Wednesday, May 25, 2016
The three Finalists for BBC Young Musician 2016 have been selected. They are saxophonist Jess Gillam, cellist Sheku Kanneh-Mason and French Horn player Ben Goldscheider (pictured). It’s unusual to have a final without piano or violin. The final will take place on Sunday 15 May at the Barbican. It will not be shown live but will be recorded for broadcast later the same day at 7pm on BBC Four, and on BBC Radio 3 at 7:30pm, thereby draining the event of its public immediacy. The executives who makes these decision are more concerned with internal BBC considerations than with maximising the impact of the young musicians. The Finalists will perform: Jess Gillam: Michael Nyman’s Where the Bee Dances Ben Goldscheider: Richard Strauss’s Horn Concerto no. 2 Sheku Kanneh-Mason: Shostakovich’s Cello Concerto no. 1
Changes of Government can be complicated for cultural institutions even within the same party, but much more so when a different political line takes over. Especially when certain decisions are arbitrary and feel wrong. Such is the case of the Centro Cultural Kirchner; as readers may remember, it was inaugurated last year half-baked, when a good deal of the wholesale transformation of the historic building wasn´t completed. When President Mauricio Macri took over he had a problem: last year the control of the CCK was divided between the Ministry of Planning (De Vido) and the Ministry of Culture (Parodi). Although the justification of this strange coupling was that the partnership was due to the complex works going on in parallel to the abundant cultural programming, it made for difficult logistics and a degree of chaos. Macri did two things: he eliminated the Ministry of Planning and created the Federal System of Media and Public Contents (Sistema Federal de Medios y Contenidos Públicos). He put Hernán Lombardi (ex Culture Minister of Buenos Aires City) in charge of it. And here´s the moot point: the logical thing was to assign the CCK to the new Culture Minister, Pablo Avelluto, but no, it went to Lombardi. And so the latter (who also will supervise Tecnópolis and Public Radio-TV) formed a team to reorganize the Cultural Center. There were two main factors: although it was obvious that the CCK had too many people, the touchy matter of layoffs and hiring new personnel was untidy and there are still conflicts; and from January to late April an ample team tried to finish several pending lines of architectural work, and to obtain the official seal of having terminated the big endeavour of restoration. In particular, there were intensive acoustics tests to ameliorate the Blue Whale (and other halls); the National Symphony collaborated at its new home and there were many rehearsals with and without an audience to allow the specialists to decide the improvements. Gustavo Mozzi, who had led the Usina del Arte in 2014-5 with good results, is now the Director of the CCK, but he isn´t mentioned as such in the hand programme. Instead, his title is National Director of Federal Expressions (Director Nacional de Expresiones Federales)… Isn´t it enough to be at the head of the CCK? There was a promise to announce the reopening and programming of the CCK starting in May; it stands to reason that the information had to be available at least a week before, but it wasn´t so. By happenstance I was told on April 26 about the National Symphony´s "rentrée" at the CCK on May 4th by one of the two concertinos, Luis Roggero. I tried to confirm it during the following days communicating with the CCK, but to no avail: they knew nothing or weren´t allowed to speak. However, there was a strange press conference by Avelluto on May 2, midday: the NS works at the CCK but depends on the Culture Ministry, and so the Minister had to mention this first concert at that venue, along with plenty of other information about the nine organisms within the scope of his portfolio. But when I insisted on hard information about tickets for the general audience and for reviewers, he admitted that connexions of the ministry with the CCK were still fuzzy. Only on the afternoon of May 3 I got a firm contact with the CCK and the concert was announced. So with minimal advance we went to the NS´ concert, of course with less people than usual (generally the house was full last year). Two policies must be reversed: no age restrictions and all events are free. Last year the much appreciated American conductor Stefan Lano gave a concert with the OSN but I couldn´t attend; later there was a row because he complained he wasn´t paid (it happened many times throughout the history of the NS, for the Culture Ministry has rarely been well administered). Apparently the matter was finally solved for he was back; it is to be hoped that the current Government will put an end to such disgraceful practices. Lano often programmes well, and this was certainly true on May 4. He started with a homage to Alberto Ginastera´s centenary of his birth: the admirable "Concertante Variations". Although Diemecke did them recently with the Buenos Aires Philharmonic, I don´t complain for this is the composer at his best: an equanimous balance between refined technique and inspired ideas. The soloists