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The Herald Scotland
4 days ago
- Entertainment
- The Herald Scotland
'A real show-stopper' - Review: Suor Angelica at Perth Festival
St Ninian's Cathedral, Perth Keith Bruce four stars The three steps up to a specially-constructed performance platform created in the middle of Perth Cathedral could not compete with the grand staircase that dominated Sir David McVicar's recent Scottish Opera staging of the central opera in Puccini's Il Trittico trilogy, but they were emblematic of the more compact success of Opera Bohemia's version in partnership with Amicus Orchestra. Douglas Nairne's production makes the fullest possible use of the venue, which is a new one for the festival with more open sight-lines than St John's Kirk and ample room for the orchestra, which was placed beyond the stage, with the singers often making their entrances from behind the audience. That device made the most of the reverberant acoustic for the choruses, while the instrumentalists, under the very attentive and often exuberant baton of Alistair Digges, always sounded in focus, with well-balanced wind soloists and a rich string sound. A couple of keyboards provide crucial extra sonic colour when required. Read more With simple costuming, stylish stage blocking, and minimal props, the tragic tale of Sister Angelica, rejected by her family for falling pregnant and estranged from her son, unfolds in classic story-book fashion, much of the work done by Puccini's masterly scoring. In soprano Jenny Stafford, who covered the role for English National Opera, Bohemia have a fine new recruit to the more familiar faces in the company. Absolutely on top of the part vocally, she avoids any melodrama in a performance of affecting sincerity, her aria when she learns of the death of her child a real show-stopper. Around her the women swiftly create the impression of a strict but mutually-supportive community into which Angelica's aunt, The Princess, steps as the embodiment of moral severity. Mezzo Louise Collett's nuanced approach to that role is as impressive, the latest of a series of fine performances for the company. Sioned Gwen Davies, Cheryl Forbes and Monica McGhee add important solo voices, and the ensemble of the ten women is the production's heart, suggestive of more rehearsal time together than was probably actually available. Although it is being seen elsewhere – including a performance on the Isle of Bute on Saturday - this is a contribution to Perth Festival of the Arts truly in the tradition of the bespoke opera productions of the event's earliest years, and it should set a template for the future.
Edinburgh Live
29-04-2025
- Entertainment
- Edinburgh Live
BBC Breakfast's Jon Kay shares 'sad news' following death of 'extraordinary' guest
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Jon Kay has been met with a wave of support after announcing the death of a guest who featured on BBC Breakfast in 2021. The news presenter shared a series of touching photos with Dave Smith, who sadly passed away at the age of 76. In one image, Jon is seen donning a face mask as he snaps a selfie with Dave and posted an extensive tribute in his honour. He penned, "Some sad news to man" Dave Smith has passed away at the age of 76. "The Bristol driving instructor and pub-singer made global headlines in 2021 after he revealed to me on BBC Breakfast that he'd had Covid for about 300 days in a row - longer than anyone else on the planet at the time.", reports the Mirror. "Back then, his doctors told us that the reason Dave had struggled to get rid of the virus was because years of cancer treatment had seriously compromised his immune system. "But Dave confounded medical expectations and eventually beat Covid after ten long months in and out of intensive care. [...] For decades, Dave had performed in pubs and clubs around Bristol. And even though his lungs had been ravaged by Covid, he was determined to sing again. "We followed him as he joined the English National Opera's online programme to help Long Covid sufferers improve their breathing. The transformation was remarkable.. [...] He said that comeback gig was his "best night ever". And it was one of my favourite ever stories to cover." Jon remarked: "Over the last year, Dave's health deteriorated. He told me the COVID and cancer had taken their toll. But whenever we spoke, he always retained his zest for life, his dark sense of humour, his love of performing and a total devotion to his delightful wife Lyn and their families. I am thinking of them all." He concluded by saying: "Dave died peacefully at home earlier this month. His funeral was last week. RIP Dave Smith. An ordinary name. An extraordinary chap. An honour to have known you." After sharing this poignant news, Jon's followers were quick to show their support, with one commenting: "God bless Dave. This is very sad news. I'm sending lots of love to all his family and friends, thinking of them all at this sad time. Xx." Another follower extended their sympathies, remarking: "Awww, you did a lovely story on him at the time. May his soul rest in peace. Seemed a lovely man." A third commenter echoed these emotions, saying: "So sad but what a great man and family. It means the stars will sound more tuneful from now on with the sound of Dave xxxx."
