This is all about physique and not allowing reviewers to disregard a powerful new talent because of weight. Tours of the National Theatre take place almost every day. But in truth, I have no doubt that they are probably out there… but they are not getting the same opportunities that their more camera-friendly colleagues are being afforded. And there, I have used a couple of capitalised words for you! Would, for example, an 18 stone Violetta, a 50 year old Rodolfo or a black Butterfly work there? Sincerely, Janet Baker (not the Dame, mind you…). But she is dumpy of stature…” The idea that she should be disregarded for physique alone while executing the singing and acting parts of her job with aplomb is abhorrent to me.
This line has been crossed.

[…] The choir and orchestra of The English Concert were on impeccable form under Bicket, with high-definition articulation and tonal quality underlying everything they did; but this was inevitably Coote’s evening, as well as Handel’s.”, “In Ariodante, that astonishing quality of singing begins with the two leads, Briton Alice Coote (in a trouser role – in other words, playing a man) as Ariodante, and Canadian Jane Archibald as Ginevra. Physical size is neither hear nor there. I am thinking of the Met performance of La Boheme with Pavarotti and Joan Sutherland in the main roles. But essentially we use our voices and our bodies – and our minds – to convey what the composer and librettist have set out for us.

BRAVA ALICE, As a singer I was trained to listen NOT to look. And not carry on with the sham of loving it. Hier sollte eine Beschreibung angezeigt werden, diese Seite lässt dies jedoch nicht zu. Notung!” and ask yourself that, if you had the chance to see and hear that live, would you be caviling over their less-than-Hollywood figures? Wolfgang Windgassen was perhaps the greatest Siegfried of his generation, and he was huge. Thank you, Alice, for speaking up for the true values of our art form so eloquently! As a conductor, I only care about the voice.

infohanover@imgartists.com, 31-33, rue du Temple We seem to expect more of performer’s looks today, but to the detriment of many roles. He has cast those same singers, plus others with incredible voices who would fit that description, in new productions and HD transmissions. Great actors – like great singers – have come in all shapes and sizes, from the tiny Eileen Atkins to the mountainous Richard Griffiths, and it would be almost unheard of for an actor to be criticized directly for her or his physical characteristics. But honestly, what opera fan wouldn’t prefer to hear a great voice – even at the cinema for an HD broadcast – than a pretty face and svelte body that can barely get through the role. Datenschutzerklärung. The moment they sat there, in their regular concert suits/dresses, the way they sat there, looked at us and barely to each other, they were not the Mariinsky soloists, they were nor concert nor opera singers, they were Tatiana, Olga, Onegin, Lenski, Gremin… they were “only” sitting, standing and singing out there, using the body language in the most minimalistic way, but my God were they acting, too! If Octavian’s dramatic rendition was as good as the critics in question say then their fatuous comments are even more risible and we shouldn’t be getting into a tizz about the bees in their own bonnets. You are right to compare singing in opera to an Olympian event. Audiences aren’t idiots.. Clearly it is the human voice that is making this difference, so in a way you are right as in this case the sets/costumes/props/blocking has remained the same between the two. Marketing to a new generation that has grown up on MTV. That was opera. Coote has an amazingly supple and dramatic mezzo-soprano, capable of delivering the widest range of emotion in a smoky, powerful timbre. Listen to Windgassen and Melchior sing “Notung! Mezzo-soprano Alice Coote is regarded as one of the great artists of our day. Whatever happened to common politeness and good manners? Alice, your letter lances the boil of my disgust. If you can find an Anne Sophie von Otter- great!

If opera is just about the singing … that is a concert. They can sense when they are witnessing something OK and when there is something happening that is EXTRAORDINARY. If the response is that opera is so unreal it doesn’t matter what a singer looks like, then we don’t need all the vastly expensive paraphernalia of stage presentation. But as a theatre historian and I very much object to your definition of opera. This open email was written to Norman Lebrecht as a result of personal horror and shared horror in the singing community over reviews of Der Rosenkavalier at Glyndeboune in the British Press. artistskorea@imgartists.com, In her operatic engagements Coote spends a large part of her time engaged abroad, and in the UK, interpreting male and female roles, such as Dejanira, Her many recordings and DVD appearances include on CD: Mahler Song Cycles (Pentatone); an album of English Song, The Power of Love (Hyperion); Songs by Robert Schumann and Gustav Mahler (EMI); Händel’s, Highlights of the 2018/19 season include; the title role in, Coote will be a Hallé Associate Artist for the 2019/20 season during which she will perform; Berlioz, Coote’s 2019/20 engagements include; the title role in Gluck’s, In recital; Alice will perform at the St Andrew’s Voices Festival with Christian Blackshaw; at the Wigmore Hall with Julius Drake and at 92.

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