LESS THAN ONE MONTH INTO HIS NEW ROLE AS DIRECTOR OF BIRMINGHAM ROYAL BALLET, CARLOS ACOSTA HAS ANNOUNCED PLANS FOR WORLD PREMIERES, CLASSIC REVIVALS AND BRAND-NEW PARTNERSHIPS IN HIS FIRST YEAR AS DIRECTOR OF BIRMINGHAM ROYAL BALLET. OPPORTUNITY, TALENT AND INSPIRATION ARE THE KEY INGREDIENTS THAT UNDERPIN HIS VISION AND AMBITION FOR THE COMPANY.
Conductor Yan Pascal Tortelier talks to Gregor Tassie
Yan Pascal Tortelier is a French musician who can reflect on a tradition going back to the nineteenth century. He began playing the violin when he was four and studied at the Paris Conservatoire winning the First Prize in Violin at the age of fourteen. Following many years as a solo and concert violinist, and as a member of his father’s Piano Trio, Yan studied conducting with Franco Ferrara at the Accademia Musicale Chigiana in Sienna. He was principal conductor of the Ulster Orchestra from 1989 to 1992, and the BBC Philharmonic from 1992 to 2003, of which he is Conductor Emeritus, additionally he has been principal conductor of the São Paolo Symphony Orchestra, principal guest conductor of the Pittsburgh Symphony Orchestra, and the National Youth Orchestra of Great Britain, since 2011 he has been principal conductor of the Iceland Symphony Orchestra.
Late in 2019 Sardinian tenor Piero Pretti impressed many with his Met debut as Pinkerton in Madama Butterfly. Bachtrack said ‘He has a fine lyric Italianate sound with plenty of squillo and dead centre pitch. He strikes one as a very musical singer; he clearly knew the arc of his phrases and the entire role. Pinkerton is a hard part in which to impress and it will be interesting to hear him as other, more sympathetic leads.’
Ukrainian dramatic soprano Liudmyla Monastyrska had early success as a principal soloist with the Ukraine National Opera, as well as, singing at St. Peterburg’s Mikhailovsky Theatre. Important debuts followed in Berlin as Tosca (2010), at Covent Garden she sang Aida (2011) and in this same role she first appeared at the Met in 2012. She sang Abigaille opposite Plácido Domingo in Nabucco at Covent Garden in 2013 (Jim Pritchard described her voice as having ‘a great range of dynamics and colour but also the capability to sing a line softly when required’) and 2016. Liudmyla Monastyrska returns to Covent Garden as Santuzza in Cavalleria rusticana in a production broadcast to cinemas on 21 April. Before that she makes an eagerly awaited return to La Scala in Milan as Leonora in Il trovatore in Alvis Hermanis’s production and conducted by Nicola Luisotti. In her answers to some questions from Seen and Heard International Liudmyla Monastyrska gives an insight into her background, training and the roles she sings.