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Review of SCENES FROM GOTTERDAMMERUNG - LONDON, 3RD DECEMBER
Posted on 03/01/2012 - Taken From The Wagner News - Katie Barnes
MASTERSINGERS BAYREUTH BURSARY DAY
“Scenes from Gotterdammerung”.
London Welsh Centre, 3rd December 2011
Katie Barnes
The day opened with scenes from Götterdämmerung staged by Christopher Cowell and accompanied by David Syrus who pulled off his usual achievement of making a grand piano sound like a full orchestra. The action was backed and framed by red drapes with the stage strewn with autumn leaves and furnished with three elaborately carved wooden thrones, the Norns' rope snaking across the floor. With all the singers in modern dress wearing black, the effect was reminiscent of Macbeth and the choice of scenes performed was suggestive of a revenge tragedy with the Norns standing in for the three witches. It was one of the Mastersingers’ best stagings yet.
All three Norns were excellently sung, with Niamh Kelly’s First Norn a standout: youthful, urgent and tragic in her lament for the Weltesche. Catherine Young (Second Norn) sounded slightly strident, but had great dramatic presence. Meta Powell (Third Norn) is a marvellous dramatic soprano who, like many singers of this role, sounded destined for bigger Wagnerian things. I liked the treatment of the rope, in places whole and undamaged, in others frayed and ravelled, split into three since the Weltesche died. When it broke they gathered it into a pile at the centre of the stage, masking the entrance of Hagen, who seemed to materialise behind them holding a glass brimming with red wine.
The music moved seamlessly into the Watch while he surveyed them triumphantly and menaced each in turn until they fled, leaving him in possession of the stage. This was Stuart Pendred’s first substantial Wagnerian appearance (he has sung a few phrases as Hunding and
Hagen with the Rehearsal Orchestra), and it was sensational. His voice was amazingly resonant: huge, inky- black, and tremendously incisive, and his stage presence is massively powerful. This was the discovery of the day, and I have no doubt that we will hear from him again. The moment when he dipped his fingers into the wine and licked it off sent shivers down my spine – was it wine, or was it blood?
At the end of the aria the music made another seamless transition to Act II, Scene 5 as Brünnhilde entered, carrying her spear. Alwyn Mellor was to have sung the role, but was replaced at a day’s notice by the ever-amazing Elaine McKrill, who, as expected, tore the place apart. The power, passion and beauty of her singing would grace any international stage, and the way she conveyed Brünnhilde’s newly-found vulnerability, her anguished inner conflict as Hagen tempted her to betray Siegfried, and her silent grief and pain when Hagen proposed “Siegfrieds Tod”, were heartbreaking. She and Pendred created tremendous tension, and Andrew Mayor’s excellently sung Gunther was also very fine, establishing the man’s cowardice and weakness in a few phrases. At his reference to “Blutsbrüderschaft”, he picked up the glass, and during the final, tremendous trio, all three smeared wine (or blood?) on their faces. That trio seemed shorter than usual, simply because the three singers generated such huge intensity.
All three exited as the music moved to Act III, Scene 3. Kimberly Myers’ timid
Gutrune made her mark in the crucial solo which opens the scene, especially when she gathered the courage to call out to Brünnhilde. Hagen’s offstage calls again paid tribute to Pendred’s astonishing resonance before he entered carrying Siegfried’s clothes and boots which Gutrune seized and sank to the ground, weeping. Hagen, cynically bored with her grief, turned on Gunther, strangled him, snatched the ring from his dead hand and sat gazing at it as Brünnhilde entered. The gentleness with which she comforted Gutrune was very touching, and, unusually but very effectively, their newly found sense of
Sisterhood gave Gutrune the courage to snatch the ring from Hagen and give it to Brünnhilde. Gutrune tenderly laid out Siegfried’s clothes at the front of the stage and the Norns (who here appeared to be doubling as the Rhinedaughters) surrounded Brünnhilde, who gave the Ring to them. McKrill, of course, surpassed herself in the Immolation, especially at the lovely moment when she mimmed releasing a bird into flight, just before the huge peace of “Ruhe, ruhe, du Gott!” and in the almost cosmic power of the ending. During the final music she lay down beside Siegfried’s clothes while the Norns covered her with leaves and then departed, leaving Hagen dead (presumably of grief at losing the ring) and Gutrune, cowering but alive.