had a field day and showed again that the NS is a first-rate organism worthy of full support, and Lano reaffirmed his professional ability. Béla Bartók wrote his only important choral work in 1930: the Secular Cantata subtitled "The enchanted stags" written for double choir, tenor, baritone and orchestra, on an old Romanian ballad adapted by the composer. The three parts are called "The nine children", "Meeting with the father" and "Thus was the legend"; they last 20 minutes. It´s about hunters transformed into stags; their father (baritone) searches for them and one of the stags (tenor) tells him: "Father, don´t shoot, now we are stags and will remain so". No text was available for the audience! Strong, dense music, it´s difficult and rarely done. Although the acoustics for the orchestra are better now, the chorus is placed on a First Floor level and the sound that came out was granulous and unpleasant, although the Coro Polifónico Nacional under Darío Marchese sang too loud. Enrique Folger (tenor) also forced his tone; Leonardo Estévez (baritone) was more controlled. But the splendid interpretation of Richard Strauss´ masterful "Thus spoke Zarathustra" (on Nietzsche) was the crown of the night. The enormous tone poem in nine joined movements was admirably understood and communicated by the conductor and the orchestra (Xavier Inchausti was the impeccable concertino). The sustained inspiration left us breathless. A great start for the season. For Buenos Aires Herald
Met Opera´s productions seen simultaneously via satellite at the Teatro El Nacional, organized by Pupi Sebastiani´s Fundación Beethoven, have become an indispensable way for local audiences to experience first-rate opera with artists that mainly haven´t been at the Colón. The final two of the 2015-16 season have been seen now, always on certain Saturdays at 2 pm. In October starts the 2016-17 activity, but many of those that have been appreciated in the recent series will be programmed again later this year at the Auditorium of the Fundación. The operas I am reviewing reflect the enormous variety of the world of opera both musically and dramatically. Gaetano Donizetti´s "Roberto Devereux" immerses us in the Late Elizabethan period through the lens of bel canto. Richard Strauss´ "Elektra" transports us to the dark world of Greek tragedy in Mycenaean times but with a Freudian twist. The prolific Donizetti wrote about 70 operas, buffo or dramatic. Success came only with his 34th, "Anna Bolena" (1830). It became his first to be staged in Paris and London and was followed by "Maria Stuarda" (1834) and "Roberto Devereux" (1837) to form the so-called trilogy of British Queens. After WWII there was a revival of bel canto and Maria Callas was essential in this trend: her Bolena set a pattern that was followed by great artists. Beverly Sills sang all three and here Adelaida Negri performed that feat with her own company. It is sad to consign that the Colón only offered "Anna Bolena" in 1970 and ignored the other two. But the Met has presented all three with a great artist unknown here: Sondra Radvanovsky. "Roberto Devereux", with libretto by Salvatore Cammarano based on a tragedy by François Ancelot ("Elisabeth d´Angleterre") , recounts a dramatic episode of the aging (69) Queen Elizabeth I. The year, 1601. Devereux, Earl of Essex, was the favorite of Elizabeth but theirs was a conflictive relationship. The Virgin Queen was called so because she never married, though she did have liaisons. Essex was brilliant, charming, in war courageous to the point of temerity; however, he lacked judgment and that was to prove fatal. Probably the Queen´s lover, he quarreled with her publicly and opposed her principal minister, Lord Robert Cecil. After failing to win a crucial battle against Scotland´s Tyrone, he plotted against the Queen, was tried and executed. The political facts are lightly touched upon in Cammarano´s libretto; instead, the accent is put on Robert´s affair with Sarah, Duchess of Nottingham (and the Duke is Robert´s best friend!). Cecil wants Robert´s death, but the Queen will only agree when she has the evidence of her lover´s romantic treason. In the final scene, the old monarch falls to pieces in desperation. The music is prime bel canto, with plenty of lovely melodies, although less elaborate than "Anna Bolena". None of the four principals has ever come to BA; any or all should be warmly welcomed in the future. Radvanovsky is marvelous, both in her singing and acting: a vast register, fine timbre, total control of florid passages, but foremost a moving transformation in the final half hour when she throws her wig away and is no longer a queen but a wretched old woman in total anguish. As her rival Sarah we have Elina Garança, to my mind the best mezzosoprano in the present scene: beauty, poise, perfect voice and style, expressive but contained. Tenor Matthew Polenzani has a sweet timbre and a firm technique; he transmits the mercurial quality of Essex. And baritone Mariusz Kwiecien gives us the two aspects of his role faithfully: he defends his friend to his own risk until he knows Robert´s treason and then becomes his infuriated enemy. The other parts are well taken. Conductor