Our Patron, Australian soprano, Danielle de Niese starred in the Glyndebourne 2016 production of The Barber of Seville. The BBC has just announced its Christmas schedule and we are delighted to share the news that the acclaimed production will be shown on BBC Four this December. The broadcast will be preceded by a documentary that follows Danielle de Niese in her preparations for the role of Rosina.
Birth of an Opera: Danielle de Niese on The Barber of Seville
7.00pm, Sunday 18 December, BBC Four
Offering unparalleled insight into the process of staging an opera, the documentary follows Danni as she prepares to make her debut in the opera’s starring role of Rosina. It also features interviews with director Annabel Arden, conductor Enrique Mazzola, designer Joanna Parker and key Glyndebourne figures.
Il barbiere di Siviglia
Immediately afterwards, at 8.00pm, audiences can watch the opera in full, recorded live this summer.
” …penetrating, glint-edged clarity.” The Australian, July 7, 2015
Russell Harcourt is steadily gaining recognition on the operatic stage and concert platform throughout the UK and Australasia for a refined brilliance of vocal colour and the comic charm of his characterisations.
Russell studied voice with Graham Pushee and made his operatic début in 2007 as Oberon in A Midsummer Night’s Dream. He made his Australian concert début in 2009 as a guest artist at the Australian Festival of Chamber Music and made his Royal Opera House début in the Crush Room in the Deloitte Ignite 2010 series.
Russell has recently returned from a critically acclaimed performance of Andronico in Vivaldi’s rarely performed pasticcio, Bajazet, for Sydney’s Pinchgut Opera. Other career highlights to date include the role of Athamas in Handel’s Semele under Sir Charles Mackerras; an extensive tour with English Touring Opera including roles in Handel’s Agrippina and Monteverdi’s The Coronation of Poppea; performances of Messiah with the New Zealand Symphony Orchestra, alongside Teddy Tahu Rhodes, under the baton of Richard Gill; and Corrado in Vivaldi’s Griselda, also with Pinchgut Opera.
Recent engagements include Countertenor 1 (cover) The Gospel According to the Other Mary and Hunahpu (cover) Indian Queen, both for director Peter Sellars at English National Opera, Pisandro The Return of Ulysses for Iford Arts Festival under Christian Curnyn and Soloist in the European premiere of Andrew Ford’s The Past for counter-tenor, flute and string orchestra with Ruthless Jabiru under Kelly Lovelady, Australian & New Zealand Festival of Literature & Arts.
Other engagements include Volano Il Giasone under Jane Glover; Fox/Coachman (cover) The Adventures of Pinocchio Opera North; Armindo (cover) Partenope Opera Australia (Sydney and Melbourne); Zelim (cover) La verità in cimento, Licida (cover) L’Olimpiade both for Garsington Opera and Alto soloist Vanguard Australian Ballet.
Oratorio experience includes alto soloist in Handel’s Messiah, Judas Maccabaeus, Israel in Egypt, J. S. Bach’s St. Matthew Passion, Bernstein’s Chichester Psalms, excerpts from Pergolesi’s Stabat Mater and excerpts from Vivaldi’s Stabat Mater, Magnificat and Introduction and Gloria.
Prizes and scholarships include Hariclea Darclée Special Award for Excellence, The Sir Robert Askin Operatic Travelling Scholarship, Tait Memorial Trust Grant, Australian Music Foundation Awards, Ian Potter Cultural Trust Grant, Australia Council for the Arts; Skills and Arts Development Grant and the Marten Bequest Travelling Scholarship. In 2008, Russell was the winner of the prestigious Dame Joan Sutherland Award, as well as the People’s Choice Award at the same event and in 2012 he was a finalist in The Kathleen Ferrier Awards at Wigmore Hall.
Russell holds a Bachelor of Music from the Sydney Conservatorium of Music and an MA, Dip. RAM in Opera from The Royal Academy of Music. He studied part-time at the National Opera Studio and is an Associate of the Jette Parker Young Artist’s Programme at the Royal Opera House Covent Garden. He has performed in master classes for Emma Kirkby, Michael Chance, Andreas Scholl and Rosalind Plowright and he is an alumnus of the Britten-Pears Young Artist Programme.
Russell currently lives in London and studies with Yvonne Kenny.
Andronico in Bajazet, Pinchgut Opera
Australian countertenor Russell Harcourt is the vacillating Prince Andronico … He has an exciting male soprano voice … excellent in recitative, growing in vocal stature as the evening progresses…” Clive Paget, Limelight, Australia’s Classical Music & Arts Magazine, July 5, 2015
“Russell Harcourt’s Andronico is a vibrant and sometimes garish foil to the solemn fervour of Asteria.” Harriet Cunningham, Sydney Morning Herald, July 5, 2015
“Russell Harcourt rang with impressive vocal consistency as Andronico … Characterised by a beautifully aspirated smooth falsetto that comfortably reached dizzying highs, Harcourt gave a memorable performance.” Paul Selar, BachTrack, July 6, 2015
Narciso in Agrippina, English Touring Opera “Russell Harcourt’s fawning Narciso, a dessicated cleric who sings like a nightingale” Michael Church, The Independent
“Russell Harcourt was nimble-voiced and wickedly self-serving as Narciso” Peter Reed, Classical Source
Athamas in Semele, Royal Academy of Music “Russell Harcourt was exceptional. Fine attack, varied tone, stunning decoration, accomplished breath control, and with a clipped acting style that fitted the role like a glove.” Peter Reed, Opera Magazine “Harcourt however, not only possesses a beautiful voice and a fine technique, but proved himself to be one of the strongest actors in the show.” Calvin Wells, Opera Brittania
Nutrice in Poppea, English Touring Opera
“Russell Harcourt was very soignee looking [and] brought great vocal character to the role”. Robert Hugill, Planet Hugill, 2013
Corrado in Griselda, Pinchgut Opera
“…Russell Harcourt’s role as Corrado, isn’t designed to win hearts but his performance certainly doesn’t lose any. Snappy exchanges…are vociferous and precise.” Neville Olliffe, Early Music Association of NSW, 2011
Oberon in A Midsummer Night’s Dream, WAAPA
“Russell Harcourt made an impressive King of the Fairies. His Oberon was consistently majestic; he moved around the stage as if it were his natural domain and his voice was informed by a slightly sinister quality that sounded entirely right.” Neville Cohn, The West Australian
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