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MARCH 2017 Opera Now 39w w w. o p e r a n o w. c o . u k

MAIN STAGE | Legendary Singers

elson Eddy, who died 50 years ago on 6 March, had a unique position as a cultural

hero purveying all kinds of music on screen and the concert stage. This was due in part to his

remarkable mastery of English diction. His crisp, natural pronunciation helped put across even soppy lyrics and were ideal in unadorned Christmas songs – a cracking O Come, All Ye Faithful – and other traditional repertoire. He had early stage experience in works by Gilbert and Sullivan, and although his G&S recordings may seem like luxury casting, they are delightful, especially a clipped ‘Major-General’s Song’.

Eddy’s warm baritone, durable through a career of over four decades and seemingly emitted without effort, was the result of endless study and worrying over method. Admirable breath control in his youth, no matter how long the musical phrase, added to this impression of command. Yet he changed teachers often and repeatedly sought advice from different coaches and instructors over the years. These included the Russian-born opera conductor Alexander Smallens (1889-1972), onetime lover of the composer Marc Blitzstein and first conductor of George Gershwin’s Porgy and Bess and Virgil Thomson’s Four Saints in Three Acts. Eddy also sought advice from the American baritones David Bispham (1857-1921) and Edouard Lippé (1884-1956), among others.

These authorities, doubtless delighted by his natural talents, may

have encouraged him to try arias which even in radio performance stretched the limits of his range. Such basso roles as Prince Gremin in Eugene Onegin and Gurnemanz in Parsifal were not really his Fach, although in 1933 he sang the latter on a radio broadcast conducted by Leopold Stokowski. On another broadcast, he essayed Gremin’s aria for which the final low notes apparently required leaning into the microphone to make sure the cavernous sounds carried. One must also wonder about his soft-voiced versions of Wolfram in Tannhäuser and Amonasro in Aida, with unidiomatic pronunciation, although they were well-received by the American critics and public in onstage versions. He also assumed the role of Boris Godunov, but this was in homage to a baritonal bass and long-time collaborator of Smallens, Feodor Chaliapin. Eddy admired Chaliapin to the point of penning a screenplay, destined to remain unproduced, in which he would have starred as the Russian singer as well as a younger version of himself.

Eddy diligently studied foreign languages and even spoke German, but his pronunciation of it, as well as his French, can

sound dull indeed. His Italian could be rather more idiomatic in the sense of colouring words, although not always. Oddly, when he ventured into a Brazilian samba, ‘Dansando O Samba’, sung in admittedly exotic Portuguese, the result had a certain debonair abandon, charmingly appropriate.

LEGENDARYSINGERS

The American baritone Nelson Eddy (1901-1967) is remembered principally as a movie star whose velvety voice and amiable personality charmed filmgoers of the 1930s and ’40s. His onscreen celebrity has largely eclipsed his considerable accomplishments in the field of opera, where he diligently honed his natural talents as a singer

By Benjamin Ivry

Nelson Eddy

⌂

DAVE HECHT

Nelson Eddy’s debonair charm made him a popular figure on stage and screen

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MAIN STAGE | Education & Outreach

MARCH 2017 Opera Now 35w w w. o p e r a n o w. c o . u k

peaking of his life as a composer, Benjamin Britten said that above all he wanted to be useful. It’s a remark

that is often quoted, alongside grandiose slogans about ‘opera changing lives’, by opera managements to justify a

world which can seem to exist for the benefit of a rather small social sector.

Beyond the plush productions of big opera houses, however, there’s another world where the idea of ‘usefulness’ can be more than a soundbite, and where genuine idealism engages with marginalised groups. Pimlico Opera’s work in prisons and Streetwise Opera’s projects with the homeless are well publicised; but I can almost guarantee you have never heard of the man who does more work with non-opera audiences – children, people living with dementia, community groups – around the whole country, on a full-time basis, than anyone else. He is Tim Yealland, the head of education at English Touring Opera (ETO), one of the great unsung heroes of the UK classical music scene.

Many will know ETO as the hardworking company that twice a year takes two or three operas around Britain on lengthy, multi-date tours to places otherwise completely neglected by national companies It staging standard and not-so-standard rep (Tosca and Patience begin touring in March) on a proper scale, with high production and musical values, featuring some of the most talented young singers in the land. That’s admirable enough work on its own; but there is also a parallel story of an organisation that engages with people who don’t go to operas, which can sometimes feel like ETO’s real self. This is something almost wholly due to Yealland, of whom ETO’s general director James Conway speaks in awestruck tones and urged me to write that here, of all people in the opera world, is the one who deserves a knighthood.