Maurizio Benini is a specialist in the genre, and of course both chorus and orchestra are excellent. Sir David McVicar´s staging respects time and place and it looks handsome (he is also stage designer; costumes by Moritz Junge). One fault: voyeurism (witnesses where there should be none). "Elektra" is Strauss´ undisputed masterpiece: his most audacious and intense score and the best one-acter in history. The libretto by Hugo Von Hoffmannsthal, based on Sophocles, makes it clear that we are seeing the ideal example of Freudian Electra complex. The main role is the longest and most exhausting of all in opera. Unfortunately Patrice Chéreau´s production (his last before dying) continually contradicts the libretto from the very beginning. Here voyeurism is stretched to the extreme and makes nonsense of most scenes, and apart from that he ruins the finale: it is basic that Klytämnestra and Aegisth (the assassins of Agamemnon) should be killed offstage, but here they die in full presence of the audience; and Electra doesn´t die, when the whole point is that once vengeance is accomplished she has no reason to live. But the three leading feminine parts save the day. I hadn´t had the opportunity to hear and see Nina Stemme, considered one of the great dramatic sopranos nowadays: and she certainly is. The voice is firm, the musicality strong, she acts vividly and has the stamina to stay the course. The veteran Waltraud Meier was a subtle Klytämnestra and Adrianne Pieczonka a radiant Chruysothemis. Only the Orest of Eric Owens seemed poorly cast. Esa-Pekka Salonen´s conducting was professional but short on impact; the enormous orchestra didn´t seem so. For Buenos Aires Herald
Four years ago a mezzosoprano well-known to the New York Met´s public gave recitals for the Mozarteum Argentino´s two subscription series at the Colón and was an immediate success. Joyce Di Donato had conquered Buenos Aires with her vocal talent and easy communication. She came back in 2014 and now she punctually returned after another two years. She is one of the few undisputed stars that has made it a point of visiting us regularly. Her recitals always include bel canto arias, for she is a specialist in the fine art of expressive roulades of enormous difficulty. This season she sings at the Met Donizetti´s "Maria Stuarda" and Rossini´s "La Donna del Lago": an aria from the latter closed her B.A. recitals. She brought along a splendid pianist: Craig Terry (debut). Throughout he displayed not only an infallible technique but an exquisite ability to play very softly; and unexpectedly he showed his capacity as a jazz player (more on it later). There was a problem: with the exception of three songs by Granados and one by Strauss (an encore), which are legitimately for voice and piano, all the rest were arrangements. Of course, if you include zarzuela and opera, this is inevitable. But I can´t help feeling that Ravel´s "Shéhérazade" loses a lot (even if the arrangement is by the composer) without its sumptuous, perceptive orchestration. Joyce, beautifully dressed (she changed after the interval), has a commanding presence, and talks to the public in Italian, a bit of Spanish and some English and French. There´s people that like this sort of communication, others think that the music speaks for itself and you have the information in the hand programme. And that the personality of the singer should only exude from the music she interprets. Her first selection was a famous fragment from a zarzuela: "De España vengo", from Pablo Luna´s "El niño judío". The voice wasn´t quite settled in it, with some incisive tones and not completely accurate florid singing. She said that she felt very Spanish but curiously she was immediately much more convincing in "Shéhérazade", that delicious suite of Oriental songs that Ravel composed on texts by the poet with the Wagnerian pseudonym Tristan Klingsor. Her French is very accurate, and after a couple of fixed notes she found her voice, which can be quite powerful but also be subtle, soft and insinuating. The very long "Asie" goes through various moods and is in fact a narrative rather than a song; "The enchanted flute" and "The indifferent" are sensual portraits of girls attracted by men. Di Donato conveyed all this with great art and Terry almost (not quite) made me forget the orchestration. And now, Rossini: "Bel raggio lusinghier" from "Semiramide" was as expected dazzling; in this music, ornaments are the melody and the fluidity with which she accomplished it is the necessary and rarely heard condition to fully appreciate the Rossinian style. I love the tonadillas of Enrique Granados but they require a fully idiomatic acquaintance which seems to elude non-Spanish singers: "La maja dolorosa" in its three parts was sung in correct Spanish and let us hear Di Donato´s deep lows, but something was missing: the Spanishness of Berganza or De los Ángeles. Di Donato was splendid in that stately and noble aria from Händel´s "Rinaldo": "Lascia ch´io pianga"; her Baroque style is impeccable and the ornaments were all the right ones. Now we come to a moot point: three "arie antiche" from Parisotti´s famous recopilation (1885-8) which still are the way the