The Welsh opera superstar, Bryn Terfel, has triumphed in Covent Garden’s new Jonathan Kent production of Puccini’s Tosca. Critic David Mellor called the performance “the best Scarpia I have seen in the theatre.” He was more critical though of the other star of the night, Angela Gheorghiu.

“Bryn doesn’t see his talent as a reason to puff himself up like some artists. But I’ll come to Angela Gheorghiu later. Off-stage, he simply reverts to being the Welsh countryman who likes nothing more than to live the simple life with his family on his North Wales farm.”

And the “divine” Angela? “Even [she] mostly seemed to meet Kent’s requirements, although hers, after all the hype, was a disappointing evening. Tosca is a spoilt, wilful diva, which, on the face of it, shouldn’t have posed Miss Gheorghiu too many problems on the acting front. But hers is a sketchy assumption and, more fatally, her voice is too small for the part.”

Ouch! But a good Tosca overall.

On May 21st, the London Symphony Chorus celebrated its 40th anniversary in some style with a concert which will be followed by recordings, commissions and a party.

The London Symphony Chorus made its debut on Saturday 21 May 1966 when it recorded Mahler’s Symphony No 2 for Decca at the Kingsway Hall with Sir Georg Solti and the LSO.

On its 40th birthday the Chorus took part in a concert performance of Beethoven’s Fidelio to be recorded for LSO Live, conducted by its President Sir Colin Davis. The 40th anniversary was also marked by a concert of Ralph Vaughan Williams’ A Sea Symphony with the LSO on 4th June, conducted by the Chorus’ Conductor Emeritus and former Music Director Richard Hickox. The LSC Endowment Fund contributed to the cost of recording this concert; live for Chandos.

2006 is a landmark year for the London Symphony Chorus as it tours to the USA, Italy, France and Germany, as well as performing in London and other UK cities with Sir Colin Davis, Sir Bernard Haitink, Mark Elder, Valery Gergiev, Richard Hickox, James Judd, Neema Jarvi, Tadaaki Otaka, Daniel Gatti, Vasily Petrenko and Jean-Claude Casadesus.

Carnegie Hall, January 2006.

The New York Times reports today that the rumors of classical music’s demise are dead wrong.

Everyone has heard the requiems sung for classical music or at least the reports of its failing health: that its audience is graying, record sales have shriveled and the cost of live performance is rising as ticket sales decline. Music education has virtually disappeared from public schools. Classical programming has (all but) disappeared from television and radio. And 17 orchestras have closed in the last 20 years.

Has American culture given up on classical music? The numbers tell a very different story: for all the hand-wringing, there is immensely more classical music on offer now, both in concerts and on recordings than there was in what nostalgists think of as the golden era of classics in America.

Read the whole article.

“Googley” is a word the firm’s employees like to use a lot. That adjective, says one spokeswoman, evokes a “humble, cosmopolitan, different, toned-down classiness”.

According to The Economist magazine: “A good demonstration of googley-ness came in the speeches at a conference in Las Vegas this year. Whereas the bosses of other technology companies welcomed the audience into the auditorium with flashing lights and blasting rock music, Google played Bach’s Brandenburg Concerto Number Three and had a thought puzzle waiting on every seat.”

Well, I don’t know about the thought puzzle, but here’s my favorite version of the Brandenburgs: Bach — The Complete Brandenburg Concertos / Pearlman, Boston Baroque. Average Customer Review: 5-stars.

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