Tim Yealland’s big project at the moment – one that you’d hope might bridge the gap between the two

separate worlds of ETO – is an opera aimed mainly at young people, written by the composer Russell Hepplewhite and

Yealland himself, based on the aviator Amelia Earhart, though it’s more than just another bio-opera. Silver Electra is the fourth ETO collaboration between the pair: their last piece, Laika the Spacedog, has had several successful years of touring schools and theatres

ALEXANDRE DELMAR

English Touring Opera’s education work represents some of the most successful and effective endeavours in this field, yet it receives no public funding. Robert Thicknesse meets Tim Yealland, the unsung hero of ETO’s outreach projects which help, enthuse, entertain and engage with marginalised audiences who might never otherwise have the chance to encounter opera

OF REAL USE

Tim Yealland: ‘Opera delivered in a school hall for 200 kids is the most exciting theatre you’ll ever see.’

⌂

ON0317_035-037_F_ETO1502OM.indd 35 16/02/2017 07:48

LOVED BY THE WORLD’S MOST FAMOUS OPERA STARS

74 Opera Now MARCH 2017 w w w. o p e r a n o w. c o . u k

Festival focus

LIVE REVIEWS | Israel

The ancient port of Akko (or Acre) is one of the oldest continuously inhabited cities in the world,

perched on Israel’s northern coast just outside Haifa, where Jews, Muslims, Baha’i and Christians have lived and prayed alongside one another for centuries.

Last September saw the inaugural Meet in Galilee festival of Baroque opera, a satellite event linked to a humanitarian conference of the same name convened by the French doctor Muriel Haim. She invited Christophe Rousset and Les Talens Lyriques to play for two nights inside the open-air citadel that sits within Akko’s ancient walls.

The space is atmospheric but strangely lacking in intimacy and, as you might

expect, acoustically far from perfect. On the first night we heard a double-bill of Charpentier’s Actéon and Purcell’s Dido and Aeneas, in which Rousset’s expertise in French stylistics permeated both pieces. Haute-contre Cyril Auvity had the range for the title character in the Charpentier, if not quite the strength. But the wind took a lot from the mouths of the singers and from the soundboards of the strings.

In the end, Auvity was rather outshone by the Alaskan mezzo Vivica Genaux’s Junon. She returned after the interval to sing Dido in the Purcell. The delicious darkness in her voice made for a special performance of the lament, as tender as it was subtly theatrical.

Elsewhere the performance was both fascinating and curious, particularly in the choruses: we heard a staccato ‘Cupid only bends the bow’ (with zero tenderness); double speed in ‘Harm’s our delight’ (which robbed the passage of its lurking evil); and a tendency to gloss over modulations and harmonic function (‘…and Carthage flames tomorrow’ wasn’t so much of a cadence as a throwaway gesture). Still, the sense of an ensemble of players and singers was felt deeply, and these new perspectives held interest.

The next night, Sandrine Piau replaced an indisposed Karina Gauvin (a luxury substitution if ever there was one) to star

Les Talens Lyriques take their bow after Purcell’s Dido and Aeneas

Meet in Galilee

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MAIN STAGE | Sophie Bevan

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MARCH 2017 Opera Now 75w w w. o p e r a n o w. c o . u k

LIVE REVIEWS | Israel

in an abridged version of Handel’s Alcina. In every sense, the game was raised in this performance, with the possible exception of Naomie Kremer’s background ‘video art’ (if I had arranged a montage of my 1997 holiday snaps, the result would have been indistinguishable).

Piau sustained the fragile seniority, emotional vulnerability, and confused psychology of the lovelorn sorceress with both her voice and her deportment over the course of what was, effectively, a concert performance with dramatic gestures permitted. My only caveat would be her coloratura, which sometimes sounded muddy.

Rosemary Joshua got off to a faltering start as Morgana and never really warmed up fully. Teresa Iervolino’s Bradamante demonstrated far more presence, singing intimately at high volumes and projecting at low ones.

It was Maite Beaumont’s Ruggiero that, alongside Piau, impressed most. She phrased wonderfully, using all the colours in her fulsome mezzo to hide any shortfall in dynamic range. In ‘Verdi prati’ she stilled the hot, tired, fidgeting audience, a large proportion of which had left during the interval.

Despite the higher level of orchestral and vocal polish on this second evening, even an abridged Alcina was a big ask of this audience. If this Festival is to thrive in the future – and there’s no reason why it shouldn’t

– a shade more thought for repertoire and presentation wouldn’t go amiss.

