Russian mezzo-soprano Anna Goryachova made her Royal Opera debut earlier this year in the title role of Barrie Kosky’s ‘daringly dark’ new production of CARMEN. She shared the role with fellow debutant Gaelle Arquez. The 34 year-old native of St Petersburg began her opera career in her hometown’s Chamber Opera and has been a popular performer throughout Europe and Scandinavia since.
She had previously performed the role of CARMEN at Belgium’s Opera Vlaanderen and Teato Real in Madrid. In London the production broke with convention, resembling more the dazzle-dazzle of Vaudeville. Anna signed my drawing, which I left for her at the Royal Opera House stage door, with a vivid red crayon and returned it to me along with a very nice thank you note.
One of the world’s rising young opera stars, French mezzo-soprano Gaelle Arquez made her Convent Garden debut earlier this year, performing the title role in the Royal Opera’s production of Bizet’s CARMEN. It’s a role she knows well however, having played the famous gypsy previously this year in Frankfurt and Madrid. After graduating from the Conservatoire National Superieur de Musique de Paris, Gaelle debuted as Zerlina in DON GIOVANNI for the Opera de Paris and has since played all the major opera houses around the world. Gaelle signed my drawing at the Royal Opera House after a performance of CARMEN last month.
“In Swedish soprano Malin Bystrom, we come as near to perfection as we ever will: a petulant, imperious teenager becoming drugged with lust,” wrote Michael Church in his five-star Independent review for the third revival of David McVicar’s gory and provocative production of Richard Strauss’s SALOME at the Royal Opera House. “Her voice rides easily over the hundred-piece orchestra and the porcelain purity of her tone contrasts ever more starkly with her blood-bolstered presence. Wonderful.”
After six appearances since her Covent Garden debut in 2002, Malin returned for the ROH’s 2017/1018 Autumn season, playing Helene in LES VEPRES SICILIENNES in November and the biblical femme fatale SALOME in January.
Malin signed my sketch for me after I left it at the stage door.
Canadian soprano star Adrianne Pieczonka returned to London’s Covent Garden last month to play the title role in the Royal Opera’s production of Puccini’s TOSCA. This is Adrienne’s fourth appearance for the company, having debuted as Donna Anna in
Mozart’s DON GIOVANNI in 2002. She also played Floria Tosca in the 2009 film version directed by Frank Zamacona based on the San Francisco Opera production.
Adrienne was in the first of three casts for this season’s Royal Opera staging, conducted by Dan Ettinger and Placido Domingo. Describing her own vocal range as “somewhere between a lyric and a dramatic soprano,” Adrienne is able to include a wide variety of roles in her repertoire and has become internationally celebrated for her interpretations of Wagner, Strauss, Verdi and Puccini.
The German magazine ‘Der Spiegel’ wrote,” Frenetic ovations greeted Adrienne Pieczonka for her supreme performance… clear, powerful with contoured high notes and precise dramatic gestures… the star of the evening.”
I left this sketch of her at the stage door and she not only signed and returned it, but included a nice note: ‘Dear Mark – I am so impressed with your drawing! Fantastic!’… so I guess she liked it.
Award-winning German operatic soprano Christiane Karg performed at London’s Wigmore Hall last weekend where I managed to get this sketch signed. The drawing is based on her role as Norina in DON PASQUALE at the Komische Opera in Berlin at the beginning of 2010.
Romanian tenor Teodor Ilincai made his international debut as MacDuff in Verdi’s MACBETH at the Hamburg State Opera in January 2009 and later that year first appeared at the Royal Opera House, playing Rodolfo in LA BOHEME. He returned to Covent Garden last month as Lieutenant Pinkerton opposite Ana Maria Martinez in MADAMA BUTTERFLY, where he signed my drawing.
Argentina tenor Marcelo Puente is so good at being bad, he gets booed at the curtain call. Making his Covent Garden debut as Pinkerton, one of Opera’s great villains in the latest revival of Puccini’s MADAMA BUTTERFLY at the Royal Opera House, the 38 year old has fulfilled a fourteen-year dream to perform at the iconic venue. Taking a break from his opera scholarship in Düsseldorf in the summer of 2003 he came to London and took a job as a waiter in an Italian restaurant near the ROH. They found out he was a singer so he performed between waiting tables and everyday passed the Opera House dreaming one day he would be on the famous stage. He actually gave up medical school and changed his career direction after hearing a recording of Pavarotti.
The reviews have been excellent. Tim Ashley, in the Guardian also mentioned opera audiences habit of booing reprehensible on stage characters and commented, when Marcelo takes his curtain call they greet him with “the kind of noise usually accorded a pantomime villain, despite giving one of the most complete and convincing portrayals of the role to be heard for some time.” He went on to say that, “Some might argue that the response validates his characterisation, though whether it’s a fitting acknowledgement for such a superb achievement seems to me debatable.”
Albanian-Italian soprano Ermonela Jaho is the toast of the opera world this week after her opening performance in the title role of Puccini’s tragedy MADAMA BUTTERFLY at the Royal Opera House.
Critics from all the mainstream papers in the UK and beyond have cemented the 43 year-old’s star status. “The best Cio-Cio-San London has seen in years,” wrote Michael Church in the Independent. The Guardian’s Tim Ashley headlined his five-star review of the Moshe Leiser and Patrice Caurier production with “The whole evening is outstanding.” He went on to write,”Ermonela Jaho, one of the great verismo interpreters, brings uncompromising veracity to the title role.”
I left this drawing at the stage door and it came back signed along with a dedicated photograph.
Known as one of the great singing actresses of our time, American opera star Patricia Racette returned to Covent Garden replacing Martina Serafin in the role of Georgette in Il TABARRO in February 2016. Associated with the world’s leading orchestras in Boston, Chicago, San Francisco, NewYork and London, Patricia has excelled in Puccini and Verdi operas. Her well-known roles include Violetta in LA TRAVIATA, both Mimi and Musetta in LA BOHEME, Cio-Cio San in MADAMA BUTTERFLY and Desdemona in OTELLO. I left this montage sketch of Patricia at the Royal Opera House last February and when it didn’t come back after a month I thought it was a goner…but it returned this week it arrived back almost a year later, signed and dedicated.
Two of America’s young and up-and-coming opera singers, soprano Corinne Winters and mezzo-soprano Angela Brower both made their Covent Garden debut last month as the leads in the new production of Wolfgang Amadeus Mozart’s ‘fiancé-swapping’ Italian ‘buffa’ (comic) opera COSI FAN TUTTE, currently running at the Royal Opera House. It’s full title ‘Cosi fan tutte Ossia La Sculoa deli amanti’ literally means ‘Thus Do They (women) All’, but is usually translated ‘Women Are Like That’ or ‘The School of Lovers’.
The Libretto (that’s the words) was written by Lorenzo Du Ponte and was first performed at Vienna’s Burgtheater in January 1790. Fiancées and sisters Fiordiligi (Corinne) and Dorabella (Angela) discover that their lovers are leaving to “go to war’ and two handsome strangers in disguise arrive on a mission of seduction. My mission was a less lofty aspiration-sigduction, and Corinne and Angela were happy to oblige, signing my sketch