Drawing: Grace Savage in Blind

Grace Savage

Grace Savage is such a great oxymoron for a name, but quite apt for the twice British Beatboxing Champion.

Softly spoken, she has cultivated an extraordinary ‘vocal gymnastic’ talent that makes her far more feisty than she may first appear. As one scribe put it “Grace grows into the beatboxing savage”.

WhatsOnStage called her performance an “incredible blizzard of noise and rhythm… made the hairs on my neck stand on end”.

Grace appeared as Jade in Home at the National Theatre in 2013 and returned to the stage with her solo show Blind, which has just completed a two week residency upstairs at the Soho Theatre in London. On her website testimonials page Will Smith wrote, “Your beatboxing is incredible. You sound like an MP3”. As a child she would mimic sounds – everything from ambulance sirens to the hiss of the kettle.

Blind was created with the Leeds based theatre company The Paper Birds and is based on Grace’s auditory influences growing up in Devon. Receiving rave reviews at last year’s Edinburgh Fringe, Grace visits, beat by beat, her teenage days – a mash up of pulsating bass, playground gossip beatbox battles, drunken brawls and news broadcasts charting her rise to becoming the country’s champion beatboxer.

Metro called her “staggering”, The Guardian said “Savage is mesmerising”.

I met Grace after her final performance at the Soho last Saturday night where she graphed this sketch.

Drawing: Ekaterina Bakanova in La traviata

Ekaterina Bakanova

“One hell of a way to make a Royal Opera debut” is how Tom Service headlined his Guardian article as Russian soprano Ekaterina Bakanova became the talk of the opera world on 4 July.

She stepped in to sing Violetta in the last show of this season’s La traviata at Covent Garden with only hours’ notice and “gave the performance of her life”.

The evening’s scheduled Violetta, Sonya Yoncheva  woke up unwell and by lunchtime was forced to cancel her appearance. It just so happened, Ekaterina was rehearsing that morning at the ROH for her role as Musetta for her Covent Garden debut in Puccini’s La Boheme on 9 July. With only five hours’ notice, she was asked to stand in for Sonya.

She agreed. Apparently she had a ticket for that evening’s performance, so she got to see the show form a much closer vantage point (hopefully they gave her a refund!) She had played the role before, but this was a whole new production and in one of the world’s biggest opera houses.

Ekaterina received a deserved standing ovation performing without a slip. “She had the audience spellbound from pretty well her first notes and her scintillating vocal power… embodied the desperation, dramatic extremity and existential plight of Violetta more completely than any other performance I have seen”, wrote Tom Service.

What better reason to draw a sketch… as if I needed one. This is a quick portrait of Ekaterina  and a drawing of her as Musetta in the Torino production of La Boheme in 2013. I left it with the great staff at the ROH stage door and Ekaterina returned it straight away, signed and dedicated.

Drawing: Sonya Yoncheva

Sonya Yoncheva

According to VOGUE magazine, Bulgarian soprano Sonya Yoncheva is “Opera’s brightest star” after two remarkable performances at the Metropolitan in New York last winter. Both appearances were not originally scheduled, but fate intervened, propelling her onto one of the world’s most famous stages as a late replacement for both the role of Mimi in LA BOHEME, only five weeks after giving birth to her son and a month later, playing Violetta in Verdi’s LA TRAVIATA.

“Her dizzingly swift and serendipitous ascent to Opera’s Most Buzzed About Soprano” is how VOGUE described her performances.

This was nothing new for Sonya. I first became aware of her prowess last April when she once again replaced the original singer-in this case none other than Anna Netrebko-in the role of Marguerite in Gounod’s FAUST at the Royal Opera House to rave reviews.

She returned to Covent Garden last month for a few performances  as Violetta  in LA TRAVIATA and signed this portrait study for me.

Drawing: Anna Netrebko in La Bohème

anna netrebko

Several of the world’s greatest opera stars returned to the Royal Opera House to bid farewell to the final staging of John Copley’s La Bohème, notably Russian soprano Anna Netrebko as Mimi and Maltese tenor Joseph Calleja as her lover Rodolfo. Puccini’s weepie has had 26 revivals and well over 200 sold out performances.

It’s one of the most popular classics and the Royal Opera’s best loved staging, regularly revived since its opening night in 1974 and now for the last time. Anna and Joseph’s final performance was televised as part of ROH’s Live Cinema season to selected locations across the UK, on 10 June. I actually saw part of it on the big screen at Trafalgar Square – the affecting duet in Act 3 between Anna and Joseph.

The Telegraph’s Rupert Christiansen wrote in his four star review “star casting gives a fitting farewell to John Copley’s 40 year production”.

“Calleja is passionate, lyrical, beautifully impassive. Netrebko sounds glorious and acts with detailed naturalism that can be startlingly effective,” wrote Tim Ashley in The Guardian.

I left a drawing at the ROH stage door for Anna to sign on her final night and it came back, written in gold ink… nice touch.

Drawing: Janine Jansen

Janine Jensen

Dutch violist Janine Jansen is considered one of the world’s great violin players. She regularly works with the most eminent orchestras around the globe.

Janine is renowned for her success in the digital music charts, being dubbed the ‘Queen of the downloads’ in recognition of her award-winning and immensely popular recordings.

She currently plays a 1727 Baron Deurbroucq Stradivari violin, which is named after Dutch Baron Deurbroucq of the Hague who commissioned it to be made.

“I don’t own it, I have it on loan,” Janine said. “My father insisted that I had to make a choice based only on my feeling – not because of either name or appearance. So he made me wear a blindfold while choosing, I picked up one after another. After only six notes on the Baron Deurbroucq violin, I said, ‘this is it'”.

