Kate Royal Explores the Life Cycle of Love in Recital Debut

The Royal blush of love at Weill Recital Hall.
(Photo: Richard Termine/The New York Times)

Kate Royal, pregnant with her second child, made her Carnegie Hall recital debut in Weill Recital Hall on May 20, 2011. Zachary Woolfe reviews for The New York Times : "Her ambitious program, a kind of original song cycle, was entitled A Lesson in Love, and Ms. Royal divided it into four themed sections: Waiting, the Meeting, the Wedding and Betrayal. (Not the most optimistic trajectory, but so it goes.) While she conveyed a sweet hopefulness in the first two and a sense of serene happiness in the third, it was when heartbreak was her subject that she was truly memorable .....But the second half felt more varied and specific as the emotional content of the works matured and then darkened. The calm clarity of Duparc’s 'Extase' suited Ms. Royal perfectly, as did Fauré’s 'Donc, Ce Sera par un Clair Jour d’Été.' She gave a stunning rendition of Britten’s 'O Waly, Waly'; its combination of pain and hushed serenity seemed written for her voice, which did just what was indicated by the final line, when love 'fades away like morning dew.'" [Source]

Watch a video of Kate Royal singing at WQXR studios:

Diva Débutantes Spice Up New Releases on Decca, DG & Sony

Among the sopranos making their debut recordings in the coming months, there are sprinklings of returning favorites like Diana Damrau and Danielle de Niese. Click on the images to enlarge. Enjoy!

Two Debuts & One Return in MET "Orfeo ed Euridice" Revival

MET debutantes Royal and Walker flank Daniels
on opening night (Photo: William Scott Walters)

"Soprano Kate Royal sang powerfully and emotionally as Euridice in a winning Met debut, displaying a strong upper register. She earned robust applause for 'Che fiero momento (What a proud moment).' Countertenor David Daniels once again was the star of the show, reprising his performance as Orfeo. The part was sung by the castrato Gaetano Guadagni at its premiere and also can be sung by a mezzo-soprano — Stephanie Blythe performed it at the Met two years ago. Slimmed down and looking radiant with sparkles on his clothes and a guitar dangling from his back, Daniels commanded the stage, conveying his pain at not being allowed to look at Euridice. His liquid voice dazzled in 'Che faro senza Euridice? (What shall I do without Euridice?)' .... Australian conductor Anthony Walker made his Met debut, leading a propulsive performance but one that was less frothy than James Levine's version when the staging was new." [Source]

Director Patrice Chéreau to Make Long-Awaited British Debut

Director in London (Photo: Rii)

"It is something of a mystery why Patrice Chéreau has waited until now to work in the British theatre. Ever since his epoch-making version of Wagner’s Ring at Bayreuth in 1976, he has been recognised as one of the greatest stage and opera directors of his generation, as well a considerable filmmaker (the spectacular historical drama La Reine Margot being his big international hit). His spirit is willing, his English is good, so why has it taken so long? He shrugs at the question. 'Nobody has asked me, that’s the only reason. The National Theatre suggested something once – 20 years ago. But nothing happened. Royal Shakespeare Company, Covent Garden… nothing, ever.'" [Source]

Arnold Rawls Makes Unexpected MET Debut

Rawls as Manrico at the Bregenz Festival

Tenor Arnold Rawls stepped in for an indisposed Marcelo Álvarez for the second half of this evening's performance of Il Trovatore at the Metropolitan Opera. He was told at the end of the intermission that he would need to go back stage and get into costume to sing. An announcement was made to the audience that there would be an extra few minutes to allow the transition. For those who know the opera, the music that begins Act II, scene 3 is some of the most difficult for the role of Manrico during the whole evening. He opens with "Ah si, ben mio coll'essere" and quickly moves to "Di quella pira l'orrendo foco," a feat that would test the mettle of the most seasoned tenor who has also had the advantage of Act 1 to warm-up. Mr. Rawls basically went on cold and blew the audience away it what became his Metropolitan Opera debut. Roars of "bravo" thundered the opera house after his arias and the crowd leapt to its feet for his curtain call. Despite the interruption it may have caused the other singers who had to take extra time during the break when they were ready to get back on stage and sing, the cast change proved a thrilling evening for the tenor and the audience. The Louisiana-native has previously sung the role of Manrico in Il Trovatore for Bregenz Festival (Austria), Opera Southwest, Teatro Lirico, Mobile Opera, Indianapolis Opera, Seattle Opera and in concert with the Elmhurst Symphony. For more information about Arnold Rawls visit his website: http://www.arnoldrawls.com/.