The opera is the first part of a series of three Mozart and Don Ponante revivals being staged . . . → Read More: Don Giovanni at the Royal Opera House]]> Currently being performed at the Royal Opera House in London, Francesca Zambello’s classic 2002 staging of Don Giovanni has more than its fair share of spectacular moments – as well as a few that don’t quite hit the mark.

The opera is the first part of a series of three Mozart and Don Ponante revivals being staged by the company, but as the longest and the most slow-moving of the trio on offer, Don Giovanni would probably have fitted in better later in the year, rather than as an opener.

Even the stage design, normally handled so well by the company’s talented designer Maria Bjornson, is either not up to her usual standards or has been altered beyond recognition by forces beyond her control.  The burned walls, decorated with scorched crucifixes and flickering candles, may be meant to symbolise Don Giovanni’s descent into hell, but it is hardly a fitting way to remember Bjornson, who will be leaving the company at the end of this season.

And yet the overture promised so much; crisp and conducted with vigour by Constantinos Carydis it suggested that this was to be a Don Giovanni with a real sense of purpose. Sadly, Carydis soon fell into the old trap which has caught many opera composers before him, allowing his singers to dictate the tempo and turning a powerful overture into rather turgid acts.

The women in the cast came out of this performance slightly better than their male counterparts, particularly Katarina Karneus, displaying a previously unknown range in her portrayal of Donna Elvira’s madness.

Matthew Polenzani as Don Ottavio even managed to steal the show from the usually more interesting characters of  Don Giovanni and Leporello, thanks to the slow and steady performances by Gerald Finley and Lorenzo Regazzo. There was nothing wrong with either man’s technique, but neither has a talent for the comedic aspects of this opera, which often felt forced at times.

Mr Kennedy was born in 1956, in Brighton, and . . . → Read More: Nigel Kennedy embarks on British tour]]> Nigel Kennedy, the violinist, is about to begin a new tour around the UK which is going to see him perform his own famous interpretation of the Vivaldi composition, the Four Seasons. He is also going to be performing a new composition of his own, the Four Elements.

Mr Kennedy was born in 1956, in Brighton, and comes from a very musical family. His grandfather played with the BBC Symphony Orchestra as the principal cellist and his grandmother was a pianist responsible for teaching the children of Enrico Caruso. His grandparents moved to Australia where Nigel Kennedy’s father was born, John Kennedy.

John Kennedy moved to England when he was aged 24 and also enjoyed a distinguished musical career as the principal cellist of the Royal Philharmonic Orchestra. John Kennedy was unaware that he had fathered a son until the mother told him when the son was aged 11. Nigel Kennedy was a musical prodigy and he was able to replicate the sounds that he heard on jazz records on the piano with ease.

He went on to study at the Yehudi Menuhin School of Music and then moved on to study with Dorothy DeLay at the Juilliard School in New York. He made his first musical recording in the mid-1980s but it was his recording in 1989 of the Four Seasons by Vivaldi with the English Chamber Orchestra that brought him to national attention with the sale of over 2 million records.

The album remains one of the most popular of all his recordings with an average of one record being sold every 30 seconds during the first year after the recording was released.

In 1991 he released a biography which largely told of the reasons behind his decision to withdraw from public performances.

He remained out of the public eye for five years but then returned to play in an international concert. He has always been viewed as an outsider to the classical music world and has always had an interest in rock ‘n’ roll. He recorded a cover of Fire by Jimi Hendrix in 1993 as a tribute to him and then, in 1999, released many improvisational recordings based on Hendrix’s music.

He recorded his first jazz album in 2005 in New York with the label Blue Note Records. Many people feel that his career has been limited by what people consider as an abrasive personality and he was famously attacked in 1991 by John Drummond on BBC radio 3 who described him as, “A ludicrous musician with grotesque clothes and an accent he has just made up.”

He divides his time between the UK and Poland; the UK is where his previous partner and son live, and Poland is where he lives with his second wife. Last year he performed a very successful rendition of the Four Seasons and this year he is going to be performing the same piece of music but also his brand-new composition.

The . . . → Read More: The Nutcracker fails to shine at the O2]]> The O2 Arena is a vast venue and many people would think it would probably not be the perfect location for a Christmas production of The Nutcracker. Most ballets are generally about plot and action but The Nutcracker is about dreams and the atmosphere and bringing this atmosphere to such a large location could be challenging.

The production that took place at this location had a spectacular set and costumes were equally good. One of the main problems with the production is that unless you had a seat in the front centre you were not going to enjoy the performance to its full level. Due to the sheer size of the O2 Arena, and the cost of tickets, this means that a lot of people weren’t going to be able to enjoy the production to its full level.

The story of the Nutcracker involves a young girl, Clara, whose dream world is being fought over by rats and toy soldiers. The dream that has been created for this production is exceptional and something the children will absolutely love. The fantasy world is immaculately created and even adults will appreciate how well done the production is.

The relationship between Clara and her younger brother is particularly enjoyable and something that many in the audience will be able to relate to. He is clearly a nuisance to her and focuses mostly on breaking her things.

