Elena Xanthoudakis to take on the Queen

The Australian soprano reflects on the challenges of singing Donizetti’s tragic Anna Bolena.

Elena Xanthoudakis as Anna Bolena for Melbourne Opera
Elena Xanthoudakis as Anna Bolena

While Anna Bolena is definitely on the larger end of the bel canto roles, it still requires great flexibility, as well as heft and drama where required. It is a great thrill to sing and while it is perhaps ‘heavier’ than some other bel canto roles – mostly due to the intense dramatic situation Anna finds herself in – one must remember to maintain a lilt and ease so that the voice remains flexible. There are also a number of lower notes: the bottom register is well applied by Donizetti to add drama and colour, and I absolutely love using a wide range of colours to characterise her journey. The challenges of the role lie in matching the tessitura and the weight or volume.

Sally Anne-Russell, Jane Seymour & Elena Xanthoudakis, Anna Bolena
Sally Anne-Russell, Jane Seymour & Elena Xanthoudakis, Anna Bolena

There are also a number of added cadenzas and high notes, so finding the balance between the elements is crucial. Anna is extremely fun to sing, as well as technically challenging – but again therein lies the fun too! Donizetti’s Anna Bolena departs from the historical details in a number of ways, done for dramatic licence. However, there is much that corresponds with the historical Anne Boleyn’s journey. In my opinion, her trial itself was a complete set-up, and the nature of it is made very clear in the opera.As for Anna’s mad scene, I would say it is less ‘mad’ than many! She begins the mad scene in a state of delusion, drifting in and out of awareness of her real situation. It begins in some respects like the Lucia di Lammermoor mad scene, in both concept – Anna is imagining a wedding – and orchestral colour. However, it soon shifts to much more dramatic colours and intense melodic shapes. It is perhaps less florid than roles like Elvira or Lucia, but is no less impressive. The role of Anna Bolena has been performed by a great number of sopranos, including Callas, Sutherland, and Netrebko. In an ideal world we would all love the dramatic intensity of La Callas, as well as the beauty of tone and flexibility of La Stupenda. Of the other major exponents of the role, I admire Beverly Sills for her recordings, which are extremely ornamented – perhaps too much? I would like to be at least as inventive where required. And though no recordings of Giuditta Pasta exist, one would hope to have a voice as strong and flexible as hers at the top, with the same depth and colour in the middle and bottom. Pasta, the original Anna, was a mezzo-like soprano, who was both the first Norma and Amina, the latter of which is substantially lighter and requires more limpid flexibility. Given the original Anna’s voice, and contemporary audience expectation for extemporised top notes, balance and care must be taken in order to maintain ease at both ends of the registers, to give the widest range of possible colour. Knowing the repertoire of Donizetti’s Tudor Queens, it would be a joy to one day have the opportunity to sing Queen Elizabeth in Roberto Devereux.

Elena’s performance of Mozart’s, Ch’io mi scordi di te? K 505, with Jayson Gillham and the Tait Chamber Orchestra, conducted by Kelly Lovelady, at the 2014 Tait Winter Prom at St John’s Smith Square.

Elena Xanthoudakis appears in the Australian premiere of Donizetti’s Anna Bolena for Melbourne Opera November 2, 5 and 9. Buy tickets here

Melbourne Opera stages the Australian premiere of Roberto Deveraux in 2017.

Win an A-Reserve double pass to opening night

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Following the sold out triumph of Maria Stuarda last year, Melbourne Opera continues the great Donizetti trilogy bringing the bel canto masterpiece Anna Bolena to The Athenaeum for the first time this November.

Starring Elena Xanthoudakis (Anne Boleyn), Sally-Anne Russell (Jane Seymour), Eddie Muliaumaseali’i (Henry VIII), Boyd Owen (Richard Percy), Dimity Shepherd (Mark Smeaton) and Phillip Calcagno (Lord Rochefort).

Source: Elena Xanthoudakis to take on the Queen from Limelight Magazine

Tait Winter Prom 2014 at St John's Smith Square

The 2014 Tait Winter Prom was a landmark event for the Tait Memorial Trust at St John’s Smith Square, proudly supported by Australia’s largest bank, the Commonwealth Bank of Australia. To see and hear our talented Awardees performing at one of London’s most prestigious concert platforms was thrilling…truly a great night for the Trust and for our young Australians we support.

Tait Memorial Trust Winter Prom 2014

Now in our 23rd year Awards have increased by 30% from 2013  largely due to the more than three fold rise in Tait Friends subscriptions in 2014 and our loyal audience who come to our events and generously give towards our scholarship fund.

