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Cardiff Singer of the World 2013 - the Final

Laura Sinnerton — Wed, 26 Jun 2013 15:22:12 +0000

What a wonderful Cardiff Singer competition this has been! This has been my third competition, and I genuinely believe that the standard of this year's competitors has been of the highest order.

My favourite non-round winner to make it into the Final didn't. I really loved the velvety, yummy, smooth darkness of Susana Gaspar's voice, and am a little gutted I never got to hear her on stage at the Royal Opera House in Covent Garden, where she has been a Jette Parker Young Artist during the 2012/2013 season. Nonetheless, I was delighted for Croatian bass-baritone Marko Mimica's inclusion in the final. I love the sound of a bass-baritone.

We rehearsed with the competitors on Saturday. For the final, each competitor works with the conductor they have worked with in their round, and so for the final we worked with both Jun Markl, and also Graeme Jenkins, who had conducted our WNO colleagues in rounds two and four.

For the BBC National Orchestra of Wales, there is a lot of repertoire to get through on the final rehearsal day. All the competitors have new programmes, and there is no opportunity to see the music beforehand. Thanks must go to the librarians who had our parts marked up meticulously, with all cuts and changes clearly marked.

In addition to this, working with two different conductors brings its own challenges, and with everything is passing before your eyes so quickly - it really is a tiring day. The hall's air conditioning was taking its toll on my contact lenses too, so by the end of Saturday I was tired and half blind.

At the hall on Sunday evening, the excitement in the air was palpable! We started with the USA's Jamie Barton whose un-diva like manner, general pleasantness, and great laugh had already made her a big favourite with the orchestra. As we played the first chord of her first piece, I had a wardrobe malfunction! I was wearing a concert dress with a detachable strap, and with the first chord it just went ping! Thankfully, there was enough corsetry in my dress for this not to be a major disaster, and, suppressing giggles, my desk partner Pete popped my now utterly useless strap into his tails pocket for me.

In the final we play for all the competitors before the interval. This is a long stretch and you've got to be in full concentration mode. This is such a big moment for the competitors, and there is a big responsibility on the shoulders of the conductors and the orchestra to be as supportive and solid as possible. You've got to be ready to accommodate anything that happens in the performance, sympathetic to the competitors' voices, and slip between styles for each aria.

Genuinely, I was blown away by the final. From Daniela Mack's vocal pyrotechnics in her Rossini, to the great characterisation throughout his programme from Marko Mimica, from Olena Tokar's coquettish Musetta, to the utterly delicious wickedness of Jamie Barton's Witch's Aria, it was a privilege to be a part of this competition final.

I didn't envy the panel their decision, but Jamie Barton was declared a very worthy winner. Having also won the Song Prize, she has had quite a week. We have worked with English tenor Ben Johnson on a number of occasion, and we were delighted to see him take the Audience Prize.

Truly, this has been an incredible Cardiff Singer of the World. The competitors for 2015, as yet unchosen, have a lot to live up to.

Catch up with the Final of BBC Cardiff Singer of the World on BBC iPlayer.

Cardiff Singer - Concert Three

Laura Sinnerton — Wed, 26 Jun 2013 10:48:04 +0000

For round two of the BBC Cardiff Singer of the World competition, our colleagues from the Orchestra of the Welsh National Opera (WNO) were on duty, and saw Hungarian soprano Maria Celeng lift the round trophy.

In other more minor successes, Twitter tells me that the trumpets and lower brass of WNO enjoyed the pencils and biscuits they found in our studio during rehearsals!

For Concert Three we were accompanying soloists from Lithuania, Portugal, Ukraine, Belarus, and Wales' own Gary Griffiths. From the start of rehearsal it was clear that this was a very strong round, with some fabulous repertoire, and an incredible high level of performance.

Returning to St David's Hall on Wednesday night, the BBC National Orchestra of Wales was now in full Cardiff Singer mode, with members having very definitely picked their favourites, and backstage discussion mostly focussed on the importance of programme for this competition.