Baroque is learnt by students, notwithstanding its Romanticized harmony: Giordani, "Caro mio ben"; Pergolesi, "Se tu m´ami"; and attributed to Salvator Rosa, "Star vicino". Most of the audience, I presume, were set to hear them from a great professional singer: what they got was very different (no warning in the programme). After a few seconds, jazzy sounds came from the piano, and from then on we had an excursion into a popular Twentieth-Century style; it was fun of its kind but many would have preferred the first option. Finally, more Rossini: from "La donna del lago", based con Scott´s "The Lady of the Lake", the scintillating final rondo in which Ellen expresses her joy, for the benevolence of the King allows her to celebrate her reunion with Malcolm (the man she loves) and her father Douglas. Three reflexions: the splendid version with Di Donato of the whole opera was offered last year by the Met and I commented it on the Herald; this is the same Ellen that sings her prayer in the famous Schubert Ave Maria; and both "La Donna del Lago" and "Semiramide" should be considered for future seasons of the Colón: neither has been ever done there, which is a shame. Encores: Irving Berlin´s "I love a piano" comes from the film "Easter Parade" and was originally sung by Judy Garland; it is an unabashed romp and was done to a T by singer and pianist. Then, in total and lovely contrast, Richard Strauss´ dreamy "Morgen", so ecstatically sung and played that I was sorry they didn´t include more Lieder. Finally, another Garland standard, Arlen´s "Over the rainbow" from the film "The Wizard of Oz", in the nicest of performances. To complete the mezzosoprano Heaven it would be wonderful to have in the future the visit of Elina Garança. For Buenos Aires Herald
Really exciting news ! The 2017 Glyndebourne Festival will open with the UK’s first ever production of Cavalli’s Hipermestra, directed by Graham Vick and conducted by baroque specialist William Christie. Cavalli is perfect for Glyndebourne - witty, irreverent and audacious,,ideal for a house like Glyndebourne which does baroque better than most. There have been so many celebrated productions of Cavalli in recent years - La Didione, Eliogabalo, La Calisto and my particular favourite Il Giasone, for starters - that we shouldn't settle for anything but the finest standards. But anything William Christie does will be better than practically anyone else. Christie is conducting the lively Orchestra of the Age of Enlightenment in a new edition of the opera. Graham Vick directs his first new production for Glyndebourne in 17 years. Hungarian soprano Emöke Baráth makes her UK debut in the title role. She's a period specialist and was a wonderful Elena in Aix en Provence in 2013. (Read my review here) That's her in a blonde wig as Elena. Hipermestra was one of fifty sisters, the Daniades, who are forced to marry their fifty first cousins but all kill their husbands on their wedding night except for Hipermestra, who doesn't do sex. Lucia di Lammermoor is timid in comparison. Cavalli does sex, riotously. Be warned. Expect a lot of sopranos, altos, tenors and exuberant mayhem. Conductor William Christie says: “It was almost 50 years ago that Glyndebourne first introduced Francesco Cavalli, a completely forgotten composer, with two of his works, L’Ormindo and La Calisto. The effect on the opera world was nothing short of extraordinary. These works established Cavalli as a great composer of opera and reaffirmed Glyndebourne’s role as a place of discovery....Times have changed and I am proud to be part of a new Cavalli wave, more in keeping with the historical performance school that is doing so much to continue the evolution of early music." Also in 2017, a new production of Mozart’s La clemenza di Tito, which will mark the Glyndebourne debut of the prominent German director Claus Guth, a frequent guest at top European houses including Bayreuth, Salzburg Festival, Theater an der Wien and La Scala. Glyndebourne's Music Director Robin Ticciati will conduct the Orchestra of the Age of Enlightenment for only the second ever staging of the opera at Glyndebourne. The distinguished Australian lyric tenor Steve Davislim makes his Glyndebourne debut in the title role alongside British lyric mezzo-soprano Alice Coote (Vitellia), A world premiere : Hamlet by exceedingly prolific Brett Dean, directed by Neil Armfield, who directed Dean's first opera in 2010. Among the revivals La Traviata from 2014 and Strauss Ariadne auf Naxos from 2013. Read my review of that HERE. Hopefully this time round there will be more comprehension of this very thoughtful production. Like so much Richard Strauss, the opera is about the making of opera. It's art, not literal narrative, so an intellectual approach is perfectly valid even if it's highbrow. When Katharina Thoma directed Un ballo in maschera at the Royal Opera House, she did the exact opposite, staging the opera as literally as possible in the "traditional" style complete with painted wooden flats. But audiences still didn't get the irony. Read my analysis of it here. At the time, someone muttered"We British don't like Germans". Too bad, I think. Germans do kmow a biot about theatre.