Andrew Mellor

Sandrine Piau – a luxury last-minute stand-in as Alcina

The ancient port city of Akko provides an atmospheric backdrop for the Meet in Galilee Festival

ON0317_074-075_LR_FFAkko1602BWM.indd 75 16/02/2017 11:27

MAIN STAGE | Sophie Bevan

MARCH 2017 Opera Now 17w w w. o p e r a n o w. c o . u k

f I tell you that she grew up in Somerset in a house with no television, among six other siblings

without any inkling about pop culture, and still has nothing to do with Facebook or Twitter, you’ll probably

picture some introverted denizen of Cold Comfort Farm or a traumatised spinster from a chilly Victorian rectory. There is, however, nothing rustic or weird about Sophie Bevan. The only notably old-fashioned things about this soprano are a love of J S Bach and a serious dedication to her job. Now 33, she is in the prime of a career that seems to be on the point of pivoting from Handel and Mozart towards redder meat.

Family history would seem to have destined her for it. There are two very strong genes in the Bevans: music and fecundity. By general Bevan standards, Sophie’s family of seven kids was actually pretty modest. Her father David was one of 14 children of Roger Bevan, head of music at Downside School, a Catholic establishment near Shepton Mallet. Uncle Tony has 10, uncle Joe 11. The result: Bevans, Bevans everywhere... Roger’s brother Maurice was a member of the Deller Consort. Baritone Benjamin is another uncle. Little sister Mary, a year younger, is a successful soprano hot on Sophie’s heels. Three of their first cousins are budding tenors at the Royal College and the Royal Academy. Sixteen or so of these cousins still get together now and then as the Bevan Family Consort.

Grandpa Roger, incidentally, would have been horrified by this outbreak of opera among his progeny. For him – organist, choirmaster, old-school adept of Bach, Brahms and Beethoven – opera was an abomination. His disapproval of music that was not proper was reflected in the weekly essays he made his pupils write (yes, I was one) usually on the subject, ‘J S Bach: the beginning and

end of all music’. He was dismissive of anything Italian or theatrical, though he once grumpily said to me: ‘I suppose you’d probably like Wagner,’ as though it were some regrettable, decadent foodstuff.

David inherited his dad’s attitudes – though there was one concession: he sort of allowed Donizetti and Bellini, since they don’t even pretend to be ‘proper music’. Sophie and Mary reminisce happily about a childhood spent dreaming about TV and white bread, and escaping to friends’ houses to watch Baywatch; but no doubt a musical upbringing singing Bach and proper music at home and in the choir at the Holy Redeemer Church in Chelsea, where David has been in charge of music for over 30 years, gave them a head start when it came to making singing into a career.

Sophie’s mother Mollie has had a pivotal role in all this ever since she constituted the well-known ‘Bevan Family Choir’ in the 1970s: ‘It was actually Mum who encouraged us most: she could have been a great singer. She would sing the appropriate Marian Antiphon [eg Salve Regina] with us all every night, sing songs with us in the car on the journey from Somerset to London, ferry us to and from rehearsals, and got us all to join Berkshire Youth Choir. Mum’s grandmother was the youngest of 17 musical children and studied singing and piano at the Amsterdam Conservatoire, and her grandfather ran a Music Hall in London – it was he who introduced Gilbert and Sullivan to each other!’ We’re looking at a pretty solid pedigree, then.

Sophie’s own route has been a traditional if fast-track one. I first saw her performing Flora in the Royal College of Music’s Turn of the Screw in 2004. Spotted early on by conductor and early opera specialist Ian Page, she became an Associate Artist of his Classical Opera Company. Her voice quickly blossomed into something more operatically luxuriant: she’s one of those singers who develops further each time you hear them. Vivacious, funny and sparky, she is dead serious about singing, pacing herself up the ladder of roles as they come – there’s genuinely nothing that seems beyond the bounds for this voice.

Natural born singerSinging is a family affair for Sophie Bevan, the British soprano

whose radiant, versatile voice is proving irresistible to the world’s major opera houses. Robert Thicknesse meets a seriously

grounded young singer with innate musicality, a vivacious sense of fun and a fearless onstage presence that makes you feel there is nothing her voice can’t tackle

⌂Sophie Bevan: doing what comes naturally

ON0317_016-022_F_CvrStory1502OM.indd 17 16/02/2017 15:42

PRINT DISPLAY

Saturday 24 May 7.30pm

Poulenc Les mamelles de Tirésias*Fauré RequiemAn evening of surreal and celestial Gallic delights

Poulenc’s rarely-performed comic opera follows ardent feminist Thérèse as she wages a campaign against procreation, leaving her husband to single-handedly repopulate the country. Soprano Hélène Guilmette joins the BBC Symphony Orchestra, BBC Singers, conductor Ludovic Morlot and fabulous cast to take on the role of the unpredictable heroine. Fauré’s much-loved Requiem completes this all-French affair.

