Rory Macdonald returns to conduct the Hallé in Nottingham with Benedict Nelson
Rory Macdonald returns to conduct the Hallé in concert at the Royal Concert Hall in Nottingham on 27 May 2017. The programme for the concert features Elgar In the South, Op.50 'Alassio', Grieg Piano Concerto in A minor with soloist Andrew Tyson, and Walton Belshazzar's Feast for which he is joined by fellow Intermusica artist Benedict Nelson.
Click here to watch Macdonald conduct the Hallé in extracts of Sibelius En Saga.
The concert is Nelson's second performance of Belshezzar's Feast of the month. He also sings the work with the Southbank Sinfonia at the Royal Festival Hall on 17 May.
Benedict Nelson joins the Bournemouth Symphony Orchestra for Vaughan Williams Sea Symphony
Benedict Nelson joins the Bournemouth Symphony Orchestra and Chorus in Poole on 8 February 2017 to perform Vaughan Williams A Sea Symphony. Entitled 'Behold the Sea', the concert also features Ailish Tynan and conductor David Hill. This choral symphony takes its text from three lesser-known poems of Walt Whitman.
Nelson recently received critical acclaim for his performance of the title role in Monteverdi Ulysses' Homecoming for English Touring Opera:
“...in the title role Benedict Nelson is also utterly convincing: vocally glorious, but with a shaggy, craggy demeanour suggesting a survivor ravaged by battles and journeys.”
Times, October 2016
“Benedict Nelson emphatically holds the stage as Ulysses, embodying his suffering and flawed nobility in a performance of grandeur and strength.”
The Stage, October 2016
Benedict Nelson takes the title role of Ulysses' Homecoming with English Touring Opera
Benedict Nelson performs the title role in Monteverdi Ulysses' Homecoming for English Touring Opera this month, starting at the Hackney Empire on 15 October 2016.
James Conway’s new production, designed by Greek designer takis (Ottone, Life on the Moon) features Benedict Nelson and Carolyn Dobbin in the central roles, Nick Pritchard as their son Telemachus, and Katie Bray as the goddess Minerva.
Conducted by Jonathan Peter Kenny, Ulysses' Homecoming travels to venues across the UK, with performances in Saffron Walden, Snape Maltings, Buxton Opera House and Exeter Northcott Theatre.
Ulysses’ Homecoming runs until 26 November. Watch the trailer for the production below.
Benedict Nelson sings Aeneas in tour of Germany with Balthasar Neumann Ensemble
Benedict Nelson reprises the role of Aeneas this month, joining the Balthasar Neumann Ensemble and Choir on their German tour from 13 May 2016. Nelson performs opposite Kate Lindsey as Dido and Katja Stuber as Belinda, under the baton of Thomas Hengelbrock. The production premiered last summer with the same cast at the Salzburg Festival, and now travels to the Internationalen Musikfests Hamburg and the Rheingau Musikfestival, as well as the Staatstheater in Wiesbaden.
Next month Nelson revisits the role of Algernon Moncrieff in the Royal Opera House’s production of Gerald Barry The Importance of Being Earnest at Lincoln Center’s Rose Theater.
Benedict Nelson performs A Sea Symphony with the Royal Scottish National Orchestra
Benedict Nelson joins the Royal Scottish National Orchestra and conductor Peter Oundjian to perform Vaughan Williams Symphony No.1 'A Sea Symphony' in Edinburgh and Glasgow on 19 and 20 February 2016. The programme, performed in memory of Sir Alexander Gibson, also features Debussy La mer.
Nelson soon returns to the Royal Opera House, Covent Garden, where he reprises the role of Algernon Montcrieff in Gerald Barry’s The Importance of Being Earnest. The production then plays at the Barbican Centre in April, before travelling to New York for three performances at the Rose Theatre at Lincoln Center in June. This spring he can also be seen on tour with the Balthasar Neumann Ensemble as Aeneas in Dido and Aeneas.