Daily Mirror
29-04-2025
- Entertainment
- Daily Mirror
BBC Breakfast star Jon Kay shares 'sad news' following heartbreaking death
BBC Breakfast star Jon Kay has been inundated with support after he shared the news that a guest who appeared on the programme in 2021 had died earlier this month Jon Kay has received an outpouring of support after announcing the death of a guest who appeared on BBC Breakfast in 2021. The news anchor shared a series of heartfelt photos with Dave Smith, who passed away at the age of 76. In one photo, Jon is seen wearing a face mask as he takes a selfie with Dave and posted a lengthy tribute in his memory. He wrote, "Some sad news to man" Dave Smith has passed away at the age of 76. "The Bristol driving instructor and pub-singer made global headlines in 2021 after he revealed to me on BBC Breakfast that he'd had Covid for about 300 days in a row - longer than anyone else on the planet at the time. "Back then, his doctors told us that the reason Dave had struggled to get rid of the virus was because years of cancer treatment had seriously compromised his immune system." "But Dave confounded medical expectations and eventually beat Covid after ten long months in and out of intensive care. [...] For decades, Dave had performed in pubs and clubs around Bristol. And even though his lungs had been ravaged by Covid, he was determined to sing again. "We followed him as he joined the English National Opera's online programme to help Long Covid sufferers improve their breathing. The transformation was remarkable.. [...] He said that comeback gig was his "best night ever". And it was one of my favourite ever stories to cover." Jon remarked: "Over the last year, Dave's health deteriorated. He told me the COVID and cancer had taken their toll. But whenever we spoke, he always retained his zest for life, his dark sense of humour, his love of performing and a total devotion to his delightful wife Lyn and their families. I am thinking of them all." He concluded by saying, "Dave died peacefully at home earlier this month. His funeral was last week. RIP Dave Smith. An ordinary name. An extraordinary chap. An honour to have known you." After sharing this heartfelt news, Jon's followers poured in support, with comments such as, "God bless Dave. This is very sad news. I'm sending lots of love to all his family and friends, thinking of them all at this sad time. Xx." Another follower expressed their condolences, stating, "Awww, you did a lovely story on him at the time. May his soul rest in peace. Seemed a lovely man." A third shared similar sentiments, writing, "So sad but what a great man and family. It means the stars will sound more tuneful from now on with the sound of Dave xxxx."
The Guardian
22-03-2025
- Entertainment
- The Guardian
The week in classical: Le nozze di Figaro; Die Zauberflöte
For a young British opera singer to succeed today, it's not enough to have an outstanding voice, natural musicianship and a commanding stage presence. It also requires a steely determination to cope with both the paucity of work at home and the bureaucratic nightmare abroad after Brexit. Successive Tory governments presided over the decline of our leading opera companies, with huge cuts in funding at English National Opera, where seasons are shorter, productions recycled and the orchestra, chorus and music staff put on short-term contracts. And Glyndebourne and Welsh National Opera haven't escaped the knife, forcing them to cease touring; so much for levelling up. Boris Johnson's chaotic Brexit agreement simply forgot that pulling away from Europe would not only make life difficult for exporters – it would place huge barriers in the way of musicians. There's talk of trying to ease these restrictions, but is there the political will to do some joined-up thinking too? Music is a huge earner for this country, but music education is becoming the preserve of those who can afford it. If our new government is serious about supporting the arts (and growth), it must make music a natural part of the curriculum and help create real opportunities for those who want to progress. That sounds like a vain hope when disability benefits are being cut and defence spending rising, but we know that access to music-making – in whatever form and at whatever level – can have a positive effect on young people's health and wellbeing. It's better than staring at a screen. How ironic, then, that