DORSET OPERA REVIEWS - The Spectator
Posted on 11/08/2011 - Taken From Dorset Delight
Click on the link below to read the reviews of Tosca and Otello in The Spectator:
http://www.spectator.co.uk/arts-and-culture/featured/7156878/dorset-delight.thtml
DORSET OPERA REVIEWS - What's On Stage
Posted on 09/08/2011
http://www.whatsonstage.com/reviews/theatre/opera/E8831312124098/Tosca+Otello.html
AGNUS DEI Album Review - Album of the Month
Posted on 29/04/2011
STUART PENDRED : Angus Dei. (Kingsway : KMCD3073) Following the success of his debut release, ‘Benedizione’, classical tenor, Stuart Pendred has released this stunning offering. Co-writing several of the songs, he shows that not only does he have the voice, but also the words to convey his faith. After opening proceedings with the Michael W Smith penned title track, Stuart’s mellow tones embrace ‘Prayer’, a lovely song based around the Lord’s Prayer. I’m pleased to note that with this release, the sleeve notes do contain the lyrics to the songs. And, although I do not speak Italian, it does help to read along as Stuart gives a sweet rendition of ‘Refiner’s Fire’. His vocals never falter, and songs like ‘Guardami’ and ‘Be Still’ seem to flow effortlessly with the accompanying music. What a wonderful song ‘Everything’ is. Written by Tim Hughes, once more, Stuart lifts this song to new heights and meaning. Warm vocal tones treat the classic ‘How Great Thou Art’ with true reverence, while ‘One Zero 3 is, perhaps the best of the new songs on offer. Albums like this make reviewing worth while. 10/10
AGNUS DEI Album Review - Louder than the Music....
Posted on 14/02/2011
Classical Baritone singer Stuart Pendred will release his second album 'Agnus Dei', containing 11 top worship songs including How Great Thou Art Refiners Fire, Everything and the album title Agnus Dei.
Stuart has performed all over the world at some of the best known and most stunning venues, including The Royal Albert Hall and Royal Opera House.
He is already a household name to some, but to see the list of people he has sung with is truly amazing. Stuart has appeared alongside artists such as Sting, Beyonce, Mariah Carey, Westlife, The Opera Babes, Il Divo and the Motown legend Lionel Ritchie. Highlights for Stuart already include being invited to sing Amazing Grace at the House of Commons last year, performing before 75,000 at Twickenham for the RFU, the Davis Cup for the LTA, the British Olympic Association and, numerous pre-match performances at Stamford Bridge for Chelsea Football Club.
With the success of his 2008 album 'Benedizioni', how does Stuart fare on this album 'Agnus Dei'? Well to answer the question quickly and honestly, the answer would be brilliantly. The first thing that hits you is his voice, and what a voice. Classical sounding, rich, deep and smooth, with power - just listen as his haunting baritone vocals ring-out amazingly during Refiners Fire, a great if not slightly emotive version of the song.
Stuart has added his classical style to these stunning worship songs, and turned them into great classical pieces of work. Other standout moments have to include Everything with stunning orchestral work adding to the song, one moment lifting the pace and power in the chorus. Last but one track How Great Thou Art, wow, putting into words how stunning and stirring this song is done is very difficult, all I can say is this is a truly great song.
Anybody who enjoys classical music will enjoy this and should buy it, but even people who wouldn't necessarily normally buy a classic music album will appreciate the stunning vocals of Stuart and what he has produced with this album. Classical worship which is interesting, at times haunting, and creative. Amazing Stuff.
Jono Davies
Stuart Pendred offers compelling worship with Agnus Dei
Posted on 04/02/2011 - Taken From Kingsway
In many ways, Stuart Pendred has come a long way from the childhood where The Salvation Army played a pivotal role. That journey has included drama school, tv, theatre and film and now a flourishing career as an innovative, powerful mainstream opera singer. Yet, Agnus Dei his latest album - due for release on Kingsway in February (21st) - shows that the past may not be so far off after all: Agnus Dei is a powerful collection of songs of worship delivered with the level of conviction and passion that could make William Booth himself smile. Stuart’s previous release – Benedizione - was his 2008 debut solo release (on Fierce!), and it rewrote a few of the rules of modern worship albums. For one, much was sung in Italian, and for another, the style – a crossover of opera and pop – was about as far away from the traditional five-piece rock band as you could imagine. And it was all done with a reason. “I want to be a bit subversive with the music,” explains Stuart. “I want the albums to appeal across all demographics – for people with faith, without faith and indeed those who are questioning.” Many of Stuart’s atheist friends like it and John Terry, Frank Lampard and even Roman Abramovich own copies. “All I can do is my best, and then step back to let God do the rest.” Benedizione and it’s unique style and format proved such a success that it was inevitable that his latest release would follow a similar structure developing Stuart’s ‘sound-identity’ even further. As Stuart explains: “Ollie Davis, my co-writer, and I were really proud of the sound that we created with Benedizione and realised with Agnus Dei that we had to deliver an album with the same sound and feel for the listener but we wanted to go further with the size of the sound arrangements when it called for it but also write some original songs that had a more intimate, accessible feel to them for the church community to engage with directly. So, the album has five new songs only two of which are sung in Italian as well as six versions of much-loved worship classics. "There is more English on this album and, in a way I wonder whether this one feels a bit more of a recognisably Christian album as a result. It wasn’t planned, it’s just the way it’s come out. I don’t have preconceived ideas going into the studio, I don’t try to control it, I want it to have its own life, to allow it to grow.” That plan has clearly worked well. Agnus Dei is a bright, engaging and compelling worship album. With songs like ‘Shout To The Lord’, ‘Be Still’, ‘How Great Thou Art’, and Tim Hughes’ ‘Everything’ – Hughes’s last track being delivered in both English and Italian, complete with intimate arrangements and epic crescendos – Agnus Dei is something profoundly different. Agnus Dei shows Stuart’s skill as a writer as well. Each of the five original tracks are powerful, and some try and tackle some of life’s hardest of themes. ’Sempre Qui’ - ‘Always There’, for example, was written when a friend of Stuart’s was dying of bone cancer. “I don’t get life sometimes,” says Stuart, “even as a believer, it is very hard and painful at times but there’s something about the seed of faith that’s in the soul that helps you cling on and see hope even within the darkest times. It’s part of the faith-journey of every pilgrim on this journey. Indeed the Bible promises that there will be trials in life – but we are also promised that we won’t journey through “the valley of the shadow of death” alone. I want my music to reflect and resonant with the reality of a faith that soars in wonder and praise but that can also be very troubled, even crushed at times. But is still a living faith. The psalmist in the OT sums it up for me – real humanity in the face of the sacred and Holy.”