Benedict Nelson takes title role of Dido & Aeneas at Teatro Regio di Torino
Following his Salzburg Festival debut this summer in the title role of Purcell’s Dido and Aeneas, Benedict Nelson reprises the role in Cécile Roussat's production for the Teatro Regio di Torino from 19 November 2015. Nelson performs under the baton of Federico Maria Sardelli alongside Roberta Invernizzi as Dido, Roberta Mameli as Belinda, and Carlo Allemano as Sorceress and Sailor.
Later this season, Nelson joins the Balthasar Neumann Ensemble for further performances of Dido and Aeneas throughout Germany, including at the Rheingau Music Festival. He also plays the role of Algernon Montcrieff in Gerald Barry’s The Importance of Being Earnest in the Royal Opera House production at the Barbican Theatre and then in New York City in Spring 2016. Nelson previously performed the same role at the Royal Opera House’s Linbury Studio Theatre in 2013.
Benedict Nelson sings title role of Don Giovanni with Silent Opera
Benedict Nelson sings the title role in Mozart Don Giovanni with Silent Opera beginning on 25 February. Silent Opera has created an alternative, technology-based production as part of its commitment to bringing opera to new audiences, and offering productions in alternative performance spaces.
This innovative revamp of Mozart’s classic opera will take place at The Vaults in London, as part of the VAULT Festival. The pioneering company have previously offered productions of Monteverdi L’Orfeo, Purcell Dido & Aeneas, and Puccini La bohème in unique spaces and aural environments.
Nelson recently received excellent reviews for his performances as Count Almaviva in English National Opera’s The Marriage of Figaro under the direction of Fiona Shaw: “This underlying violence is heightened by Benedict Nelson’s Count, who suppresses as much as he releases, a man stalking the borderlands of his own civilised humanity.” (The Arts Desk)
Mary Bevan and Benedict Nelson praised in ENO’s The Marriage of Figaro
Mary Bevan and Benedict Nelson have received acclaim for their role debuts as Susanna and Count Almaviva respectively in Fiona Shaw’s The Marriage of Figaro at English National Opera, and were described by The Arts Desk as “a cast that’s pretty close to perfect” in a five-star review.
During the curtain call, Mary Bevan was also presented with the Critics’ Circle Award for ‘exceptional young talent in music’, presented by Guy Dammann, in recognition of her work over the past year.
Mary Bevan / Susanna
“… the shining…Mary Bevan…with her dramatic awareness and quick wit as Susanna”
Andrew Clements, Guardian, October 2014
“… her Susanna is gloriously acted and stylishly sung: a real coming-of-age”
Richard Morrison, Times, October 2014
“Mary Bevan’s bewitching Susanna. It was entirely appropriate that the first night should conclude with Bevan receiving this year’s Exceptional Young Talent award from the Critics’ Circle, because the perfection of her singing is allied to a natural dramatic gift.”
Michael Church, Independent, October 2014
“Bevan… reveals a vocal line of soaring sweetness and accuracy, as well as impeccable phrasing. Her gestures and facial expressions, even when she is silently hiding behind objects, suggest a bright character who is always thinking and calculating, but only ever with the most noble of intentions.”
David Smith, Music OMH, October 2014
“But the show belongs to Bevan... this felt a lot like the singer’s graduation – a promotion to a role she was made to play. Pert and pretty as any Susanna, under Shaw’s direction Bevan also has a no-nonsense vigour about her, and we more than believe her sly declaration that “women of my class don’t get headaches”. A singing actress of the most instinctive kind… this is a performance that must be judged as a whole.”
Alexandra Coghlan, five stars, The Arts Desk, October 2014
“The most remarkable singing comes from the Susanna of Mary Bevan… Unfailingly stylish, she combines great diction with acting ability and a natural warmth”
David Gutman, The Stage, October 2014
“…she was indeed sparkling”
Stu Black, Londonist, October 2014
Benedict Nelson / Count Almaviva
“This underlying violence is heightened by Benedict Nelson’s Count, who suppresses as much as he releases, a man stalking the borderlands of his own civilised humanity.”