The dancers in the production are wonderfully crafted and the individual dances created by the choreographers are just spectacular. The way the godfather makes the Christmas decorations hover in mid-air is wonderful and the scene when he summons the swan which is going to fly Clara to her dreamland is spectacular.

The entire production is very theatrical in a romantic way but this does not mean it is not accessible by almost all people. It will appeal to the young children in the audience as well as adult men and this is something that very few productions manage to achieve. Even those who have seen a production of the Nutcracker before will enjoy this new production.

Unfortunately, the location where this production is set is a very poor choice and the O2 Arena is simply not a place where this sort of ballet should be put on. Many people would have paid a large amount of money for their tickets and if they were not in the most expensive seats then they will not have enjoyed production to its full.

This version of the Nutcracker was previously created for the Birmingham Hippodrome, a venue which it is much better suited to. In the O2 Arena the performance feels impersonal at best, and at worst you’ll have most of your view obstructed because of poor layout.

It was also unusual to see Joe McElderry perform as a warm up act before the Nutcracker. It seems rather strange to link him with the production as his music has very little to do with the Russian ballet that follows.

Russell, who got some of first big auditions back . . . → Read More: Concert supporting ChildLine at the Southport Theatre]]> Greg Francis, the band leader, has partnered with Russell Watson to lead a charity concert supporting ChildLine at the Southport Theatre.  The concert, titled A Voice for the Children, will take place on March 17^th and will also feature the Greg Francis Orchestra and Janette Monroe the singer.

Russell, who got some of first big auditions back in Blackpool, never thought that one day he would become one of the best tenors in the world and now after four Classical Brit Awards is back to help others achieve their own personal musical goals.

Over the last few decades the miraculous singer has survived two brain tumours and has still managed to sing at some of the largest venue stages in the world including Carnegie Hall, the Sydney Opera House, and Old Trafford.

Performing with him several times and an old friend, singer-songwriter Janette Monroe has often seen her work featured on Disney albums and in many of their films.  She has also traveled the world performing and has even sung for British royalty on a few occasions.

The Greg Francis Concert Orchestra will include members of the National Orchestra of Great Britain and a string section and will accompany both of the singers for the evening, lending a first class musical score to the charity event.

Francis has worked with some of the best orchestra’s in the world and has spent his life creating scores for television and film including Stars in their Eyes and Memphis Belle.  In Blackpool he has also been the band leader for Sands Venue and led plenty of bands at the Blackpool Tower Ballroom.Tickets for the event are £25 and can be purchased from the Southport Theatre box office.

The chamber orchestra became the first Welsh organisation of its type to be revenue funded thanks to Sophie Lewis’ determined negotiations with the Arts Council of Wales. Ms . . . → Read More: Orchestra Manager of the Year]]> A woman from Chepstow has been named as “Orchestra Manager of the Year” by the Association of British Orchestras after her campaigning efforts secured public cash for Sinfonia Cymru.

The chamber orchestra became the first Welsh organisation of its type to be revenue funded thanks to Sophie Lewis’ determined negotiations with the Arts Council of Wales. Ms Lewis managed to secure three years of funding,which will go specifically towards helping the young musicians in  Sinfonia Cymru who are just starting out on their musical careers.

The orchestra manager will be presented with her prestigious award at the Association of British Orchestras’ annual dinner, after which she is heading to New York as one of only six UK musical professionals chosen to attend the International Society for the Performing Arts (ISPA) Annual Congress.

Sinfonia Cymru now give regular performances at The Riverfront venue in the Welsh town of Newport, including weekday lunch time recitals from soloists and full orchestra shows at weekends.

Ms Lewis was delighted to have been awarded the first ever “Orchestra Manager of the Year” prize,  adding that she was very proud of everything that she and her musicians have managed to achieve.

Jason Small, manager at The Riverfront, was also delighted to hear of Ms Lewis’s success, particularly as she has worked so hard to put on regular shows for music fans all over Wales.

Kenneth MacMillan directed the choreography for this stunning ballet . . . → Read More: Romeo and Juliet on stage]]> Romeo and Juliet is the classic tale by William Shakespeare of two young lovers who, because of the warring between their two families, cannot be together. One of the grandest tragedy tales written, it would be well suited to a soap opera as well as a ballet performance.

Kenneth MacMillan directed the choreography for this stunning ballet production, and he is able to clearly show how this love develops between Romeo and Juliet, and how it is something that is truly worth dying for.

In the first Act we meet the protagonists, and Romeo and Juliet could not seem much less destined to fall deeply in true love with one another. Romeo is getting into street brawls, while Juliet seems more suited for playing with her doll than getting involved in romance. Her coyness in front of her potential suitor would suggest that even Romeo would struggle to seduce her.

But the dancers are able to convey the passion of the story to the watcher, thanks in no small part to the excellent choreography of MacMillan. Carlos Acosta, as Romeo, takes us through the bravado brought on by youth, through to the anguish on hearing his love is dead, and is grand throughout.

It is Tamara Rojo as Juliet however that steals the show. When she dances dejectedly at her realisation that she must be betrothed to a man other than her true love, it brings a lump to the throat. And when she whirls with passion around the torso and pelvis of Romeo, she makes it seem so simple, belying the demanding work required.

