The venerable Opera magazine has announced the winners of its still-rather-new annual awards, the "Operas" (think Oscars but with more singing and a smaller budget). Since Opera has been the bible for international opera reviews for many decades, it's a nice idea and one that makes sense. It would be nice to be able to post Opera reviews for all of the winners, or sound clips from recent productions from them all, and maybe that's something the organizers can look at next year.
So, "the winners are," as they say...
The Teatro Sociale di Como for Accessibility, "Peter Grimes On The Beach" in Aldeburgh, for Britten anniversary production, the Verdi trilogy at the Hamburg Staatsoper for Verdi anniversary production and Parsifal at Vlaamse Opera for, you guessed it, Wagner anniversary production. The CSO Resound recording of Verdi's Otello under Riccardo Muti won for Complete Opera Recording, while Operatic Recital Recording went to Ann Hallenberg for "Hidden Handel" on Naïve.
Bayreuth got the Best Choir gong, Kirill Petrenko was named Best Conductor (an interesting choice from a UK mag, as he gets little press in that country but commands immense respect in Europe). Paul Brown won for design, Barrie Kosky for stage direction. Bel Air Classiques won Best DVD for David et Jonathan.
Diana Damrau was Best Female Singer, Stuart Skelton her male equivalent. Cardiff victor Jamie Barton was Best Young Singer. Tenor Joseph Calleja was the Readers' Award.
Touchingly, Gerard Mortier won a posthumous Lifetime Achievement award. While Aix-en-Provence won for Best Festival, rivals Salzburg picked up Best New Production (Norma).
Zurich Opera won Best Opera Company, with Edgar Foster Daniels Best Philanthropist or Sponsor (a clever and important idea for a prize). The Bregenz festival's production of The Merchant Of Venice was named Best World Premiere, and Wexford's Cristina regina di Svezia was Best Rediscovered Work.
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