Now Streaming (June 2021)
English Touring Opera
Focus on Amadigi with Harriet Eyley, Rebecca Afonwy-Jones and James Laing
Josquin: Mille Regretz with Ella Taylor and Jorge Navarro Colorado
Grange Park Opera
Owen Wingrave with Ross Ramgobin
L’heure espagnole with Ross Ramgobin
BBC Radio 3
Schumann Plus with Alessandro Fisher
Life VICTORIA, Barcelona
Julien Van Mellaerts in recital with Simon Lepper
L’Orchestre de Chambe de Genève
Copland Old American Songs & Shostakovich Symphony No. 14 with Anush Hovhannisyan
Royal Scottish National Orchestra
Schubert (arr. Brahms) Three Songs with Felix Kemp
Tait Tuesdays At Home
Massenet Élégie with Catherine Carby
The Dancing Master: Winner of the 2021 BBC Music Magazine Best Opera Recording Award
The Dancing Master to be performed at the Buxton Festival
Resonus Classics’ new recording of Sir Malcolm Arnold’s The Dancing Master, with a cast including Catherine Carby, Fiona Kimm and Mark Wilde, has been nominated for a 2021 BBC Music Magazine Best Opera Recording Award. This Summer, these artists will feature in a new production of the work presented at the Buxton Festival in association with Red Squirrel Opera.
Featured Ross Ramgobin December 2020 news
During December, Ross Ramgobin was featured in the title role of Grange Park Opera’s new film of Owen Wingrave, as well as appearing in The Royal Opera’s Christmas Concert as Papageno in Die Zauberflöte and in Opera Holland Park’s Christmas Concert, all available for streaming over the Christmas period. A feature interview appears in the January / February issue of Opera Now.
“Ross Ramgobin finds a fierce nobility in the title role that pulls the threads together.”
Neil Fisher - The Times
“Ross Ramgobin, rapidly emerging as a fine singing actor, was sweet, funny and touching as Mozart’s Papageno.”
Tim Ashley – The Guardian
“Ramgobin has been another Christmas bonus – heartbreaking in Grange Park’s Owen Wingrave and partying with gusto in Opera Holand Park’s Christmas bonzanza.”
Claudia Pritchard – Culture Whisper
Whānau: Voices of Aotearoa, Far from Home
To reflect the plight of New Zealand musicians in London during lockdown, Julien Van Mellaerts has organised and curated Whānau: Voices of Aotearoa, Far from home, a selection of New Zealand, Māori and Pasifika songs. Recorded at London’s Royal Albert Hall last month and now available to watch on YouTube, the project was devised to help those artists able neither to return home nor to work during the pandemic. Those featured additionally include Marlena Devoe. The concert can also be heard on Radio New Zealand Concert. You can also hear an interview with Julien Van Mellaerts as he reflects on his own experience during the pandemic.
Critical Acclaim: “The best opera recordings released in 2020 so far”
Resonus Classics’ recording of Sir Malcolm Arnold’s The Dancing Master with a cast including Catherine Carby, Fiona Kimm and Mark Wilde has been selected by BBC Music Magazine as amongst “The best opera recordings released in 2020 so far,” as Editor’s Choice for November 2020 by Gramophone and as a Sunday Times Album of the Week.
You can hear The Dancing Master broadcast on BBC Radio 3 on 11 December 2020 as part of the Afternoon Concert.
Brünnhilde and Sieglinde, with Alwyn Mellor and Lee Bisset.
Alwyn Mellor and Lee Bisset sang Brünnhilde and Sieglinde in the Singapore premiere of Die Walküre with the Orchestra of the Music Makers. You can watch the performed streamed on 1 November at 1700 (GMT +8).
European Association of Artist Managers
James Black Management is delighted to have been elected to membership of the Association Europénne des Agents Artistiques / European Association of Artist Managers (AEAA).
James Black Management is also pleased to announce membership of the Opera Managers Association International.
James Black Management is sad to announce the death on 10 September of much loved baritone Adrian Clarke. He was a joy to work with, full of character and love for his art, and also a most delightful man with a gleeful sense of humour and a nose for a good glass of red.
