The Times: Anush Hovhannisyan is The Face to Watch in Opera 2020
Congratulations to Anush Hovhannisyan, who has been selected by The Times as The Face to Watch in Opera 2020 ahead of her upcoming performances in Les vêpres siciliennes with Welsh National Opera and with Opera Holland Park in Eugene Onegin.
John Rigby has been nominated for Best Musical Direction at the 20th Annual WhatsOnStage Awards
Congratulations to John Rigby who has been nominated for Best Musical Direction for the new production of Joseph and the Amazing Technicolor Dreamcoat at the London’s Palladium 20th Annual WhatsOnStage Awards.
Outstanding critical acclaim for Jennifer France’s debut performances as The Princess
Jennifer France received outstanding critical acclaim for her debut performances as The Princess in Philip Glass’ Orphée with English National Opera.
“First in Chanel black, then in Schiaparelli pink to show her perilous new fondness for the sunlit upper world, Jennifer France as the Princess made a truly auspicious Coliseum debut. Her duets with (Nicholas) Lester, as she entices the poet into her realm of shadows only to despatch him back andjeopardiseher own status as an immortal, had a show-stealing Gothic glamour and shimmer, the voice angelic and fleshly at once.”
Boyd Tonkin, The Arts Desk
“Jennifer France (ENO debut) as a high soprano Princess (her love aria and duet with Orphée piercingly dramatic) is a couturier’s dream (costumes black and white and then negative reverse). Her surprise magenta gown brings gasps from the auditorium.”
Vera Liber, British Theatre Guide
“…Jennifer France’s electrifying Princess, weaving her spells at the top of the voice, of hint of violence in its razor edge. This is another exciting ENO debut.”
Claudia Pritchard, Culture Whisper
“The best of the singers hail from the underworld, Jennifer France being icily brilliant as the Princess, bringer of death…”
Richard Fairman, The Financial Times
“The excellent cast is dominated by France, by turns glacial, gloriously imperious and exquisite as the Princess.”
Tim Ashley, The Guardian
“Jennifer France, making her ENO debut as the Princess, cut an icy path through the show with sharp costume and clean, precise sound.”
Benjamin Poore, Music OMH
“Jennifer France’s Princess manages to be enigmatic and imperious, embracing everything the dour Eurydice is not. There is an elegance to France’s Princess of Death, a rhythmic power to her characterisation of the role which is faultless. It isn’t just the crystal-like purity, the diamond-cut precision of her singing which is so striking but the way she acts which also gives this assumption such presence. Standing centre stage, swatched in black. She can sometimes seem larger than life; walking in the shadow scene there is a rhythm to her steps which moves in complete harmony with the music. She seems a source of mystery, no more she than when she disappears through the mirrors and fades into the darkness. The voice is tenebrous, yet completely resolute. There is a haunting, but formidable projection to what she sings. And yet she is fundamentally human, capable of seeming completely tragic as she resolves to forego her own love.”
Marc Bridle, Opera Today
“…the night’s most striking performance was Jennifer France as the Princess. Alluring in vocal artistry as well as adept as an actor, France’s performance of the Princess was effortless. Stalking across the stage in patent stilettos, this femme fatale was acutely attentive to performance direction. Dynamic and tonal demands were met hand-in-glove, with France’s pianissimi notably her defining skill.”
Shadi Seifouri, Plays To See
“France has a clarion soprano of great beauty and flexibility all elements of which were on display. Not only a vocal triumph, France encapsulated the dangerous, enigmatic beauty of the Princess.”
Colin Clarke, Seen and Heard International
“…above all it’s down to Jennifer France as the Princess: sensuous and regal in her movements, elegant in her gestures and in absolute, thrilling command of a voice that expanded, through the drama, from diamond-cut poise to tremulous, neon-lit passion. And yet there’s no sense of France upstaging anyone. She’s the dark star around which this whole wondrous spectacle orbits: ravishing, poignant and leaving an oddly uplifting sense that some mysteries are beyond the reach even of art. When in Act One the Princess glided around the sleeping Orphée to a yearning flute melody, a vast image of her unblinking, stricken face flickering behind her, I found myself willing it to continue — and actually resenting the approaching interval. I think the word for that is a triumph.”
