Der Neue orpheus-Kurt Weill

'The rest is noise' festival at Southbank, London
12th April at Queen Elizabeth Hall 7:30pm
BBC Concert orchestra and Keith Lockhart
Charles Mutter-Violin

video link

Rosina's shoes at ENO

'..She is shapely and very witty, hair in ringlets  cheeks like summer roses, eyes full of laughter and the daintiest little fingers..'

9th and 15th March at the Coliseum, English national Opera, conductor Jaime Martin

with Adrian Powter as Bartolo

Pushkin and Tchaikovsky@ Bury Court

' going to bed with a dream, waking up with a purpose..'

Two recitals at Conway hall with Simon Callaghan

13th January and 24th March

songs by Ravel, Faure, Poulenc, Rachmaninoff; Trois poemes de Stephane Mallarme 

song cycle for voice and ensemble

Recording

Ah non credea..ah non giunge Bellini
Snegurochka Snowmaiden aria Rimsky Korsakov
Ach ich liebte, Constanze Mozart
Me voila Seule ..Comme autrefois dans la nuit sombre

Brahms German requiem
14th November 2012 at Westminster Cathedral

Simon Over-conductor
Ilona Domnich-soprano
Robert Davies-bariton

Southbank sinfonia
Parliament choir
St.Michael's singers

Tatiana@ Neville Holt/Grange Park Opera

Tatiana, Eugene Onegin@Neville Holt with Grange Park Opera
July 5th-10th at Neville Holt
Further performances in September at Grange Park Opera and Cadogan Hall

My darling Tatiana...a tender soul yet full of passionate curiosity, a little wild, young, dreamy and impulsive.  A stranger in her own family, glued to books, lost in dreaming, a world of unknown passions for life is overflowing in her heart. She is connected to nature, like a child believes in folk tellings and follows predictions and signs. She intuitively knows what will happen. Onegin's arrival was like a seed to a ripe earth-she knew it, was waiting and ready for him.

'The less we show our love to a woman, or please her less and neglect our duty, the more we trap and ruin her surely.' Pushkin.
Onegin follows this almost scientific approach in his fashion. His coldness and indifference ignites fire, love's desire in Tatiana's being, which she is unable to hold and out pours in her devastatingly honest love letter.

'..I wait for you..with single word, awake my hope..'

I loved singing the letter scene, watching the rollercoster of her emotions from outside. Daring to be free with the most sensual moments, indulging in doubts, dying from fear, crying and laughing with joy.

Then comes the rejection. In our production, after Onegin delivers his lecture, confusing Tatiana, by being nice and trying not to hurt her; after returning her letter, he comes close to kiss her on the forehead. Feeling him so close, makes her experience the most unbearable desire, she passionately kisses Onegin on the lips. rejected yet again, she rans away, full of shame and grief.
Yet this is my Tatiana, giving herself fully to life, tasting the depth of emotions, love, pain; inviting it to wash all over her. For her it is the only way to get stronger.
One of the most moving moments for me was the scene at the birthday party- Tatiana's name day.
Trique sings about beautiful Tatiana, the guests are admiring her, their eyes smiling at her, yet she is dying inside, feeling so lonely, rejected, unloved. A life's familiar paradox.

I had an amazing time dancing in act three. So exciting to be surrounded  and dance with gorgeous professional dancers. My Tatiana was finally enjoying herself. She was in the middle of attention, admired by men and women. She was strong, she overcame her obsession for Onegin and was living her life fully. Finding outpourings for her complex dreamy nature in other pleasures. She realised that life is so much more then pining for an uninspiring, arrogant and pathetic Onegin. But when Onegin appears and admits his love for her, this perfect world is shattered. For a moment she becomes young girl again. Her confidence and strength evaporate, melting in his embrace, she admits that she loves him still. The horror of her own confession, the memories of his rejection, her suffering, the consequences of her future-all madly dance in her mind, bringing to a conclusion that the only way out is to reject him forever and free herself.
Why not to give in and be happy? Could they be happy together? Not in a Russian novel :)))
There are moral codes of the society, there is her love to her husband, there is a tiny wish to make him suffer perhaps, but more then anything, I think, it is her realisation that she has created Onegin in her imagination, yet in reality he does not possess any magic or beauty. This understanding makes her strong and content, leaving poor Onegin to the imagination of the audience.

More than anything, I enjoyed working with all the lovely people involved in this production. We all seam to give our hearts to our Onegin, giving each other such beauty as colleagues and as characters.

http://issuu.com/grangeparkopera/docs/eugeneonegin?e=2202624/2554776