Christmas Festive Spectacular - December 13th 2008
Posted on 21/01/2009 - Taken From Scarborough Evening News - Martin Dowie
As posted in the Scarborough Evening News on Monday 15th December 2008.
"Had Santa wanted to take a break from his busy schedule, then he wouldn't have gone far wrong by parking his sleigh at the Spa's Festive Spectacular.
The spirit of the season was perfectly encapsulated by a number of heart-warming performances, which almost lifted the roof off the Grand Hall.
The evening was more about boosting local charities though, and Martin House Children's Hospice, the Scarborough and District CAB and the Scarborough branch of the Multiple Sclerosis Society recieved an early Christmas present to the tune of £4,500.
Organiser Nigel Woods said: "It was a great night......this was the 11th Festive Spectacular and this years figure takes the money raised past £50,000...."
As well as raising money the Spectaular gave a packed crowd a real festive treat. Compere Harry Gration, from BBC Look North, held the audiences attention throughout..... He introduced the three main acts of the evening - the United Schools Choir, Celebration Brass and the remarkable talent of singer Stuart Pendred
Pendred... was the star attraction, as he linked brilliantly with the youthful choir with a number of Christmas and Italian-based songs.
The only thing missing was the chestnuts and the glowing fire, though the fireworks at the climax and the real festive ambience more than made up for that"
Martin Dowie.
www.scarborougheveningnews.co.uk
Never for Nothing - CCM - Album Review
Posted on 18/01/2009 - Taken From Geoff Howlett
Stuart Pendred is a classical singer and actor. He recently performed alongside the likes of Sting, Beyonce and Lionel Ritchie at the Royal Albert Hall. The sleeve notes say that Stuart has, for some time, wanted to record an album that reflects his personal faith. Style-wise, you’re looking at a similar sound to that of Andrea Bocelli and Red Hurley. His voice is warm and smooth, and suits the songs down to the ground....The music is super and I enjoyed the sound immensely. Stuart sings such songs as ‘Bambino Mio’ (My Child), ‘A Chi Ha Sete’ (All who are thirsty) and ‘Pace Il Mior Cuore’ (It is well with my Soul), plus another 9 in his spirited way. What I can say about Stuart’s album, is that it rates as highly as those I have heard before in this genre, and it’s no wonder that it has already won “Album of the Month” awards in far away lands such as New Zealand.
Geoff Howlett
Album review - Bottomline Online - Netherlands
Posted on 04/12/2008 - Taken From www.bottomlineonline.nl
British baritone Stuart Pendred gives a classical treatment to a series of well-known worship songs. To hear 'Breathe' as the opening track 'Aria', Matt Redman's 'Let My Words be Few' and 'Facedown' as 'Non Piu' Parole' and 'Santo Timore' is special. Pendred also brings in his own compositions with 'Bambino Mio' (My Child), the album title track and 'Ma Credo Ancora' (I Still Believe). The original composers should be glad to hear these unique vocal takes, Italian translations and arrangements, whether it is Brenton Brown's 'All Who Are Thirsty', Kathryn Scott's 'Child of God' the classics Amazing Grace and It Is Well With My Soul. The final song, a prayer for the Holy Spirit, 'Spirito Santo Vieni a Noi' - Holy Spirit, Rain Down is just a prelude. I'm looking forward to this impressive debut's follow-up. For those that like the music of Alessandro Safina or Il Divo: you'll really enjoy Stuart Pendred.
Henk-Jen van der Klis writing for Bottomline online
'C' Magazine - Album Review
Posted on 31/10/2008
Stuart’s debut album is the coming together of his lifelong dream- to record an album reflecting his own personal faith and life journey.
Classically singing covers of tracks that are instantly recognisable, from the much loved contemporary worship songs of today’s best writers (and some of yesteryear) plus original material from himself, Benedizioni beautifully captures the essence and heart with which they were written. The passion with which Stuart sings shines through with strong expression, his voice commanding the ear but gently ushering the listener towards an intimate and unforgettable worship experience.