Thank you.

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We are very grateful for the
support that we receive
from the following organisations:

Principal Partner:
Commonwealth Bank of Australia

Partners:
Australian Business
The Australia Day Foundation
Bailey Nelson UK
The Britain-Australia Society
Cubitt House
Minter Ellison
Oliveto & Olivo Ltd
Qantas
Royal Over-Seas League
The Thornton Foundation
Treasury Wine Estates

2014 Tait Winter Prom at St John’s Smith Square
London Tuesday 9th December 2014
St John’s Smith Square,
Showcasing Australian Talent — An evening of Music and Ballet
Supported by Commonwealth Bank of Australia
Conducted by Kelly Lovelady
Tait Chamber Orchestra
Presented by former Miss Australia, Kimberley Busteed
Directed by Greg Eldridge

Jayson Gillham, Piano
Elena Xanthoudakis, Soprano
Xenia Deviatkina-Loh, Violin
Sophie Moffatt, Dancer
Calvin Richardson, Choreographer
Matthew Ball, Dancer
Marlena Devoe, Soprano
Chad Vindin, Piano
Adam Szabo, Cello
Yelian He, Cello
Nicola Crowe, Flute
Gerard Schneider, Tenor

Concert Programme

Percy Grainger (1882-1961)
Handel in the Strand
Jayson Gillham, Piano

Wolfgang Amadeus Mozart (1756-1791)
Piano Concerto: No. 14 in E flat , K. 449
Jayson Gillham, Piano

Ralph Vaughan Williams (1872-1958)
The Lark Ascending
Xenia Deviatkina-Loh, Violin

Wolfgang Amadeus Mozart (1756-1791)
Ch’io mi scordi di te? Non temer, amato bene. K.505
Elena Xanthoudakis, Soprano
Jayson Gillham, Piano

Interval 20mins

Gabriel Faure
Kenneth MacMillan 1 – choreography
Requiem, Pie Jesu solo
Sophie Moffatt, dancer 2
Coached by Leanne Benjamin OBE
Marlena Devoe, Soprano
Chad Vindin, Piano

Saint-Saëns
The Swan
The Carnival of the Animals
Calvin Richardson – choreography
The Dying Swan
Calvin Richardson, Dancer 3
Adam Szabo, Cello
Chad Vindin, Piano

Giovanni Sollima (1962- )
Violoncelles Vibrez!
Yelian He & Adam Szabo, Cellos

Kevin Penkin (1992- )
Changing Feet
Nicola Crowe, Flute

Giacomo Puccini (1858-1924)
La Boheme, Act 1
Che gelida manina
Si, mi chiamano Mimi
O soave fanciulla

Marlena Devoe, Soprano
Gerard Schneider, Tenor 4

1 Performed with the kind permission from The MacMillan Estate
2 Appears with kind permission from The Royal Ballet School
3 Appears with kind permission from The Royal Ballet
4 Appears with kind permission from The National Opera Studio

Winter Prom highlights

Jayson Gillham playing Grainger’s, Handel in the Strand

Xenia Deviatkina-Loh playing Vaughan William’s,  The Lark Ascending

Elena Xanthoudakis singing Mozart’s, Ch’io mi scordi di te? K 505 with Jayson Gillham, piano

Adam Szabo & Yelian He playing Sollima’s, Violoncelles Vibrez!

Marlena Devoe & Gerard Schneider sing the Final scene from Act 1, La boheme, Puccini

Review in Limelight Magazine

Review in Seen and Head

Jayson Gillham prepares for Le Louvre

Jayson Gillham played magnificently last night at 49 Queen’s Gate Terrace, London. The home of Sir Vernon and Lady Ellis it has become one of London’s most prestigious boutique chamber venues.

He played a program of Debussy, Chabrier & Ducas. He is such a wonderful artist and speaks and introduces each piece with humour.

