Editor’s Note Front of House

www.operanow.co.uk

www.operanow.co.uk

EDITORIAL Phone +44 (0)20 7738 5454 Email hattie.butterworth@markallengroup.com Editor Hattie Butterworth Associate Editor Helena Matheopoulos Consultant Editor Keith Clarke Contributing Editors Francis Muzzu, Tom Sutcliffe Robert Thicknesse (UK), Francis Carlin (France), James Imam (Italy), Karyl Charna Lynn (USA), Andrew Mellor (Scandinavia), Ken Smith (Far East) Design Daniela DiPadova, Louise Wood ADVERTISING Phone +44 (0)20 7333 1716 Title Manager Liam-Rhys Jones, liam.jones@markallengroup.com Advertising Production Daniela DiPadova, +44 (0)20 7333 1727, daniela.dipadova@markallengroup.com SUBSCRIPTIONS AND BACK ISSUES Phone UK 0800 137201 Overseas +44(0)1722 716997 Email subscriptions@markallengroup.com Subscriptions Manager Bethany Foy UK Subscription Rate £80 PUBLISHING Phone +44(0)20 7738 5454 Commercial Manager Esther Zuke Marketing & Events Director Tony Hill Head of Marketing John Barnett Group Institutional Sales Manager Jas Atwal Production Director Richard Hamshere Circulation Director Sally Boettcher Editorial Director Martin Cullingford Managing Director Paul Geoghegan Chief Executive O­ cer Ben Allen Chairman Mark Allen

Part of

www.markallengroup.com OperaNow, ISSN 0958-501X, (USPS 9346) is published monthly by MA Music, Leisure & Travel Ltd, St Jude’s Church, Dulwich Road, London SE24 0PB, United Kingdom. The US annual subscription price is $115. Airfreight and mailing in the USA by agent named WN Shipping USA, 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Opera Now, WN Shipping USA, 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Subscription records are maintained at MA Music, Leisure & Travel Ltd, Unit A, Buildings 1-5 Dinton Business Park, Catherine Ford Road, Dinton, Salisbury, Wiltshire SP3 5HZ. Air Business Ltd is acting as our mailing agent. © MA Music, Leisure and Travel Ltd, 2023. All rights reserved. No part of Opera Now may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwise without prior written permission of the publishing director. The views expressed do not necessarily represent those of the editor. The presence of advertisements in Opera Now implies no endorsement of the products or services offered. Every effort has been made to ensure the accuracy of statements in this magazine but we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ errors, or an advertiser not completing their contract. We have made every effort to secure permission to use copyright material. Where material has been used inadvertently or we have been unable to trace the copyright owner, acknowledgement will be made in a future issue. Please read our privacy policy by visiting http://privacypolicy. markallengroup.com. This will explain how we process, use and safeguard your data. Printed in the UK by Pensord, Pontllanfraith, Blackwood, NP12 2YA Newstrade distribution by Seymour 020 7429 4000

www.operanow.co.uk

Does identity compromise music?

When it comes to the life of a performer, it’s often been accepted that life on- and off-stage are to be kept separate. Does the audience need to know about personal experiences, identities and opinions of performers? Is it compromising the music if we make space for singers

to express their own identities?

Our world is becoming ever-squeezed of artistic funding and resources. The boom of the internet and increased pace of life has knock-on effects, leading often to burn-out and mental health struggles of creatives. Touring, gruelling rehearsal schedules and physical health struggles all take their toll.

If we ask artists to keep personal identities hidden, is the singer able to perform and live freely, or is there always an element of restriction? This issue of Opera Now looks at identity and how singers, conductors and directors are making it part of their artistic vocation to celebrate and campaign for individuality.

Our cover story with Greek National Opera meets a company asking its audience to consider identity through new commissions on its alternative stage. Although holding complex connotations, these questions of gender and trans experience aren’t going away, and the arts has a role to play in portraying the reality, asking questions of its audience.

In July, Pride month celebrations continue in London. We speak to Elgan Llŷr Thomas ahead of the release of his album, Unveiled, looking into homosexual experiences through songs by LGBTQ+ composers and poets. We also talk to two American tenors in this month’s pages: Davóne Tines speaks about the Barbican’s Classical Pride concert, and Brian Jagde, soon to take on the role of Don Carlos at Covent Garden, opens up about the importance of therapy in supporting his career and prioritising psychological wellbeing.

Opera is a brilliant, yet complex profession. It is a sign of our ever-opening society that so many are willing to bring music along with vulnerability, connecting more fully with an audience who share many of the same experiences.

same experiences.

sic along with vulnerability, connecting more fully with an

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.

OperaNow July 2023 3