Our thoughts are with Sarah Pring and his family at this time.
Post COVID-19 update, by James Black Management
Usually, the start of the new season would see a flourish of announcements looking forward to the exciting events ahead.
In a post COVID-19 world, so much has been cancelled that September 2020 is now less a time for anticipation than for reflection.
Those dark days over five months ago brought about a change in my life and that of my artists that has had long-reaching consequences artistically, personally and financially. And although, as they say, “Self pity begins at home,” I do not fool myself that these consequences have only affected the performing arts, even if it does seem that our particular industry seems to be taking the longest to find a way forward.
During those those darkest days, I was touched by the dignity and stoicism showed by the artists of James Black Management. As together we watched the unravelling of projects hard worked for and long anticipated, whether a major house debut, a major role debut, a beautiful concert of choral repertoire, an important concert, a return to conducting a major ballet company, I was moved sometimes to tears by their constant support of each other and of their kindness to me with gestures that I cannot make public but which will long resonate within me. I also wish to pay tribute to all those promoters who have tried in whatever way possible to make some compensation to those contracted to perform who were no longer able so to do, being fully appreciative of the vulnerability of the freelance artists’ incomeAnd now, wonderful initiatives are being explored. Here in the UK, with apologies to any I have left out, Garsington Opera at Wormsley, the Glyndebourne Festival, Grange Park Opera, The Grange Festival, Hampstead Garden Opera, Longborough Festival Opera (with JBM’s Lee Bisset), Nevill Holt Opera, Opera Holland Park (see below), the Waterperry Opera Festival and Welsh National Opera (one example featuring JBM’s Ross Ramgobin) found ways to present performance in some live form. There were broadcasts from the Royal Opera House and the Wigmore Hall; there were Roger Vignoles’ Distanced Lieder; Simon Lepper’s Music in my Garden; and now both English National Opera and Scottish Opera are presenting socially distanced performances of La Bohème, both casts of ENO’s Live & Drive featuring JBM artists.
As I write this I read that the London Symphony Orchestra will find a way to perform at LSO St Luke’s, the Orchestra of Opera North will be performing at Leeds Town Hall; and the Royal Liverpool Philharmonic Orchestra will return to live performance in front of an audience presenting a season. Artists are creative and resilient people: they will and do find a way.
As I experienced when attending one of Opera Holland Park’s boldly innovative concerts this Summer (and I was very proud that JBM’s Jennifer France, Anush Hovhannisyan and Ross Ramgobin were all performing), the need for people to engage not just with live performance but with each other remains firmly rooted in our collective psyche. This was brought home even more keenly to me when I taught for a few days at Jésus León’s Vienna Opera Academy in August. The process of working again on live music making with those wonderfully talented young singers, alongside superb colleagues, brought inspiration to my spirit. I watched with great pride the streams of their performances of Don Giovanni performed indoors with an orchestra and audience conducted by JBM’s Toby Purser at the Palais Eschenbach. As I did for the streams from Florence’s Re-Generation Festival, in whose curation JBM’s Anush Hovhannisyan played such an active role.
It will take a long time to return to normal, or even a new normal in our world, but there are ever more signs of a determination to find a way forward. Even as I write this, from within the JBM roster, one has just performed two concerts in Innsbruck, one is in rehearsal in France, two others begin rehearsals in the UK at the start of September. Two more begin rehearsals shortly in Germany and another in Portugal. I continue to explore options with promoters world-wide and will never again take for granted the excitement (I hope I never did) felt as an engagement is discussed, confirmed and a contract lands on the desk (or even in these modern days via a PDF on the iMac). Will these upcoming projects happen? Will there be another spike? As I lack Madame Arvidson’s insight, or at least her chutzpah, I’ll not speculate.
However, as Carmen (or was it La Carmencita?) says to Escamillo, “It is not forbidden to wait, and it is always sweet to hope.” We have waited, and continue so to do, but we also hope and, a cliché being a cliché because it is invariably true, “Hope springs eternal.”