Leona Mitchell News
American opera singer
- soprano
- United States of America
- opera singer
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2024-03-19
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2024-02-17 09:41:00
Mythical Creatures: I chat to Polish-born, Australian composer Paul Kopetz about the recent disc of his music
[…] points out that any work would have to be small scale (Tales of Scheherazade is for two sopranos, tenor and baritone with violin, cello, clarinet, piano, and percussion) because there is not much money about, he talks about the need to miniaturise your instrumentation.Paul KopetzPaul Kopetz: Mythical Creatures - Leanne Kenneally, soprano; Leon Warnock, baritone; Michal Rosiak, flute, piccolo; Vivienne Brooke, oboe; Rianne Wilschut, clarinet; Paul Kopetz, bass clarinet; Peter Luff, French horn; Katharine Willison, bassoon; Mitchell Leigh, piano; David Quinn, percussion; Lunaire Collective (Patrick Nolan, flute; Eve Newsome, oboe; Rianne Wilschut, clarinet; Ysolt Clark, French horn; Nicole Tait, bassoon) - Navona RecordsMythical Creatures playlist on YouTube on Spotifyon Apple Music Never miss out on future posts by following usThe blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.Elsewhere on this blogA Lionel Tertis Celebration: Timothy Ridout, Frank Dupree, James Baillieu; Harmonia Mundi - record reviewYoung Composers 5: the […]
2024-02-02 16:03:00
Written on Skin, Deutsche Oper, 1 February 2024
Images: WRITTEN ON SKIN, Regie: Katie Mitchell, Deutsche Oper Berlin, Premiere: 27. Januar 2024, copyright: Bernd UhligProtector – Mark Stone Agnès – Georgia Jarman First Angel, The Boy – Aryeh Nussbaum Cohen Second Angel, Marie – Anna Werle Third Angel, John – Chance Jonas-O’Toole Angel archivists – Leander Gaul, Yasmina Giebeler, Milli Keil, Maximilian ReisingerDirector – Katie MitchellRevival director – Dan AylingDesigns – Vicki MortimerLighting – Jon ClarkDramaturgy – Sebastian Hanusa Orchestra of the Deutsche Oper Marc Albrecht (conductor) More than a decade has passed since I first saw George Benjamin’s second opera, Written on Skin, at Covent Garden. The premiere, both of the work and Katie Mitchell’s well-travelled production, took place at Aix in 2012. Now it reaches, for the first time, Berlin in a further revival of Mitchell’s staging for the Deutsche Oper. It is my fourth hearing, since I attended both the Royal Opera’s 2017 revival and, the year […]
2024-01-26 08:08:00
Dame Evelyn Glennie and the City Lit Percussion Orchestra
Dame Evelyn Glennie at the City Lit Percussion Orchestra's workshop (Photo: Frances Marshall)Solo percussionist and alumna of the Royal Academy of Music, Dame Evelyn Glennie has become Patron of the City Lit Percussion Orchestra (CLPO). The Percussion Orchestra is part of City Lit’s Centre for Learning Disability Education, in partnership with the Royal Academy of Music. Students with an ear for instruments can learn to play percussion and compose music as a group. To mark the occasion, Dame Evelyn visited a workshop at City Lit, where she is also a Fellow. She collaborated with the Percussion Orchestra, performing and improvising alongside the participants and passing on her expert insights. Current Academy percussion student Zach Mitchell, who has worked with the CLPO for over a year, took part in this session along with Academy harpist Bonnie Scott and Adam Collins, a recent graduate and tuba player, who is a long-standing volunteer musician with the orchestra.The […]
2023-11-13 07:42:00
Plenty of food for thought & some terrific singing: Oliver Mears' staging of Handel's Jephtha at the Royal Opera with a towering performance from Allan Clayton in the title role
[…] fine incarnations of the title role including John Mark Ainsley at the London Handel Festival, James Gilchrist with The Sixteen, Nick Pritchard with the Academy of Ancient Music at the London Festival of Baroque Music, Allan Clayton with Scottish Chamber Orchestra at the BBC Proms. But I have seen only been two significant stagings of the work, Frederic Wake-Walker's highly abstract one at the Buxton Festival in 2012 with James Gilchrist [see my review], and Katie Mitchell's highly realistic one which was widely shared with Mark Padmore in the title role [see my review of WNO's 2012 revival with Robert Murray]. These two took highly contrasting routes to solving the work's dramatic problems, because make no bones about it, staging a Handel oratorio is a challenge. Handel's imagination was a dramatic one, whatever he was writing, but writing oratorio meant that he no longer needed to worry about pesky dramatic conventions. […]
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