This Thursday marks the opening night for the Royal Opera House’s new production of Verdi’s Un ballo in maschera, starring Dmitri Hvorostovsky as Renato opposite Joseph Calleja as Riccardo and Liudmyla Monastyrska as Amelia. Five of the seven performances are currently sold out, however fans still have the chance to see the Siberian baritone in action in the production’s final two performances on January 15 and 17.
Next: Un ballo in maschera at Covent Garden
Further acclaim for “The Bells of Dawn”
Wigmore Hall Recital November 23
Known for a “long, tense, slow-burn” account of the role (Classical Review), Dmitri Hvorostovsky brings his signature Renato to the Royal Opera House’s Un ballo in maschera December 18 through January 17. The Siberian baritone reprises Verdi’s love-torn politician in an all-star Verdian cast that also includes Liudmyla Monastyrska as Renato’s wife, Amelia, and Joseph Calleja as Riccardo, Renato’s friend and Amelia’s lover.
Katharina Thoma directs the new production, set in the days preceding World War I. Daniel Oren conducts. Click here for tickets.
Dmitri Hvorostovsky’s latest album, The Bells of Dawn, continues to earn critical accolades following its release in September. Recorded for Ondine with the Grand Choir “Masters of Choral Singing” and Lev Kontorovich, The Bells of Dawn is featured in this month’s Gramophone magazine as a critic’s pick. “Hvorostovsky strikes a note of artless sincerity, matching the choir in mellifluousness, control of melodic line and in unaffected expressiveness,” writes the magazine of the sacred element of this album, adding that in the folk component of the recording, “Hvorostovsky is equally in his element, finding the spontaneity of phrasing and the subtle inflections of joy and sadness (mainly sadness) that these timeless narratives embrace.”
December’s Opera News also spotlights the album in its reviews section. “In the stunningly sung solo ‘Proshchay, radost’ (Farewell, happiness), one can admire Hvorostovsky’s dead-on pitch, intensity, and deployment of the almost hiccuping glottal cutoffs…As an interpreter, Hvorostovsky is forceful and straightforward, which is just what’s needed here.”