Five stars, Alexandra Coghlan, The Arts Desk, October 2014
“Benedict Nelson presents a formidable and brutal figure whose presence you would not wish to be in when he went into a rage.”
David Smith, Music OMH, October 2014
“David Stout as Figaro and Benedict Nelson as the Count bring a wealth of insight to the servant-master relationship”
Stu Black, Londonist, October 2014
Mary Bevan and Benedict Nelson make role debuts in The Marriage of Figaro at ENO
Soprano Mary Bevan and baritone Benedict Nelson make role debuts as Susanna and Count Almaviva respectively in The Marriage of Figaro at English National Opera on 16 October. Fiona Shaw returns to the Coliseum to revive her acclaimed 2011 production of the work, hailed by critics as “humane, intelligent and buzzing with energy” (Rupert Christansen, Daily Telegraph, October 2011).
Harewood Artist Bevan makes her first ENO appearance of the season as Susanna, following her “most versatile and bewitching Despina” (Michael Church, Independent, May 2014) in Così fan tutte last summer. Later this season she takes part in ENO’s Orfeo at the Bristol Old Vic.
Nelson returns to the Coliseum following previous ENO highlights as Billy Budd, Figaro The Barber of Seville and Valentin Faust, among many others. Away from London last season, he sang Ned Keene Peter Grimes for Opéra de Lyon and Opera North.
After opening on 16 October, further performances of The Marriage of Figaro take place 23, 25, 28, 31 October, 4, 6, 8 14, 19 and 23 November
Intermusica artists give recitals with Oxford Lieder
Mary Bevan, Ben Johnson, Benedict Nelson and Roger Vignoles all give recitals for Oxford Lieder during October and November.
On 4 October, Bevan joins Rozanna Madylus, Robert Murray, Roderick Williams, Sholto Kynoch and principal players of the Orchestra of the Age of Enlightenment at Kings Place. They will present Schubert’s Octet in F and the Complete Songs of 1824.
Vignoles then gives two recitals on 12 and 19 October. He first performs several works of early Schubert with Elisabeth Meister and Nicky Spence, before performing Die schöne Müllerin with Christoph Prégardien. On 22 October Vignoles will give a masterclass for young singers and pianists.
On 1 November, Johnson and Nelson join Geraldine McGreevy, Anna Huntley and Graham Johnson for a lecture recital that focuses on Schubert’s final years.
Benedict Nelson sings Raimbaud in The Adventures of Count Ory with Blackheath Halls Opera
Benedict Nelson makes his role debut as Raimbaud in Rossini’s The Adventures of Count Ory with Blackheath Halls Opera on 15 July.
Blackheath Halls Opera is a Community Opera project based in South East London which gives over 100 singers and instrumentalists from the local community and schools the chance to perform alongside students from Trinity Laban Conservatoire of Music and Dance and a cast of professional soloists.
The Adventures of Count Ory is directed by Harry Fehr and conducted by Nicholas Jenkins, with Nicholas Sharratt and Anna Devin appearing alongside Nelson as Count Ory and Countess Adele respectively. After the first performance at Blackheath Halls on 15 July, further performances take place on 16, 18 and 20 July.
Benedict Nelson returns to Opéra de Lyon for a new production Peter Grimes
Baritone Benedict Nelson will return to Opéra de Lyon for a new production of Britten Peter Grimes on 10 April, in which he sings the role of Ned Keene. Directed by Yoshi Oida and conducted by Lyon principal conductor Kazushi Ono, the new production forms part of Opéra de Lyon’s Britten Festival, which also sees performances of The Turn of the Screw and Curlew River.
Alongside Nelson, the cast for Peter Grimes features tenor Alan Oke in the tragic title role and soprano Michaela Kaune as Ellen Orford.
After opening on 10 April, further performances take place on 13, 15, 19, 22, 24 and 26 April.