The performances of the lead actor and actress support this first full-length work of MacMillan, making this modern approach to a classic tale one well worth seeing, if you can get tickets.

Bourne, who earned his reputation with his men-only production of Swan Lake, has now been in the business for a quarter of a century, and is showing . . . → Read More: New Adventures in ballet]]> British ballet’s male superstars are set for a successful 2012, with both Matthew Bourne’s company New Adventures and the all-male group Ballet-boyz planning a series of shows around the country.

Bourne, who earned his reputation with his men-only production of Swan Lake, has now been in the business for a quarter of a century, and is showing no signs of slowing down. Although tickets are like gold dust for the current run at Sadler’s Wells of “Nutcracker!”, his typically quirky take on the Tchaikovsky classic, fans around theUKcan look forward to a number of new touring productions over the new 12 months.

Once the national tour of “Nutcracker!” is concluded, Bourne’s talented dancers will be performing a series of revivals, including some of his earliest works. “Early Adventures”, a comedy ballet which launched Bourne’s career 25 years ago, will be followed by a long-awaited performance of his successful “A Play Without Words”.

2012 isn’t just about looking backwards for Bourne and New Adventures, however, as the year ends with the third and final instalment in his trilogy of modern takes on Tchaikovsky, with his own interpretation of the classic “Sleeping Beauty”. Entitled simply “Beauty”, Bourne has promisedLondonaudiences a classic love story with a paranormal twist.

Fans of Ballet-boyz, the tattooed bad boys of ballet, can also look forward to some fantastic shows in 2012. “Men in Motion” featuring both the musical and physical skills of principal dancer Ivan Putrov will be touring the country until April.

Once thought of as a stuffy and old-fashioned form of entertainment, the ballet establishment is now embracing the 21^st century, introducing crowd-pleasing interpretations of classic novels and films, and even using elements of hip hop-style street dancing to reach out to a younger audience.

Londoners are spoilt for choice in 2012 when it comes to new dance productions, including the English National Ballet’s most daring and innovative show to date, “Time is of the Essence”, at the Hammersmith Apollo. Working alongside “Britain’s Got Talent” finalists and street dance champions Flawless, choreographers have come up with a ballet with a genuinely modern and edgy feel.

Unless you have been living under a rock for the last few months, you will be aware that 2012 is the year that the Olympics also come toLondon; and alongside the hundreds of sporting events visitors can enjoy a number of ground-breaking cultural events. TanztheaterWuppertalPina Bausch: World Cities 2012 is a series of ten pieces by the late choreographer and dancer which aim to encapsulate the spirit of several different destinations, including Hong Kong andRome.

The Royal Ballet’s contribution to the Cultural Olympiad is going to be making an appearance on the Summer Big Screen during July and is inspired by artworks by the painter Titian. The live show is sure to be a sell-out and one of the highlights of a packed 2012.

The story was written in the late 19th Century and has been remade for a . . . → Read More: Northern Ireland Opera Hansel and Gretel]]> A production of Hansel and Gretel has recently been put on by the Northern Ireland Opera at the Belfast Grand Opera House. The opera had a contemporary setting but the themes of the production date back as far as the story itself.

The story was written in the late 19^th Century and has been remade for a modern audience, and this one is a pantomime production. The cast were very well-balanced and the translation work for the singing was perfect. The audience were instantly drawn into the whole production and it was immediately very effective. The audience wanted action and they got it from the very first moment.

Saving money is a big part of the production and many items on the stage transformed simply by the dreams of the characters. The details in the production are also excellent and you can see that the fridge magnets have been rearranged to spell “Satan gender hell.” Hansel and Gretel are played by Niamh Kelly and Aoife O’Sullivan respectively and they are seduced in the performance by dreams of gob stoppers, cream cakes and licorice.

This production of Hansel and Gretel suggests that the parents of the children are not very good, and this is a move away from the original story where was left unclear whether they were bad parents or if they had simply fallen on hard times. Whether this production is an opera, a pantomime or a Freudian essay it does not matter and the Northern Ireland Opera continue with a run of excellent performances.

Elsewhere, the Australian chamber Orchestra recently performed at the Queen Elizabeth Hall being led by conductor Richard Tognetti. The orchestra is currently on a European tour and this is the second stop they have made in the UK. The production of the music is excellent and there is a real liveliness to the musicians performances. Some might regard the music as a little brash but it is certainly gripping and you will find yourself rather excited by the performance.

The first concert in 50 Years of Minimalism is a performance of the 1960s work by Terry Riley. The concert sold out and is a long production and the music is excellent, in fact many people might find that the concert just goes on for too long and it is almost a musical assault on the senses. The theme of the performance is minimalism and this is rather well done although at some points the entire thing seems a bit mystifying.

One of the earliest examples of proper minimalism was the Balinese Ceremonial Music for Two Pianos and was written in the mid-1930s. This was another excellent production put on by the orchestra and despite a minor slip-up in the performance recently it was altogether a very good production.