A revealing first interview with Glyndebourne’s new general director Sebastian Schwarz draws the interesting admission that he is planning ‘an eyebrow-raising foray into American musical theatre.’ Schwarz, having let the big cat out of the bag, tells Rupert Christiansen: ‘Nothing can be announced until we have cleared things with the composer’s estate and signed up the creative team.’ Read the full interview here. The timing, however, seems a tad askew. This morning, Glyndebourne releases its 2017 plans (below). They are overshadowed, unfortunately, by the exciting prospect of future Guys and Dolls. Glyndebourne press announcement: 3 May 2016 Cavalli rarity to receive its UK premiere at the 2017 Glyndebourne Festival The 2017 Glyndebourne Festival will open with the UK’s first ever production of Cavalli’s Hipermestra, directed by Graham Vick and conducted by baroque specialist William Christie. The season also includes the world premiere of a new opera based on Shakespeare’s Hamlet composed by Brett Dean with a libretto by Matthew Jocelyn. The production, directed by Neil Armfield, will transfer directly to the 2017 Glyndebourne Tour. Prominent German director Claus Guth will make his Glyndebourne debut directing the third new production of the 2017 Festival, Mozart’s La clemenza di Tito. Revivals of La traviata, Don Pasquale and Ariadne auf Naxos complete next summer’s Festival season. The UK’s first production of Hipermestra, a rarely seen opera by the influential baroque composer Francesco Cavalli, will open the 2017 Glyndebourne Festival. Glyndebourne is preparing a new edition of the work in close collaboration with conductor William Christie, a pioneer in the rediscovery of baroque music who will conduct the Orchestra of the Age of Enlightenment. The opera will be directed by Graham Vick; his first new staging for Glyndebourne in 17 years. Hungarian soprano Emöke Baráth makes her UK debut in the title role with Italian countertenor Raffaele Pe making a Glyndebourne debut as Linceo. Portuguese soprano Ana Quintans, who performed the role of Cupid in Hippolyte et Aricie at the 2013 Glyndebourne Festival, is cast in the role of Elisa, and British tenor Benjamin Hulett, who played Jonathan in the 2015 Glyndebourne Tour production of Saul, will perform the role of Arbante. Hipermestra, based on the tale of Hypermnestra from Greek mythology, premiered in 1658 but after 1680 was not staged again until its modern premiere at the Early Music Festival in Utrecht in 2006. Glyndebourne’s production will be the first since then and marks the latest chapter in the company’s distinguished history with the operas of Cavalli – the company’s stagings of L’Ormindo (1967) and La Calisto (1970) in arrangements by Raymond Leppard were major influences in the revival of interest in the composer. Conductor William Christie said: “It was almost 50 years ago that Glyndebourne first introduced Francesco Cavalli, a completely forgotten composer, with two of his works, L’Ormindo and La Calisto. The effect on the opera world was nothing short of extraordinary. Conducted by Leppard with outstanding singers including Janet Baker, Ileana Cotrubus and Richard Van Allen, these works established Cavalli as a great composer of opera and reaffirmed Glyndebourne’s role as a place of discovery. After so many years I’m happy to take up this extraordinary beginning and continue the ‘Cavalli tradition’ at Glyndebourne with a new production of Hipermestra, one of his best works. Times have changed and I am proud to be part of a new Cavalli wave, more in keeping with the historical performance school that is doing so much to continue the evolution of early music. I hope that our Hipermestra will have as much to say to today’s audience as its predecessors had to say so many years ago.” Another highlight of the 2017 Festival will be the world premiere of a new opera based on Shakespeare’s Hamlet. Commissioned to coincide with the 400th anniversary of the death of William Shakespeare in 2016, Hamlet is the