Over the past few years we have seen an increase in internet led musical criticism, to the extent that it now compliments more “traditional” forms of critique, such as newspapers and monthly opera periodicals. Ultimately it is likely to supplant “traditional” media as the primary method of providing opera and concert attendees with both news and performance reviews. Today’s opera-goer is a voracious devourer of information, requiring critiques and updates as soon as possible. Waiting several days for a review, or even in some cases months, is just too late. This is the unrivalled advantage of internet led opera criticism, along with its universal access.
Opera Britannia was formed not only to meet this need but, importantly, to ensure that critical standards are kept consistently high. All too often we read a review without coming away with a definite idea about what the critic thought of the performance. This can be infuriating, especially so when the review is buried under a mound of objective non-committal language! “Objectivity” is not a dirty word, but it seems to have become an aspect of musical criticism which, allows some critics to avoid discussing a performance aspect that he/she would rather not do so. This is to the detriment of all opera and concert attendees. Here at Opera Britannia we will ensure that all critical commentary is open, freely expressive and highly constructive. Opinion will not be shied away from; instead you can expect clear, unambiguous commentary with all aspects of a performance being addressed.
The primary focus of Opera Britannia will be to review Opera, Oratorio, Vocal Recitals and Concerts within the UK, with an occasional international perspective provided by our overseas critics. Wherever possible, we will also provide feedback on the more prestigious vocal competitions, as well as reviewing CDs, DVDs and books. In addition, we will also be profiling great artists, interviewing up and coming new singers, hosting podcasts and even featuring specially commissioned poetry! Over the next few months, Opera Britannia will be expanding rapidly to fulfill its ambition to become the UK’s first “quality” opera reviewing website.
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To this end, I will welcome any feedback, whether it is positive or negative. Please do email me directly and I will personally respond.
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Antony Lias
Managing
Editor
Critics Required
Opera Britannia is looking for talented writers to come and join us as opera critics. If you are interested in discussing your potential involvement further, then please email across examples of your writing, experience to date and details of your specialism.
We especially welcome applicants who regularly attend performances at Welsh National Opera, Scottish Opera and Opera North, but there are also opportunities for reviewers in London and other parts of Britain. For more details please contact me at: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
Faye Courtney
Editor
Opera Britannia
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All content on www.opera-britannia.com is subject to copyright, including the name. All written content, podcasts and other material presented is solely owned by Opera Britannia. In the case of photographs, the providing institution or organisation maintains copyright. Permission to reproduce photographs must therefore be sought from their owner. With regards to any articles, features or reviews on Opera Britannia you may freely add either a link to the whole website, a page or a particular review without prior agreement. Representation beyond this requires permission.
Should you wish to quote material from this website for the purposes of academic publication, you may reproduce up to 100 words. Citation style must be : "Article name, organisation under review, author, www.opera-britannia.com, date of publication." An example would therefore be: "Theodora, London Handel Festival, Antony Lias, www.opera-britannia.com, 28th July 2009."
To discuss further, please email me at: This e-mail address is being protected from spambots. You need JavaScript enabled to view it
commissioned to design the booklet cover for this disc of Verdi arias and duets featuring Polish tenor Piotr Beczala, it would feature an image of a Brazil nut, emblazoned with the face of dear old Giuseppe, quivering beneath a sledgehammer. This would give the prospective purchaser an idea as to what to expect from the tenor’s approach and it would, indeed, be as unexpected as it is disappointing. I rate Beczala extremely highly and he would be in my top four tenors performing this sort of repertoire today (Jonas Kaufmann, Joseph Calleja and the underrated Marcelo Álvarez being the others), but this recital disc will do his reputation few favours.
based at the Wigmore Hall, offer a rather unique opportunity to hear some of the world’s most impressive singers to best effect, performing their own chosen repertoire in an intimate concert setting. There is a welcome purity in hearing an artist sing a concentrated programme of music tailored to their voice and taste, and to hear it unembellished by full-scale orchestra, granted only the elegant simplicity of an accompanying piano.
As if to remind us that summer festivals are just around the corner, despite the prevailing frozen conditions over much of Britain, Opus Arte has issued its new production of Janacek’s evergreen opera The Cunning Little Vixen, which opened Glyndebourne’s 2012 season. Although Melly Still’s production didn’t meet with universal acclaim and is clumsily directed at times, the performances here have much to recommend them, not least the feisty Vixen of Lucy Crowe and the weathered Forester of Sergei Leiferkus.
