Christopher Bolduc is finally making his Metropolitan Opera debut, after being a national semifinalist in both the 2007 and 2008 Metropolitan National Council Auditions. He'll be performing as Jake in Nico Muhly's Two Boys, which we've been following since its premiere at the English National
Opera in 2011. The much anticipated U.S. premiere, which happens six years after it was commissioned by the Met, takes place on Monday, October 21 at 8 PM.
The opera explores identity and desire in the shadowy
world of the Internet as a detective investigates the stabbing of one
teenage boy by another—and discovers a tangled web of online intrigue.
Loosely inspired by real events, the work even comes with a warning for Met audiences about graphic and sexual language.
Performances will run through November 14th and tickets are available online.
This revised version of the ENO production of Two Boys is the first composition to be performed at Met
stage since it inaugurated its commissioning program with Lincoln
Center Theater seven years ago. If you want to see the opera, you'll have to see it live, since General Manager Peter Gelb said the adult themes ruled out the opera
from inclusion in the company's HD theater simulcasts.
Keith Miller in the 2014 Barihunks Charity Calendar
Appearing as Peter will be Barihunks calendar model Keith Miller. Other performers include mezzo-soprano Alice Coote as Detective Anne Strawson and tenor
Paul Appleby as Brian, a 16-year-old accused of stabbing Jake.
Don't forget that money from this year's Charity Calendar will be
determined from suggestions on our Facebook page or on Twitter using the
hashtag #Barihunks2014. Money can go to young artist programs or any
efforts involving young artists, including recording, recitals or
performances. You can purchase a calendar and help out young artists by
clicking HERE.
Dan Kempson, Jonathan Estabrooks and Chris Herbert
We hosted another Barihunks Lunch in New York City this week. Although the Met rehearsal schedule prevented a number of singers from attending, three of our favorite young singers joined a table that included a composer, an accompanist, the executive director of an opera organization, a photographer...and even a hunkentenor!
We featured Dan Kempson in our last post, but we should let you know about his upcoming schedule. He's currently covering the role of Jake in Nico Muhly's Two Boys at the Metropolitan Opera, which opens on October 21st. In the Spring, he returns to the Fort Worth Opera to portray Lt. Gordon in Kevin Puts' Silent Night. Fans on the West Coast can catch him in Carl Orff's Carmina Burana with the Sacramento Choral Society and Orchestra.
Jonathan Estabrooks sings Soliloquy from Carousel:
Jonathan Estabrooks will be singing two supporting roles in the American Debut production of Felipe Padilla De Leon's Noli Me Tangere based on the famous Filipino novel by Dr. Jose Rizal. The opera will be performed on October 4, 5 and 6 at the Kaye Playhouse at Hunter College. Keep an eye on our site for updates about his upcoming classical/crossover debut album, which was funded through Kickstarter.
New York Polyphony sings "Times go by turns"
Christopher Herbert continues to perform recitals in addition to his work with New York Polyphony. The talented vocal quartet resumes touring on October 6th with stops in Alabama, New Hampshire, Virginia and California. Check out their complete schedule online. Their latest album Times go by Turns is available for purchase and download. The program features masses by Thomas Tallis and William Byrd,
a three-voice religious setting by medieval English
composer John Plummer, and three new works written for New York Polyphony by
composers Gabriel Jackson, Andrew Smith and Sir Richard
Rodney Bennett.
Zachary Woolfe has written a review for the New York Times about "Two Boys," which we recently featured. It's nice to see a reviewer not write a "Broadway review" and actually talk about the music and not just the production values and direction. Woolfe's review is important, as the opera is slated to be performed at the Metropolitan Opera in the 2013-14 season. Here is a highlight:
Without using electronic instruments, Mr. Muhly has created a world immersed in technology; his sound palette is Britten, not “Tron.” There are softly chiming gongs and ethereal winds, lyrical and sinuous strings and sympathetic, Romantic orchestral surges. The second act starts with an eerie, suspended calm punctured by string flourishes that develop into something almost folksy. There are foreboding minor-key arpeggios throughout, but Mr. Muhly ventures far beyond stock Minimalism. He even creates a new setting for part of the Anglican service; the sound of church music, dense yet floating, permeates the opera.
Indeed, the choral writing is the work’s most successful element.
You can read Zachary Woolfe's entire review in the NY Times HERE.
The world of opera is always looking for the next great piece that will squeeze its way into the standard repertory. The Met premiered John Corigliano's masterpiece twenty years ago and perhaps only a few operas have enjoyed such instant acclaim in the last two decades. Some that come to mind are Henze's "L'Upupa," Brett Dean's "Bliss," Mark Adamo's "Little Women," Birdwhistle's "The Minotaur," Saariaho's "L'amour de Loin," Ricky Ian Gordon's "The Grapes of Wrath," Heggie's "Dead Man Walking" and "Moby Dick," Philip Glass' "Hydrogen Jukebox" and "Appomattox" and John Adam's "Doctor Atomic."
Those have been outnumbered by some memorable flops led by Howard Shore's "The Fly" and Michael Daugherty's "Jackie O." So we were overjoyed with the critical acclaim that has greated American composer Nico Multy's "Two Boys" at the English National Opera. There is nothing that we could possibly add to Norman Lebrecht's spot-on review in The Telegraph, which you can read in its entirety HERE. Lebrecht's article is a "must read" for a number of reasons, including his views about what opera needs to do to succeed and, in particular, appeal to young people.
Jonathan McGovern: Jake in Two Boys
The story of "Two Boys" begins when a teenage boy is stabbed. An older boy is caught on CCTV leaving the scene. An open-and-shut case, it would seem. But, as Detective Inspector Anne Strawson investigates the older boy's story, she uncovers a bizarre nexus of chatroom meetings, mysterious internet identities, supposed spy rings and disturbing cybersex, leading to a stunning conclusion.
Critic William Robin said the opera deserves its place on the Metropolitan Opera's 2013-14 schedule. He perfectly described the music in her review:
Muhly composed several tender, brief, solo arias for the principal characters, and engaging dialogues both online and off. Though his music suggests the throbbing postminimalism of John Adams, his most clear influences come from this side of the pond — the English choral tradition of Herbert Howells (evoked in a somewhat out-of-place church scene) and the operas of Britten. “Two Boys” teems with references to Britten, from the pealing gamelan-style gongs of “Death in Venice” to the finale, an ornate passacaglia straight out of “A Midsummer Night’s Dream.”
The baritone role in the opera is sung by Jonthan McGovern who is new to this site. He was the winner of the 2nd Prize at the 2011 Kathleen Ferrier Awards and graduated with a first-class honours degree in Music from King’s College London. He completed a PGD in Vocal Studies at the Royal Academy of Music and continued his studies with Royal Academy Opera. He was winner of the gold medal and 1st Prize at the Royal Over-Seas League Annual Music Competition 2010.
Recent operatic roles include Wu Tianshi and Pokayne in the première of Sir Peter Maxwell Davies’ opera Kommilitonen!; Shane Postcards from Dumbworld at Belfast Grand Opera Hosue; Delfa in Cavalli’s Il Giasone; Sid with Royal Academy Opera in John Copley’s first Albert Herring; Fiorello and Figaro cover Barber of Seville on tour with Armonico Consort Opera and Don Parmenione L’Occasione fa il ladro for RAO.
In September McGovern will join the Britten-Pears Young Artist Programme to reprise the role of Sid for the Britten Festival in a new production conducted by Steuart Bedford and directed by Oliver Mears.
Click HERE for ticket and performance information.