We are thrilled that Jayson Gillham is playing for us at the Tait Winter Prom The concert will be at St John’s Smith

He will play this program at Le Louvre next week:

Auditorium du Louvre
12.30
Programme:
Chabrier Pièces pittoresques
Tourbillon; Mauresque; Idylle; Danse villageoise, Dukas Variations, Interlude and Finale on a theme by Rameau
Debussy Etudes, Book Two

He is a truly talented young man IMG_7003.JPG

IMG_6950.JPG The concert is at St John’s Smith Square on Tuesday 9th December at 7.30pm

Jayson Gillham, Wigmore Hall. 27 January 2014

Dear Tait Trust friends, supporters, followers

I was very privileged to perform at John Amis’s memorial concert on 8th October.  A wonderfully colourful and lively event which was a fitting celebration for a colourful and lively man.  I met John for the first time very near the end of his life at a concert I gave at the home of Bob and Elisabeth Boas, great supporters of the Tait Trust.  I will cherish my memory of chatting to John, hearing him recount stories about Prokofiev, Stravinsky, Ravel and Britten as if he had seen them only the day before.  Above all his enthusiasm for music was infectious and inspiring.  Thank you Isla for introducing us then, and for letting me be a part of his celebration concert.  Performing Grainger’s Handel in the Strand was a fun – and at times nerve-wracking – experience, and it was wonderful to work with the great Steuart Bedford who is known for his close association with Benjamin Britten.

Jayson Gillham - Wigmore

As I look ahead to my performance schedule in 2014, I would particularly like to inform you all about a very special Wigmore Hall recital I will be giving soon on 27th January, kindly supported by the Keyboard Charitable Trust  www.keyboardtrust.org.  The programme is as follows:

Beethoven Two Rondos, Op. 51
Beethoven Sonata No. 28 in A major, Op. 101
Schumann Etudes symphoniques

It is a very interesting and appealing programme because it takes us on a journey through three great structures of Classical music – the Rondo, the Sonata and the Variation.  At the same time it documents the rapid development of the piano, which in the space of a few decades in the early 1800s evolved from a light and graceful domestic instrument into an orchestral powerhouse capable of filling large halls on a symphonic scale.

Another interesting point is that I will be performing a unique version of the Schumann Symphonic Etudes.  Many of you will know that the piece is simultaneously a set of variations and a set of etudes.  Some will be aware of five variations which Schumann did not publish during his lifetime and were rediscovered and published by Brahms.  When incorporating these ‘posthumous’ variations, as I will be on 27th, it is up to the performer to decide where they should be placed.  Some play them all together in a group, and others dot them throughout the piece.  As far as I know, the order I have chosen is unlike any other.  I have various reasons behind the order which I have chosen, the main one being that I want to highlight the extreme characters of Schumann’s writing – the so-called Florestan and Eusebius which we hear so much in Kreisleriana, Carnaval and indeed most of Schumann’s early piano compositions.

I hope that whets your appetite!  I’m looking forward to seeing some friendly faces in the audience, and after the concert please come around the back to say hello!

link to Wigmore Hall website for full details and to book tickets – http://www.wigmore-hall.org.uk/whats-on/productions/jayson-gillham-piano-34242

Jayson Gillham to play for Tait Performing Arts Association

Jayson Gillham is to play in concert in Melbourne at the Savage Club on the 12th September 2013 for our sister organisation in Australia, the Tait Performing Arts Association After reading the review below by eminent critic and Tait Patron, John Amis, how could you miss it?

Concert details info here

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Jayson Gillham by John Amis

One of the pleasures of being a critic is that you sometimes spot a tremendous talent before it becomes known to the public at large: in my sixty years writing about artists I was able to come across some young muzos that I recognised as being star quality. I was able to appreciate when he was only seventeen the conductor Simon Rattle, and the guitarist Julian Bream when he was in his mid-teens. And now I am happy to salute the young Australian pianist Jayson Gillham. I am not alone in saluting his talent: he has a following already, he has success with orchestras in various countries and has won important prizes such as the Gold Medal of the Royal Overseas League. At the 2012 Leeds Piano competition he was a semi-finalist and won warm praise from Sir Mark Elder; likewise in the Warsaw Competition he won praise from the great Marta Argarich.

Recently, I heard Jayson again at one of the Bob Boas Concerts in Mansfield Street when he played a recital programme of Bach, Beethoven, Schumann, Debussy and two Liszt transcriptions. Each composer was done justice and the performances could not have been bettered. Gillham has virtuosity to spare but uses his technique as a springboard to making deeply satisfying and freshness of Bach (the G major Toccata), the wit and strength of Beethoven (opus 78, the ardent passion of Schumann (the Etudes symphoniques), the voluptuous poetry of Debussy (3Etudes) and the passion of Wagner (the Liebestod and the coruscating wit of the Rigoletto Paraphrase). It was a recital to cherish and remember. Jayson Gillham will surely have a big and important career.

This article was published by John Amis in his wonderful blog

http://johnamismusic.blogspot.co.uk/2013/02/jayson-gillham.html?m=1

 

Jayson Gillham’s website

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Registered charity 1042797