Britain, seen across the world as a leading centre of excellence for music training at conservatoire level, has so few opportunities for graduates once they are ready for work. Traditionally, new British singers have had to head to Europe to gain the experience they cannot find at home, but now the paperwork around visas and work permits makes this a daunting prospect, both for the singer and the employer. And the opportunity for worldwide audiences to hear young artists diminishes even further with the threatened withdrawal of BBC Radio 3 from digital services overseas. Given all this, it's gratifying to see that roll numbers have remained consistent at two of our top royal colleges, and – judging by two new Mozart productions staged last week – whatever the hurdles, there are new stars emerging. One name to watch is Ross Fettes, who sang Figaro in the first of two casts in the Royal College of Music's Le nozze di Figaro, directed with wit and charm by Jeremy Sams. Fettes is the whole package, possessing a fine, lyrical bass-baritone and a nimble way with comedy when outwitting his lecherous boss, Count Almaviva, sung by Sam Hird, a strong performer who grew in stature vocally as the evening progressed. Charlotte Jane Kennedy triumphed as Susanna, Figaro's equally crafty fiancee, her creamy soprano voice carrying her effortlessly through one of the most demanding roles in the repertoire. Soprano Madeline Boreham brought an admirable, dignified grace to her portrayal of Countess Almaviva, and fine control to her centrepiece aria Dove sono. Mezzo Cecilia Yufan Zhang was wonderfully energetic as the page Cherubino, and notable among the smaller roles were tenor Marcus Swietlicki as Basilio, Alexandria Moon as Marcellina and Bella Marslen as Barbarina. Diction was strong throughout and ensemble singing particularly impressive. The RCM Opera Orchestra responded well to conductor Michael Rosewell's measured tempi, with some fine woodwind playing particularly evident. Movement director Scott Howland enhanced the comedy with some witty footwork, in a production that was set in a crumbling 1980s French chateau, designed by Alex Doidge-Green and lit by Tim Mitchell. Lighting by Charlie Morgan Jones played a central role over at the Royal Academy of Music in its production of Die Zauberflöte, the bare stage dominated by dozens of fixed floodlights and about 20 neon strips that hovered, rose and descended in a balletic emulation of the action – one even transforming into the magic flute of the title. Mozart's singspiel is endlessly adaptable, and here director Jamie Manton and designer Justin Nardella chose to make the sage Sarastro a charismatic surgeon and his temple a hospital, with patients as his devotees. But having cast members in gowns and masks wrestling with tubes and breathing apparatus as the overture progressed felt uncomfortable on the fifth anniversary of the pandemic lockdown. In the first iteration of this double-cast show, however, we had a fine Papageno to lighten the mood. Mellifluous baritone Conrad Chatterton was instantly engaging, making the most of his role as birdcatcher/hospital cleaner in this extended post-operative hallucination, complete with cart, mops and disinfectant. Spectacular Queen of the Night Binny Supin Yang electrified the audience with her superb coloratura, which contrasted nicely with the velvety soprano of her disillusioned daughter, Pamina (Grace Hope-Gill). Daniel Vening made an impressively sage Sarastro, noble in his aria O Isis und Osiris, with tenor Owen Lucas a suitably menacing Monostatos and bass Theodore McAlindon a sonorous Speaker. Conductor Olivia Clarke kept the sparky Royal Academy Sinfonia on their toes with some enjoyably lively tempi. Perhaps the most intriguing aspect of the evening was the quality of the voices in the excellent chorus, promising more standout solo performances in future productions. Most of the principals in both of these shows will be going on to engagements in summer opera seasons in the UK and abroad, but what comes after depends as much on political will as it does on their undoubted talents. Star ratings (out of five) Le nozze di Figaro ★★★★ Die Zauberflöte ★★★ Le nozze di Figaro is at the Britten theatre, Royal College of Music, London, until Saturday 22 March
Telegraph
10-03-2025
- Entertainment
- Telegraph
Why must we tarnish Agatha Christie's legacy by introducing trigger warnings?