*Concert staging. Sung in French with English surtitles.

Tickets £32-10 plus booking fee.Booking fees: £3 per transaction for online booking. £4 by phone.No fee when tickets are booked in person.

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6 w w w. o p e r a n o w. c o . u k

I have been reading with interest the debate that Tom Sutcliffe’s article on opera and education has sparked in your pages (Opera Now, May 2014 – Feedback, page 6). Your various correspondents deal with the situation in Europe and Britain, so I thought it might be interesting to add a perspective from the USA. I live near Los Angeles, where my three children all aged below 12 are at local schools. Here we have been faced with year-on-year erosion of funding in schools, to the extent that many of our big public schools (that is to say, schools that administer state-funded education in the US – quite different from the English meaning!) just don’t have the resources to teach subjects properly.

This is where LA Opera has stepped in with its education programmes that actually fill a vacuum left by government underfunding. At K-6 level (that is to say at Elementary Schools), LA Opera has undertaken a project based around Rossini’s The Barber of Seville called Figaro’s American Adventure. The story is transplanted to the American Civil War where a group of wily barbers win the day over their adversaries.

I’ve rarely seen my daughter, who took part in the project, so enthused by the idea of going to school! As well as enjoying the

music and singing, and learning about opera and how it all works, the whole enterprise sparked off talks in the classroom about American history, civil rights, women’s rights as well as more abstract areas such as the art of persevering in order to win your goal.

This was an engaging way for children to learn, full of ideas that connected to the wider teaching curriculum, culminating in a staged performance of the short opera that drew together families and the school community.

All in all, it was a brilliant example of how opera isn’t just a ‘museum’ art form for high society to enjoy, but can be the basis of a lifetime of learning and exploring ideas about the wider world.Dr Alicia Munoz, Los Angeles, California

So opera is just for toffs and a ticket costs thousands of pounds? I nearly choked on my cornflakes when I heard this on BBC Radio 4’s Today programme the other morning. It’s true that John Humphrys, the veteran presenter of the programme, is paid to produce polemic, but it’s exasperating to hear an interview about opera (in this case about live streaming) that resorts to below-the-belt stereotyping that just isn’t true!

Humphrys barely took on board the very valid point made by one of the interviewees on the programme, namely that the ubiquity of cinema relays from major opera houses such as Covent Garden and the Met means regional companies and small touring outfits in the UK will struggle to maintain their audience share in the face of their comparatively well-resourced competition. These small companies are where young singers, directors and conductors learn their trade. They are vital to the ecology of opera, and their role needs to be acknowledged in the headlong rush towards a new ‘virtual’ wonderland of free streaming and cut-price cinema seats. So let’s hear it for the live experience and for companies who put on fantastic opera all around Britain, with tickets that probably cost less than John Humphrys’ morning taxi ride to the BBC!Simon Heathcote, via email

ERRATUMOpera Now’s May issue included a 5-page feature about opera in the heart of Germany as part of our ongoing series ‘Libiamo!’. The uncredited author of this article (May issue, pages 20-24) was Tom Sutcliffe.

FRONT OF HOUSE | Feedback

Feedback

Available On Demand until June 9

After our successful HD livestream of Der Rosenkavalier from the Malmö Opera

on May 16, we are pleased to off er this colorful production by Dmitri Bertman

on demand, which includes a fantastic fi rst-class ensemble of up-and-coming

singers. The production perfectly combines the story’s contrasts of love, society

and vanity, underlined by the opulent sound of the orchestra, conducted by

Leif Segerstam. Join us!

CASTCharlotte Larsson (Feldmarschallin) · Dorottya Láng (Octavian) · Rúni Brattaberg (Baron Ochs)

Frederik Zetterström (Faninal) · Laine Quist (Marianne Leitmetzerin) · Sofi e Asplund (Sophie)

Additional cast list available on the sonostream.tv website Phot

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Mal

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Richard Strauss:Der Rosenkavalierfrom the Malmö Opera!

Visit us on www.sonostream.tv

SonoArtists-onDemand-132x196.indd 1 12.05.14 14:44

ON0614_06_Feedback.indd 6 14/05/2014 13:06:34

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