The O Word

Conductor Tianyi Lu discusses the first steps a graduate takes towards a professional career. Tianyi is joined by soprano Elin Pritchard, baritone Oscar Dom Victor Catellino, Head of the Royal Opera House’s Jette Parker Young Artist’s Programme Elaine Kidd and Head of Artistic Management at WNO Kathryn Joyce.
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Bydd yr Arweinydd Tianyi Lu yn trafod y camau cyntaf y bydd graddedigion yn eu cymryd tuag at yrfa broffesiynol. Bydd y soprano Elin Pritchard, y bariton Oscar Dom Victor Catellino, Pennaeth Rhaglen Artistiaid Ifanc Jette Parker y Royal Opera House Elaine Kidd, a Phennaeth Rheolaeth Artistig WNO Kathryn Joyce, yn ymuno â Tianyi.

Music Credits:
This performance of the overture from Mozart’s The Magic Flute is produced by Telefunken (1952), and is available in the Public Domain. Joseph Keilberth conducts the Bamberger Symphoniker.

This performance of The Marriage of Figaro was recorded with Decca in 1959; now in the Public Domain. Erich Kleiber conducts the Wiener Philharmoniker; Cesare Siepi, Hilde Gueden, Alfred Poell and Lisa della Casa sing the main roles.

Our thanks to go to Kalmus Publishing, Harid Conservatory Philharmonia and Arthur Weisberg for the use of ‘Intermezzo’ from Cavelleria Rusticana. Used under the creative commons licence 4-0 .

Conductor and Music Director Tim Rhys-Evans investigates the process of studying at conservatoires and universities, while discovering more about the day-to-day life of an artist in training. Providing his own insight on this process as Director of Music at Royal Welsh College of Music and Drama, Tim meets with Clair Rowden from Cardiff University's School of Music alongside students and graduates to discuss the differences between university and conservatoire education.

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Bydd yr Arweinydd a’r Cyfarwyddwr Cerddoriaeth Tim Rhys-Evans yn trafod y broses o astudio mewn ysgolion cerddoriaeth a phrifysgolion, gan ddysgu mwy am fywyd beunyddiol artist sy’n hyfforddi. Bydd Tim yn cynnig ei gipolwg ei hun ar y broses hon, ac yntau’n Gyfarwyddwr Cerddoriaeth yng Ngholeg Brenhinol Cerdd a Drama Cymru, a bydd yn cyfarfod â Clair Rowden o Ysgol Gerddoriaeth Prifysgol Caerdydd, ynghyd â myfyrwyr a graddedigion, i drafod y gwahaniaethau rhwng addysg prifysgol ac addysg ysgolion cerddoriaeth.

Music Credits:
This performance of The Marriage of Figaro was recorded with Decca in 1959; now in the Public Domain. Erich Kleiber conducts the Wiener Philharmoniker; Cesare Siepi, Hilde Gueden, Alfred Poell and Lisa della Casa sing the main roles.

The recording of Mozart’s Don Giovanni is conducted by Josef Krips and sees Cesare Sepi in the title role. Recorded in 1955 with the Weiner Philharmoniker Orchestra and Chorus; we would also like to extend out thanks to Decca, with whom this recording was published.

The recording of Bizet’s Carmen is conducted by Thomas Beecham, with Janine Micheau, Nicolai Gedda and Ernest Blanc. Recorded in 1960, used with thanks to Parlaphone records.

Soprano Natalya Romaniw explores how the early experiences of classical music in youth can shape the perspective of an artist. Reflecting on her own experiences of singing with WNO Youth Opera, she catches up with her friend and fellow soprano Rhian Lois in a roundtable interview which also features Abigail Kelly (WNO Youth Opera Leader in Birmingham) and Ruth Rosales (Bassoonist & Animateur). Natalya also meets with three young participants to find out more about what drew them to sing opera at such a young age.

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Y soprano Natalya Romaniw a fydd yn trafod sut y gall profiadau cynnar o gerddoriaeth glasurol yn ystod ieuenctid ffurfio safbwynt yr artist. Gan fyfyrio ar ei phrofiadau ei hun o ganu gydag Opera Ieuenctid WNO, mae’n cael sgwrs gyda’i chyfaill a’i chyd-soprano Rhian Lois yn ystod cyfweliad bord gron, sydd hefyd yn cynnwys Abigail Kelly (Arweinydd Opera Ieuenctid WNO ym Mirmingham) a Ruth Rosales (Baswnydd ac Animeiddiwr). Mae Natayla hefyd yn cyfarfod â thri o bobl ifanc i gael gwybod mwy am yr hyn a’u denodd at ganu opera a hwythau mor ifanc.

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Music Credits:
Our thanks go to Oddio Overplay, MIT Symphony Orchestra and Chorus and Adam K Doyles for the use of the opening chorus to Cavalleria Rusticana. Used under the creative commons licence 4-0

The recording of Bizet’s Carmen is conducted by Thomas Beecham, with Janine Micheau, Nicolai Gedda and Ernest Blanc. Recorded in 1960, used with thanks to Parlaphone records.

This recording of ‘Un Bel Di, Vedremo’ from Puccini’s Madam Butterfly is performed by Maria Callas.

Bonus unheard extracts from Gareth's interview with Welsh National Opera's Music Director Tomáš Hanus.

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What is the difference between directing a play and directing an opera? Opera director Daisy Evans talks to Gareth about her unique approach to directing, how she got started in the industry and why a kebab van was an essential component of her recent production of Don(er) Pasquale!

