atlantic.com.
The Metropolitan Opera’s new Carmen is using the recitatives composed by Guiraud instead of spoken dialogue, reports Anthony Tommasini of the New York Times. I say “Good!” The spoken dialogue is boring, not even up to the level of interest of the average high-school language-lab dialogue, and most singers don’t pronounce French very well.