Richard Bratby, The Spectator
“…Death, a demandingly high coloratura role that would have taxed Joan Sutherland, heroically taken here by Jennifer France…”
Rupert Christiansen, The Telegraph
“A strong cast is rightly dominated by Jennifer France, sustaining preposterously stratospheric lines as the Princess…”
Richard Morrison, The Times
Jennifer France debuts at the Salzburg Festival
Happy Birthday Rosalind Plowright!
As she celebrates her 70th Birthday, Rosalind Plowright OBE continues her performances as Contessa di Coigny in the revival of Andrea Chénier at the Royal Opera House, Covent Garden, and sings Madame Arvidson in Opera Holland Park’s new production of Un ballo in maschera.
Cardiff Singer Of The World 2019
James Black Management is pleased and proud to announce that Julien Van Mellaerts will represent New Zealand at Cardiff Singer of the World 2019. Winner of the 2017 Kathleen Ferrier Awards, the 2017 Wigmore Hall / Kohn Foundation International Song Competition and the Maureen Forrester Award at the 2018 Concours musical international de Montréal, Julien Van Mellaerts graduated from London's Royal College of Music with the Tagore Gold Medal.
International Classical Music Awards
Two recordings featuring JBM artists have been nominated for the 2019 International Classical Music Awards:
Critics praise Jorge Navarro Colorado in Jonas at ETO
There has been critical praise for Jorge Navarro Colorado in his debut with English Touring Opera singing the title role in Carissimi’s Jonas.
For The Guardian, Tim Ashley writes “It is deeply touching and Jorge Navarro Colorado sings Jonas’s great prayer with beauty and sincerity.”
For Sam Smith at Music OMH, “Jorge Navarro Colorado stands out, in particular, in the tile role.”
For George Hall at Opera Now, “Jorge Navarro Colorado proves strikingly eloquent in the eponymous role of the Old Testament prophet...”
For The Spectator, Alexandra Coghlan praises “a strong central performance by Jorge Navarro Colorado.,..”
For The Times, Rebecca Franks writes “Just as Dido sings her great lament, Jonas prays for forgiveness, and the fervent devotion of the tenor Jorge Navarro Colorado feels genuine.”
Jonas plays in a triple bill with I Will Not Speak (staged madrigals by Gesualdo) and Purcell’s Dido and Aeneas until 22 November.
Reviews for Rosalind Plowright in Vanessa at Glyndebourne Festival 2018
Rosalind Plowright made her Glyndebourne Festival debut this Summer in Keith Warner’s new production of Vanessa conducted by Jakub Hrůša, reviewing much critical acclaim for her performance as The Old Baroness. A selection of the reviews:
“Rosalind Plowright makes her presence felt in the vocally unrewarding role of the Old Baroness, Vanessa's mother, who sings only to those who connect to life.” David Nice – The Arts Desk
“The Old Baroness is principally a silent watcher who doesn’t have much to sing, but some of her interventions come at crucial moments and Rosalind Plowright made the most of them: her retort to Erika that “he saw your money before he saw your eyes” was the most telling line of the evening.“ David Karlin - Bachtrack
“As conceived by Menotti, the Old Baroness is prone to mysterious, emblematic silence yet Rosalind Plowright manages to convey the bitter knowingness behind her withdrawal.” David Gutman - Classical Source
“Rosalind Plowright’s Old Baroness is a terrifying portrait of moral rectitude; though physically frail, the Baroness is a commanding presence, her silence both the judge and the punishment.” Claire Seymour - Opera Today
“…Rosalind Plowright magisterial as the taciturn Old Baroness.” Yehuda Shapiro - The Stage
“Rosalind Plowright captured the inflexible, unbending character of the Old Baroness.“ Robert Beattie - Seen and Heard International
“…as the Old Baroness Rosalind Plowright effects an imposing, often forbidding presence even when silent, garnishing the singing part of her role with her wonderful fruity mezzo.” Hugh Canning - The Sunday Times
“Rosalind Plowright and Donnie Ray Albert etch strong cameos as Vanessa’s mother and the family doctor.” Rupert Christiansen - The Telegraph
“…as the Old Baroness Rosalind Plowright effects an imposing, often forbidding presence even when silent, garnishing the singing part of her role with her wonderful fruity mezzo.” Stephen Pettitt - The Times
“…Rosalind Plowright, on fabulous dowager form…” Mark Valencia - WhatsOnStage