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Daring to lead
It feels as if there is always something to celebrate at the moment in opera – away from arts cuts, the remarkable number of varied, genredefying performances every month that are made known to me reflect the dedication of so many to push boundaries and preconceptions around opera. This month, we introduce an ‘off the beaten path’ opera review – aimed at showcasing more productions done differently. I hope it will provide a space to celebrate and explore new opera, those pushing boundaries and encouraging different audiences.
It comes following 10 days that I spent in the US – travelling to Philadelphia, Washington and New York to witness first-hand the companies and operas that I have spent many years reading about and streaming on YouTube. Particularly remarkable was to see the Met’s opening night – Jake Heggie’s Dead Man Walking – and the power that opera is able to have when we believe in it, and allow it to speak for itself. The sparseness of the set and communication of Sister Helen’s testing muddle was masterful. You can also read my review of the production online now.
Two conductors have found themselves side by side in these pages. Eun Sun Kim is a name that may be known to many, especially in the States where she’s made a unique impression. Meeting Matthew Shilvock from the San Francisco Opera, where Kim is Music Director, earlier this year, it became clear that Kim is a musician the orchestra and company are motivated and inspired by, and immensely proud of. Making some huge European debuts this season, her November is taken up by the Paris Opera’s Le Contes d’Hoffmann. She also becomes the first woman conductor to appear on the cover of Opera Now – certainly not the last!
to appear on the cover of Opera Now –
British conductor d on BBC
Some years behind Kim is French-British conductor Stephanie Childress who I first heard on BBC Young Musician in 2016 as a violinist, competing alongside cellist Sheku Kanneh Mason. Returning from his interview with her, our writer Owen Mortimer was beaming describing his conversation with the 24 year old musician: ‘she’s seriously impressive’.
, competing on. er, our describing musician:
Hattie Butterworth
@operanow fb.com/operanow Opera Now captures the drama, colour and vitality of one of the most powerful of all the performing arts. In our print and digital issues, we showcase the creative spirit of opera, both on stage and behind the scenes, with profiles of opera companies, singers, directors and designers. Our in-depth features reflect how diverse cultural elements have influenced opera, including travel, history, literature, art, architecture, politics and philosophy. Our lively reviews and opinion pages are a platform for writers and critics drawn from all over the world. Our aim is to inspire our opera-loving readers to broaden their knowledge and deepen their passion for this fascinating and stimulating artform.
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