' Murder on the Orient Express contains: Themes of death, grief and guilt.' 'Reference to, and depictions of, murder and manslaughter.' 'Reference to, and depictions of, weapons.' I could end the column there – on the trigger warning the theatrical producers saw fit to slap on arguably Agatha Christie's most famous work – but where's the fun in that? This is manna from sneer heaven, mockery nirvana. Had they set up a pillory and invited people to pelt them with mud and offal, they couldn't have achieved a better result. I did, for a second, wonder if the trigger warning featured on the new play's website was tongue in cheek. Whoever signed off on it should certainly use that as an excuse this week, amid the (virtual) offal bombardment. 'It was a send-up, of course!' Only it wasn't. The Ken Ludwig adaptation – which is directed by Lucy Bailey and currently touring the UK – sets out its killingly funny warning right after the age recommendation (12+ parental guidance). 'We don't want to spoil anyone's experience of coming to see Murder on the Orient Express; however, if you would benefit from knowing more about specific content and themes in the play, please click below.' While we're on content and themes, could anyone help me out with American Psycho? I'm assuming it's suitable for a five-year-old. Oh, and would Johnny Got His Gun be a nice, gentle, date-night watch? As an animal-lover and a vegan, is there anything in Pet Cemetery that I might find upsetting? Ridiculing an area that's already patently ridiculous is hard, as it turns out. After all, the latest theatrical trigger warnings all sound like spoofs. The Chichester Festival Theatre warned theatregoers that a new production of Three Little Pigs 'has a passing reference to Father Pig being gobbled by the Big Bad Wolf'. The English National Opera recently cautioned audiences attending Gilbert and Sullivan's comic opera, The Pirates of Penzance, at the London Coliseum, that 'alcohol misuse and mild violence' would feature. And at the end of last year, audience members at London's Bromley Little Theatre were warned that the adaptation of the author's 1839 novel, Nicholas Nickleby, contained 'Dickensian slurs'. Like the waiters who are now forced to ask every diner whether they have any allergies, all this is driven not by concern, of course, but fear. And it's not just the infantilising that infuriates, but the sense that personal responsibility is no longer a thing. Shouldn't it be down to the person with the allergy or sensitivity to do their due diligence? If you don't want dead bodies, can I suggest you avoid works by the Queen of Crime? A woman who, according to one count, amassed 128 corpses in her lifetime? As laughable as slapping a 'hazard label' on a play, book or work of art should be, in theory, trigger warnings have tangibly damaging effects – so much so that they might themselves need trigger warnings. Designed to guard against trauma, they have in fact been shown to galvanise outrage and multiply claims of trauma by Gen Zers, ever eager to be suffering from one psychological disorder or another. They're obviously deeply, offensively reductive into the bargain. Because while we're focussing on how 'toxic' or not a work is, we're not thinking about anything else: the rave reviews Bailey's Murder on the Orient Express has been getting from audiences and critics alike. The excellent cast includes The Young Victoria's Michael Maloney as the celebrated Belgian sleuth Hercule Poirot. You may remember that Harper Lee's To Kill a Mockingbird was issued a caution for 'mentioning 'murder', mentioning 'rape', use of the 'N-word' and racism' – but I'd like to think the iconic novel amounts to a little more than that. The Great Gatsby 'contains themes of suicide, domestic abuse and graphic violence'. It's also a life-changingly brilliant book, by the way, but let's get back to the reasons why you shouldn't read it, the reasons you should avoid that play or historical documentary featuring awful realities no one should have to confront. The reasons you should opt out of anything remotely challenging in life. Warning: might make you think. While an increasing number of actors are now speaking up about the dangers of these censorious little stamps masquerading as sensitivity, nobody has put it better than actor Simon Callow, who said they betrayed 'a fundamental failure to grasp what the theatre is: not a model for behaviour but a crucible in which we look at what it is to be human'. Sorry folks, but sometimes that can get a little uncomfortable.