Janine signed my portrait at the Barbican in London last week where she performed Mendelssohn in the International Violin Festival with the London Symphony Orchestra.

Drawing: Marina Rebeka in La traviata

marina rebeka

Statuesque Latvian soprano Marina Rebeka made her Royal Opera debut as Violetta Valéry in Verdi’s tragic opera La traviata in July 2010 and has returned to sing the role for this season. Richard Eyre’s production, now 21 years old returns for its twelfth revival of Verdi’s dramatically gripping and gloriously tune-laden tale of socially unacceptable love.

Since her breakthrough at the Salzburg Festival, singing Anai (Moise et Pharaon) in 2009 Marina has been a regular guest at the world’s most prestigious concert halls and opera houses.

She recently sang the role of the high society courtesan at the Metropolitan Opera in New York and was scheduled to perform later in the run at the ROH, but stepped into the opening performances for Sonya Yonchevia who has now joined the production. Her single performance in 2010 was also for a similar reason, replacing an ailing Angela Gheorghin.

The Met review said “Marina Rebeka delivers a devastating portrayal of Verdi’s tragic heroine.”

Marina signed my sketch after the opening night performance.

Drawing: Georgia Jarman in Król Roger

Georgia Jarman in Krol Roger

Brilliant American soprano Georgia Jarman made her Royal Opera debut as Roxana in Karol Szymanowski’s masterpiece Król Roger (King Roger) which finished this week. Kasper Holten’s “devastating” production was the first time in almost 40 years that the 1926 Polish opera was on a London stage.

A mysterious shepherd is brought before 12th century King Roger of Sicily. The church officials want him punished for his pagan preaching of love and pleasure but Roger’s Queen Roxana has converted and pleads with her husband to let the shepherd speak. Things fall apart from that point, as the charismatic stranger gains power.

“The singing – notably by Kwiecien, Jarman and Pirgu – is superb” wrote Michael Church in The Independent.

The New York Times even reviewed it, stating, “Georgia Jarman delivered Roxana’s show-stealing coloratura with immaculate style”.

The excellent staff at the Royal Opera House managed to get my sketch to Georgia on the final night, which she signed and added a kind dedication.

Sketch : Ingrid Fliter

ingrid fliter

Argentinian pianist Ingrid Fliter rose to global attention when she was awarded the 2006 Gilmore Artist Award, one of only a handful of pianists to have received the honour. The Gilmore Artist Award is presented to an exceptional pianist. Over two years, the Gilmore committee listened to artists from around the world in search of a “truly exceptional” candidate. The Award’s director Daniel Gustin said, “We were unanimously swept away by Ingrid Fliter’s astonishing prowess and her overall musicianship.”

Ingrid has established a reputation as one of the pre-eminent interpreters of Chopin. Geoffry Norris in The Independent stated “Ingrid Fliter was born to play Chopin with power and passion and is completely at one with the music’s demands of agility, vim and vigour, but also possesses the essential quality of impeccable taste to preserve the music’s poetic perspective.”

Ingrid divides her time between Europe and the US and last week she played the Royal Albert Hall in London with the Philharmonia Orchestra under conductor Juraj Valcuha, where she signed my sketch.

Sunny Afternoon Sketch

Sunny afternoon

It turned into a great night for Sunny Afternoon at last week’s Olivier Awards, when the musical based on the early life of English rock musician Ray Davies and the formation of the band The Kinks stole the show with four gongs including Best New Musical.

Formed in Muswell Hill, London by brothers Dave and Ray Davies with Pete Quaife in 1963 The Kinks rose to fame during the mid-60s and were part of the British Invasion of the US. They are considered one of the most important and influential rock groups of that era. Throughout its 32 year run, The Kinks songs occupied top positions on the UK charts with hits including Lola, You Really Got Me, Waterloo Sunset and Sunny Afternoon.

Written by Joe Penhall with music and lyrics by Ray, Sunny Afternoon, The Musical’s title is based on the 1966 UK singles chart number one of the same name. It made its world premiere in 2014 at the Hampstead Theatre where it enjoyed critical and commercial success with a sell out limited run before transferring to the Harold Pinter Theatre in London’s West End.

At the Oliviers Ray won the Outstanding Achievement in Music Award along with John Dagleish (as Ray) for Best Actor in a Musical and George Maguire (as Dave) for Best Supporting Actor in a Musical, which was deserved but not expected.

I met both John and George on a somewhat chilly overcast afternoon yesterday, but they brightened the day singing my sketch and some very complementary comments – two of the nicest guys I’ve met in all the time I’ve stalked stage doors, I congratulated both on the their Olivier success and George said, “it was great… I guess the underdog won.”

Drawing: Brian Jagde

Brian Jagde

American tenor Brian Jagde made his Royal Opera debut this month as opera’s most notorious love ’em and leave ’em characters, Lieutenant BF Pinkerton in Madama Butterfly. His bio describes him as “one of the most engaging and exciting lirico-spinto tenors of his generation”. Having not encountered such a description, I looked it up. Apparently it is a voice that is versatile enough to sing a lighter or darker, more powerful sound when required.

Brian’s many awards include second prize and the Birgit Nisson Prize at Operalia 2012 and first prize at the 2014 Loren L. Zachary National Vocal Competition.

After missing him at the Royal Opera House, I returned on Saturday morning and swam my way to the stage door, emerging from the Covent Garden tube station to encounter a monsoon, but avoided water damage to the sketch.

The security people didn’t know who Brian was, I said (with charade actions) “tall with bright eyes”. They clicked! It was worth it. Not only did he sign my sketch, but wrote a lovely note wanting to see more of my drawings. I’ll send him another original.