work of Australian composer Brett Dean and Canadian librettist Matthew Jocelyn. It will be the sixth world premiere presented at the Glyndebourne Festival in its 82 year history and is part of the Shakespeare400 campaign, coordinated by King’s College London. Visit Shakespeare400.org. Hamlet composer Brett Dean, said: ‘‘The operatic potential of Hamlet is huge: the themes of life and death, love and betrayal have opera written all over them. Even the fact that Hamlet is a thinker, a man given to self-awareness and self-appraisal, lends itself well to opera. The play provides frozen moments for him to express feelings; built-in ‘aria moments’. There’s a lot of humour in the piece too, as always in Shakespeare, and the wonderful way in which Matthew is shaping the text has been deeply inspiring.’ Hamlet will be directed by the Australian director Neil Armfield, who staged Dean’s acclaimed first opera Bliss in 2010. Conductor Vladimir Jurowski returns to Glyndebourne for the first time since completing his tenure as Music Director to conduct the London Philharmonic Orchestra. A cast of some of the finest singing actors of the moment will perform in the premiere, including British tenor Allan Clayton as Hamlet, British mezzo-soprano Sarah Connolly in the role of Gertrude and the legendary British bass John Tomlinson as Ghost of Old Hamlet. The Canadian soprano Barbara Hannigan, a strong advocate of contemporary music, will make her Glyndebourne debut as Ophelia. The third and final new production of the season is Mozart’s La clemenza di Tito and will mark the Glyndebourne debut of the prominent German director Claus Guth, a frequent guest at top European houses including Bayreuth, Salzburg Festival, Theater an der Wien and La Scala. Glyndebourne’s Music Director Robin Ticciati will conduct the Orchestra of the Age of Enlightenment for only the second ever staging of the opera at Glyndebourne. The distinguished Australian lyric tenor Steve Davislim makes his Glyndebourne debut in the title role alongside British lyric mezzo-soprano Alice Coote (Vitellia), American mezzo-soprano Kate Lindsey (Sesto) and American soprano Joélle Harvey (Servilia). Among the productions being revived for the 2017 Glyndebourne Festival is Tom Cairns’s 2014 staging of Verdi’s La traviata, which will receive two performance runs next summer. Canadian soprano Joyce El-Khoury shares the role of Violetta with Russian soprano Kristina Mkhitaryan, both making Glyndebourne debuts, while Alfredo is performed by Brazilian tenor Atalla Ayan and American tenor Zach Borichevsky. The powerful Greek baritone Dimitri Platanias makes his Glyndebourne debut as Giorgio Germont, a role he shares with Russian baritone Igor Golovatenko who made a notable debut as Severo in the 2015 Glyndebourne Festival production of Poliuto. Katharina Thoma’s 2013 Glyndebourne Festival production of Richard Strauss’s Ariadne auf Naxos returns with Norwegian soprano Lise Davidsen, who won first prize at the 2015 Operalia competition,making her UK debut as Ariadne. There are Glyndebourne debuts from American tenor AJ Glueckert as Bacchus, American mezzo-soprano Angela Brower as Composer and American soprano Erin Morley as Zerbinetta. The distinguished British baritone Thomas Allen returns in the role of Music Master. Cornelius Meister, Chief Conductor and Artistic Director of the Vienna Radio Symphony Orchestra, makes his Glyndebourne debut conducting the London Philharmonic Orchestra. Completing the season is Mariame Clément’s elegant production of Donizetti’s Don Pasquale, first seen on the 2011 Glyndebourne Tour. A dynamic young cast promises auspicious Glyndebourne debuts from Italian baritone Renato Girolami in the title role, Moldovan baritone Andrey Zhilikhovsky as Malatesta and the Cuban-American soprano Lisette Oropesa as Norina. American tenor Andrew Stenson, who performed the role of Brighella in the 2013 Glyndebourne Festival production of Ariadne auf Naxos, takes the role of Ernesto.
Great composers of classical music