Alfie Boe
Jan 23, 2012 15:38:21 GMT
Post by John on Jan 23, 2012 15:38:21 GMT
From The Telegraph
www.telegraph.co.uk/culture/music/opera/9032492/Should-Alfie-Boe-be-knocking-the-business-that-made-him.html
www.telegraph.co.uk/culture/music/opera/9032492/Should-Alfie-Boe-be-knocking-the-business-that-made-him.html
Should Alfie Boe be knocking the business that made him?
Rupert Christiansen is disappointed that singer Alfie Boe is showing ingratitude to his operatic roots.
Disgruntled Alfie changes his tune
I am disappointed in the turn apparently taken by Alfie Boe. When I interviewed him less than four years ago, this personable and accomplished tenor seemed to be serious about using his excellent classical training to develop a career combining appearances in “serious” opera with a concert career singing pop, showtunes and romantic ballads.
He was taking a small part in Elektra at Covent Garden at the time and told me that he felt “thrilled and honoured” to be on that great stage and awed by the music’s challenges. Since then he has also sung creditably at the Coliseum, though it’s always been clear that in a house of that size his light, sweet voice would never be large enough for him to reach the front operatic rank in the mainstream Italian or French repertory.
But all that seems to have gone out of the window now. Suddenly, he hit the big time in the 25th anniversary production of Les Misérables at the O2, and his game changed. After a stint in the West End with Les Miz alongside Matt Lucas, he is now on a national concert tour, based on his new opera-free album.
This isn’t my beef with him: he does what he does well. I caught up with the show in Llandudno last week, and he was singing just fine – cleanly in tune, firm top register, no tremolo – without undue reliance on the mike.
Technically and artistically, he seemed to me to be several cuts above his major rivals in this field, Russell Watson and Paul Potts. Souvenir sweatshirts and tea towels were sold, ladies drooled at the cheeky-chappie backchat (“Last time I was here, I went skinny-dipping”), and a good time was had by all.
The problem is that, when he talks to the press now, he can’t resist mouthily knocking the business that made him. “I find opera quite boring to watch,” he admitted on Desert Island Discs and elsewhere, as well as making several snide and ill-informed digs at opera company managements, including the accusation that they are “too proud and too stupid” and don’t try hard enough to connect with people.
This is a bit rich, and not just because in the past these same people have given Boe a lot of his early opportunities. But ingratitude aside, there’s a more important point to be made: if there’s anyone at the moment in this country who could help opera connect with people outside the charmed circle, it’s Alfie Boe. Yet he is signally failing to programme any operatic element into his concerts or his CDs and doesn’t to my knowledge have any live opera appearances on his future schedule.
I am sure that any opera house in the land would be happy to consider him for an appropriate role, but I fear that he has obstinate views as to what he ought to be singing and is no longer interested in fitting in.
I expect letters from his outraged fans for saying so, but there’s a whiff of sour grapes – and big-headedness – about his jibes which is distasteful and does him no favours.
Rupert Christiansen is disappointed that singer Alfie Boe is showing ingratitude to his operatic roots.
Disgruntled Alfie changes his tune
I am disappointed in the turn apparently taken by Alfie Boe. When I interviewed him less than four years ago, this personable and accomplished tenor seemed to be serious about using his excellent classical training to develop a career combining appearances in “serious” opera with a concert career singing pop, showtunes and romantic ballads.
He was taking a small part in Elektra at Covent Garden at the time and told me that he felt “thrilled and honoured” to be on that great stage and awed by the music’s challenges. Since then he has also sung creditably at the Coliseum, though it’s always been clear that in a house of that size his light, sweet voice would never be large enough for him to reach the front operatic rank in the mainstream Italian or French repertory.
But all that seems to have gone out of the window now. Suddenly, he hit the big time in the 25th anniversary production of Les Misérables at the O2, and his game changed. After a stint in the West End with Les Miz alongside Matt Lucas, he is now on a national concert tour, based on his new opera-free album.
This isn’t my beef with him: he does what he does well. I caught up with the show in Llandudno last week, and he was singing just fine – cleanly in tune, firm top register, no tremolo – without undue reliance on the mike.
Technically and artistically, he seemed to me to be several cuts above his major rivals in this field, Russell Watson and Paul Potts. Souvenir sweatshirts and tea towels were sold, ladies drooled at the cheeky-chappie backchat (“Last time I was here, I went skinny-dipping”), and a good time was had by all.
The problem is that, when he talks to the press now, he can’t resist mouthily knocking the business that made him. “I find opera quite boring to watch,” he admitted on Desert Island Discs and elsewhere, as well as making several snide and ill-informed digs at opera company managements, including the accusation that they are “too proud and too stupid” and don’t try hard enough to connect with people.
This is a bit rich, and not just because in the past these same people have given Boe a lot of his early opportunities. But ingratitude aside, there’s a more important point to be made: if there’s anyone at the moment in this country who could help opera connect with people outside the charmed circle, it’s Alfie Boe. Yet he is signally failing to programme any operatic element into his concerts or his CDs and doesn’t to my knowledge have any live opera appearances on his future schedule.
I am sure that any opera house in the land would be happy to consider him for an appropriate role, but I fear that he has obstinate views as to what he ought to be singing and is no longer interested in fitting in.
I expect letters from his outraged fans for saying so, but there’s a whiff of sour grapes – and big-headedness – about his jibes which is distasteful and does him no favours.