Robert Evett News
British opera singer, actor and theatre manager (1874–1949)
Commemorations 2024 (Birth: Robert Evett)
- tenor
- United Kingdom, United Kingdom of Great Britain and Ireland
- opera singer
Last update
2024-04-24
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The Boston Musical Intelligencer
2016-11-23 19:02:26
[…] where they remained in silence throughout (except for soprano Erin Anderson’s participation in a single stanza of “Fairest Isle” toward the end of the play). Dressed in black and seated toward the front of the chancel was the “chorus” of a dozen singers, representing variously Britons, Saxons, shepherds, nymphs, spirits, and fishermen; several of them stepped forward as soloists. While Purcell’s six musical scenes are integral to the plot, most of the main characters—Arthur (Ben Evett), Oswald (Jason McCool), Osmond (Glen Moore), and Emmeline (Esme Allen)—did not sing at all but engaged in lengthy spoken dialogue in unrhymed iambic pentameter. Others, such as the opposing spirits Philidel (soprano Krista River) and Grimbald (baritone Sumner Thompson), filled demanding roles as both singers and actors. All had excellent diction: texts were spoken rhythmically or, in Purcell’s airs, choruses, and recitatives—always set with fine attention to the natural text rhythms of English poetry—projected […]
The Boston Musical Intelligencer
2016-11-10 18:00:27
Rare Dryden-Purcell Masque Coming
[…] Cathedral Church of Saint Paul 138 Tremont Street, Boston, MA Boston Tickets HERE : $65, $45 and $25 **CONCERT VERSION ON NOVEMBER 20, 2016 4pm at Grace Episcopal Church in Amherst, MA, produced by Ian Watson and the Arcadia Players (tickets HERE ) Sarah Yanovitch , Cupid and Venus David Kravitz , as the Cold Genius Benjamin Evett , King Arthur and Esme Allen as his lover, Emmeline Staged by Bob Scanlan , musical direction by Ian Watson, co-produced/ sponsored by the Henry Purcell Society of Boston With special appearances by Nicole Estima, Kathryn McKellar, Jessica Petrus, Sonja Tengblad, Wee Kiat Chia, Katherine Growdon, **Krista River , Charles Blandy, Eric Christopher Perry, Stefan Reed, Jacob Cooper, David Tinervia, **Sumner Thompson , and Bradford Gleim The post Rare Dryden-Purcell […]
The Boston Musical Intelligencer
2016-10-16 03:31:03
Sweet Singers at Home in Jordan Hall
[…] multorum in the seventh movement proved particularly memorable. The pensive and plaintive Judicabit in nationibus came across as genuinely felt. The choir seemed much more at ease with Davide. In Mozart’s counterpoint, particularly in the first movement, far more confidence and attention to detail emerged: inner voices gained prominence and the music developed engaging shape and satisfying expressive nuance Clara Rottsolk (replacing an ailing Emily Noёl), Sarah Yanovitch, Daniel Roihl , Alexander Nishibun and Charlie Evett gave fine solo turns throughout the evening, as did countertenor Daniel Roihl’s in the alto aria in the second movement of Dixit Dominus (Virgam virtutis tuae). With gentle, affable tone and warm vibrato, he managed melismæ with level-headed ease. Rottsolk and Yanovitch figured prominently in Davide Penitente. In (Lungi le cure ingrate), Rottsolk’s amber tone proved elegant and well-shaped; Yanovitch’s far brighter voice reveled in a jeweled vibrato that opened up nicely in her […]
The Boston Musical Intelligencer
2016-01-16 23:50:07
Longy Rings With Modernists
[…] honor Stephen Sondheim, and making use of motives from Sweeney Todd in F-sharp minor. An Epithalamion for Donald Berman and Meredith Moss, upon their wedding in 1998, featured an abundance of warbling melody and flowing right-hand 16th-notes; I didn’t recognize the Yiddish folksong that was included, but I did recognize the D minor, which the Boston Musicians’ Union catalog, many decades ago, identified as the signal for Jewish wedding music. Study in Concord for Marianne Evett— the title is a double pun—was the last of the portraits, and made us of a meandering melody with the hands two octaves apart. It was a good piece to precede the Ives group that followed the intermission. Ives’s Study no. 6, according to Berman’s program notes, has a melody that “circles through not quite all available twelve chromatic notes,” with the missing ones appearing in “open triads, peaking above and submerged below this […]
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