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Don Pasquale ‘Quel guard oil cavaliere’ (Soloist. Lina Pagliughi)
Don Pasquale ‘Bella siccome un angelo’ (1947)
Don Pasquale ‘Pronta son; purch’io non manchi’ (Soloist. Lotte Schone, Willi Domgraf-Fassbender, 1930)
Don Pasquale ‘Tornami a dir’ (Soloist. Amelita Galli-Curci, Tito Schipa. 1932)

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Beth yw'r gwahaniaeth rhwng arwain drama ac arwain opera? Cyfarwyddwr opera, Daisy Evans, yn sgwrsio gyda Gareth am ei dull cyfarwyddo unigryw, sut dechreuodd arni yn y diwydiant a pham oedd fan cebab yn rhan hanfodol o'i chynhyrchiad diweddar o Don(er) Pasquale!

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Gareth meets with donors and fundraisers to discuss how philanthropy ensures the future survival of opera. Delving beyond works seen on stage, Gareth investigates the different ways in which donations can bring the art of opera to schools, care homes and community hubs across the UK.

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Mae Gareth yn cwrdd â rhoddwyr a chodwyr arian er mwyn trafod sut mae haelioni yn sicrhau dyfodol a goroesiad byd opera. Gan gloddio tu hwnt i'r gweithiau a welir ar y llwyfan, mae Gareth yn archwilio'r gwahanol ffyrdd y gall cyfraniadau ariannol ddod â chelfyddyd opera i ysgolion, cartrefi gofal a hybiau cymunedol ledled y DU.

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Les vepres siciliennes ‘Overture’ is used with thanks to WNO Orchestra 
An excerpt from Un Ballo in Maschera is used with thanks to Gwyn Hughes Jones, Mary Elizabeth Williams and WNO Orchestra
La forza del destino ‘Overture’ is used with thanks to WNO Orchestra  

Gareth meets Welsh National Opera’s Music Director Tomáš Hanus to discuss his career to date and to discover what it takes to work as a conductor on an international scale. 
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Mae Gareth yn cwrdd â Chyfarwyddwr Cerddoriaeth Opera Cenedlaethol Cymru Tomáš Hanus i drafod ei yrfa hyd yma ac er mwyn darganfod beth sydd ei angen i weithio fel arweinydd ar raddfa ryngwladol.
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Credits:

• The Cunning Little Vixen ‘Overture’ appears with thanks to WNO Orchestra 
• The Cunning Little Vixen ‘Bezi liska Táboru’ appears with thanks to WNO Children’s Chorus and WNO Orchestra 
• The Cunning Little Vixen ‘Vixen’s aria’ appears with thanks to Aoife Miskelly and WNO Orchestra  
• Mahler’s Symphony No.1 is used with permission from the Israel Philharmonic Orchestra 
• Mahler’s Symphony No. 2 is used with permission from the DuPage Symphony Orchestra 

Gareth interviews young opera singers and enthusiasts to establish whether opera is relevant to their generation. Featuring baritone John Ieuan Jones, Royal Welsh College of Music and Drama student Rosie Rowell and Max Catalano from Cardiff University’s Operatic Society. 
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Mae Gareth yn cyfweld cantorion a chefnogwyr opera ifanc er mwyn profi a yw opera yn berthnasol i'w cenhedlaeth hwy. Yn cynnwys y bariton John Ieuan Jones, myfyrwraig Coleg Brenhinol Cerddoriaeth a Drama Cymru Rosie Rowell a Max Catalano o Gymdeithas Operatig Prifysgol Caerdydd. 

Gareth meets WNO Female Conductor in Residence Tianyi Lu to find out more about the role of a conductor in opera. Gareth also sits down with British conductor Alexander Joel and David Adams from WNO Orchestra to discuss the challenges they face during a live performance.

What do you think about The O Word so far? Let us know by taking our short survey:
https://www.surveymonkey.com/r/theoword
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Gareth yn cwrdd ag Arweinydd Preswyl Benywaidd WNO, Tianyi Lu, i gael gwybod mwy am rôl arweinydd yn y byd opera. Yn ogystal, eistedda Gareth gyda'r arweinydd Prydeinig, Alexander Joel, ac David Adams o Gerddorfa WNO i drafod yr heriau maent yn eu hwynebu yn ystod perfformiad byw.

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Credits:
Welsh National Opera - Rigoletto - La donna è mobile

Gareth invites leading arts critics and correspondents for a roundtable discussion about the importance of a critical voice in opera and live performance. Joining Gareth is The Telegraph’s Rupert Christiansen; journalist and composer Steph Power; regional journalist and blogger Diane Parkes and BBC Radio 3's Nicola Heywood-Thomas.

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What do you think about The O Word so far? Let us know by taking our short survey:
https://www.surveymonkey.com/r/theoword

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Pam bod angen llais beirniadol arnom?

Gareth yn gwahodd beirniaid blaenllaw y byd celfyddydol a gohebwyr am drafodaeth o amgylch y bwrdd ynglŷn â phwysigrwydd llais beirniadol mewn opera a pherfformiadau byw. Yn ymuno â Gareth mae Rupert Christiansen o The Telegraph; y newyddiadurwraig a chyfansoddwraig Steph Power; y newyddiadurwraig ranbarthol a blogiwr Diane Parkes a Nicola Hayward Thomas o BBC Radio 3.

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