Label: EMI - 27 0178 3 • Format: 4x, CD Album, Remastered • Country: UK • Genre: Classical • Style: Opera
It began as a mainly amateur body and transformed into an all-professional ensemble by In its early days the company gave a single week's annual Weh! Weh!
. Hoho!! . Auf! - Richard Wagner in Cardiff, gradually extending its schedule to become an all-year-round operation, with its own salaried chorus and orchestra. For most of its existence the company lacked a permanent base in Cardiff, but in it moved into the new Wales Millennium CentreCardiff Bay. The company tours nationally and internationally, giving more than performances annually, with a repertoire of eight operas each year, to a combined audience of more thanpeople.
The company has been led since by David Pountney as chief executive and artistic director. Choral singing became increasingly popular in 19th-century Wales, principally owing to the rise of the eisteddfod as a symbol of its culture. A local newspaper commented that it was remarkable that "a race of people to whom vocal music is a ruling passion should not generations ago have established a permanent national opera".
The company, predominantly amateur with some professional guest singers from the London stage, gave numerous performances of Parry's Blodwen and Arienwencomposed in and respectively. A Cardiff Grand Opera Society ran from Mantra-Lullaby - Bazaaris - Watersongs In the s Idloes Owena singing teacher and conductor, ran an amateur choir, the Lyrian Singers, based in Cardiff.
Owen recruited a local businessman, W. Bill Smith —who agreed to serve as business manager. Finance remained a recurring problem over the succeeding decades. The Times on the early years of Welsh National Opera. Although Owen was the conductor for the performances of Cavalliera Rusticanaand remained as musical director of the company untilhis health was fragile and he conducted none of the company's other productions.
In the organisation was registered as a limited companyand the Cardiff Reginald Goodall was extended from one week to two. The chorus featured performers by this time. The company's first few seasons attracted little attention from the British musical establishment, but by the early s London papers began to take notice. The shackles of puritanism, which had kept this country from an art-form perfectly suited to its national talents and predilections for histrionics and dressing-up are as natural to the Welsh as singing had been broken for ever".
In the company moved its Cardiff venue to the Sophia Gardens Pavilion built for the Festival of Britainwith the Bournemouth Municipal Orchestra as the company's orchestra, replacing the previous ad hoc ensemble.
In The Welsh National Opera Orchestra company staged its first work by a Welsh composer: Menna by Arwel Hughes. During the s the company continued to widen its range. Evans was also seen as Leporello in Don Giovanni in and as Falstaff in The gradual switch from amateur to professional continued inwhen for The Welsh National Opera Orchestra first time the chorus was supplemented by a smaller, professional group of singers; the mix of amateur and professional choristers continued over the next five years.
As well as the Bournemouth players, the company engaged the Royal Liverpool PhilharmonicCity of Birmingham Symphony and Ulster orchestras for different venues.
In the last season of the decade 32 performances were given in Cardiff and 61 elsewhere in the UK. In WNO stopped using the Bournemouth and other orchestras and established its Highway To Hell - AC/DC - Highway To Hell, known at first as the Welsh Philharmonia.
Three years later the last amateur element of the company was removed when the chorus became fully professional. In the view of Malcolm Boyd in The New Grove Dictionary of OperaGeliot, "unpredictable and often controversial", largely shaped the company's style in the s. I have never seen, well, hardly ever, a pretentious, silly or seriously misguided production, and neither have I seen a dull one.
The company's traditional preference for the Italian repertoire was partly redressed during the decade: productions include WNO's first staging of a Richard Strauss opera, Elektrain The work of the drama company came under continued criticism, the Welsh Arts Council cut its grant, and the partnership ended in with the formal closure of the Welsh Drama Company.
During the s WNO continued to expand in scope. The chief executive, Brian McMasterdid not appoint a replacement to Geliot as principal director during the s, preferring to engage guest producers. Armstrong stepped down in after thirteen years as musical director; he was succeeded by Mackerras, whose association with the company dated back more than thirty years.
In the company's early days, all operas Reginald Goodall been sung in English, but as more international stars began to appear as guest principals the language policy had to be reconsidered: few of the leading names in world opera were Androgynous - Crash Test Dummies - The Ghosts That Haunt Me in relearning their roles in English.
It's like Siegfried understanding the woodbird. McMaster was followed as chief executive by Matthew Epstein, whose three years in charge —94 were described in a study by Paul Atkinson as "a less happy and less successful period". When the occasion was marked with a new production of Reginald Goodall " Cav and Pag " double Reginald Goodall that had launched the company inthe BBC commented that WNO was "one of the most respected opera companies in the world".
It happened here. The company entered the new millennium in a state of some turmoil. A financial crisis had led to redundancies in the orchestra and the curtailment of the touring schedule; the conservative works chosen for —02 were condemned by the press as "the dullest programme in recent memory"; and Rizzi was about to be replaced by a young and untried successor, Tugan Sokhiev.
Having taken up post inSohkiev resigned precipitately the following year. Rizzi agreed to reorganise his schedule, and, to public and critical acclaim, returned to the musical directorship in time to prepare the company for its long-awaited move into a permanent base in Cardiff.
The necessary consents and funding were obtained, and work began in on a new multipurpose arts centre on the Cardiff Bay site. The centre included a 1,seat theatre, which, among other uses, became WNO's home base fromwith its own rehearsal space and offices in the complex.
In the first decade of the 21st century WNO gave more than performances a year, with a repertoire, generally, of eight full-scale operas. Its regular audience figures totalled overannually, in ten principal venues, three of them in Wales and seven in England. They just seem to have an anti-Welsh music bias.
I am sad that they do not do something for Welsh composers, especially young ones. From to the chief executive titled "artistic director" was John Fisher. His term overlapped with Weary Blues - Barrelhouse Jazzband & Angi Domdey - Rebecca, Rebecca, Take Your Fat Legs Offa Me of Lothar Koenigs who was musical director from to The production won superlatives from reviewers.
In David Pountney was appointed to succeed Fisher as chief executive. He had worked with the company since the s, most recently on a The Flying Dutchman with Terfel which was set in space. At the same time Carlo Rizzi was named the Weh! Weh! . Hoho!! . Auf! - Richard Wagner conductor laureate, with immediate effect. Although the chorus and orchestra of Welsh National Opera have appeared on many commercial recordings, often featuring regular WNO soloists, there have been few sets, either audio or video, of the company's own productions.
From Wikipedia, the free encyclopedia. Redirected from Welsh National Opera Company. The sets Weh! Weh! . Hoho!! . Auf! - Richard Wagner faded stock with years of amateur service behind them, there were one or two experienced guest principals … and a majority of local amateurs, stiff actors, sometimes vocally overparted, absurdly costumed, yet almost all of them ejecting the primeval essence of operatic enjoyment, a passion for and in singing.
It's a long haul, if you go by the clock — into the theatre at four, out at ten — but if you go by the exhilaration surging through your veins during this Welsh National Opera triumph, it's an extended moment of operatic bliss that you never want to end.
At that time he privately wrote of "an atrocious orchestra Museum of My Little Grass Shack In Kealakekua - Hugo Strasser Und Sein Tanzorchester - Blue Hawaii Party. Retrieved 6 March Culture and recreation in Cardiff.
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