As British Summer time draws to a close here in London and the prospect of darker evenings and shorter days looms closer I have some good news that I would like to share with you, I was selected as one of several students from the Royal College of Music to audition for the prestigious “Josephine Baker Trust”. For the audition, I had to select three pieces of contrasting repertoire, an aria, an oratorio, and a Lied. Each year they audition prospective candidates from both the Royal Academy of Music and the Royal College of Music in order to produce a list of singers which they can then promote to venues and organisations around the Capital. These performance opportunities help the students on the list obtain much-needed funding towards their education in a very proactive way. So I was thrilled to hear that I had been selected and will become one of the singers on the “Josephine Baker Trust List”.
My “Haugtussa” CDs have finally arrived from the manufacturers. I have had several people ask me over the last few weeks when they would be available to purchase as they prefer to listen to a CD. So if anyone is interested in ordering one here is the link to my shop page 🙂
I had a great start to the week as there was a student evening on Monday at the Royal Opera House, so I went to watch a performance of Shostakovich’s opera “The Nose” It was a piece that I was not familiar with so the opportunity to go along and watch was too good to pass up.
The Royal Opera House provided a little background about the opera which can be seen below:
“Shostakovich was only 20 when he began writing The Nose, his operatic debut. He turned to a tiny short story by Gogol: an absurdist satire, where a civil servant’s errant nose launches its owner on a ludicrous battle against both nose and the authorities, as bureaucratic processes break down in the face of so unusual a problem. Gogol’s surrealist fable fired Shostakovich’s imagination, and he responded with a work of exuberant energy, full of musical jokes and grotesque parody – from the famed Act I entr’acte for percussion ensemble to plaintive laments, careening counterpoint, folksong (accompanied by balalaika) and rambunctious polkas.
Shostakovich finished the work in about a year, and in the following months gave successful performances of extracts from the opera. But it was to be another two years, in 1930, before The Nose was staged in full, by which time Soviet cultural climate had turned sternly against works of such perceived frivolity. The opera was quickly dropped from the repertory; but since its rediscovery in the 1960s it has steadily gained recognition for Shostakovich’s baffling, brilliant wit. This new production is The Royal Opera’s first. Artistic Director of Berlin’s Komische Oper Barrie Kosky directs, fresh from his triumphant production of Saul for Glyndebourne Festival.”
The story was very surreal and for once I was glad of the excellent translation provided by David Pountney, as this production was performed in English. The enthusiasm and energy brought to the production by the cast who were fully invested in their characters brought the bizarre story to life.