I guess there are two ways of looking at it; you choose a programme full of variety that will show off the range and scope of your voice and ability, a real competition winning programme, or you take the competition as a shop window, and show the bookers, scouts, and agents who are watching with great interest what roles you want.

That is just speculation on my part of course. However, I came away from the round thinking that certain programmes were amazing and perfect for competition, but from their programme choice, already imagining how great it would be to see certain competitors in specific roles.

In this round in particular, I was struck by the incredible number of languages the competitors must be competent in (Welsh baritone Gary Griffiths alone sang in four - Italian, Russian, German and French). OK, so they don't need to be fluent, or able to hold a full blown conversation, but they must be convincing in whatever language their chosen repertoire is in.

They must understand what they are singing in order to delve the emotional depths of the work, and also have more than sufficient grasp of all the little quirks of a language in order that they be able to communicate the words and music to the audience. Clear diction is paramount, or else it just sounds like a jumble of meaningless sounds.

As this is an opera prize however, the quality of voice must also be combined with an ability to embody the role being performed convincingly. In this round, for me, Olena Tokar and Susana Gaspar were most successful. Olena sang one of my favourite arias, Glück, das mir verblieb, from Korngold's Die Tote Stadt and her voice, combined with her graceful, subtle gesture had me nearly weeping on stage.

Olena Tokar was crowned the victor of Concert Three, but other highlights for me were Susana Gaspar's entire programme, and Yuri Gorodetski's Una Furtiva Lagrima (Donizetti). I think he'd be fabulous in a romantic role, like Romeo.

Catch up with all of the rounds from Cardiff Singer of the World on BBC iPlayer until Sunday 30 June.

Cardiff Singer - Concert One

Laura Sinnerton — Fri, 21 Jun 2013 14:07:37 +0000

Regular readers of this blog will be aware that I do not need much excuse to get excited about, well, pretty much anything. Various colleagues threaten to sedate me/have me committed/thump me with something very heavy on an alarmingly regular basis. So, you can only imagine the dizzying levels of excitement that have been growing steadily as BBC Cardiff Singer of the World 2013 approached.

What's not to like? As an extrovert stuck in an introvert's body, I love the showbiz of anything we do that has a stage set, dramatic, atmospheric lighting, and a TV crew. Moreover, I genuinely love opera - I love the costumes, the generally ridiculous or melodramatic story-lines, never mind the fact that an accomplished singer can turn me to mush.

In addition to this, the fact that you have 20 top young opera singers vying for the title of BBC Cardiff Singer of the World makes it rather intense.

Finally, as I'm not a brass player, I will always have plenty to play (it is a constant source of moaning, in particular from our lower brass, that they don't have enough to play in these things - we've Mahler 5 next week though, so that should placate them).

Our rehearsal day, Sunday, was spent simply running the competitors programmes, one after the other, with conductor Jun Märkl making little balance adjustments here and there, or changing dynamics in order that we not swamp the competitors' voices.

It's paramount to have the right conductor for a competition like this. My desk partner for Concert One, Bob Gibbons, summed it up perfectly (he's well known for his sage comments on orchestral life), stating that the conductor has to not only be helpful and encouraging to the competitors, but able to guide them a little without undermining their interpretations, and they must be a conductor utterly on top of the repertoire.

Additionally, because the human voice is such a delicate instrument, we in the BBC National Orchestra of Wales need a conductor who is utterly aware of the constantly fluctuating balance problems between singer and the full forces of the orchestra. Jun Märkl has made accompanying the competitors not only a pleasure, but also very easy.

On Monday afternoon, we had a run through with each competitor in St David's Hall, then a long dinner break before the round. As you will know by now, Jamie Barton of the United States was crowned the victor. However, I also really liked Katherine Broderick's Letter Scene from Tchaikovsky's Eugene Onegin (sooooo expressive), Marko Mimica's Verdi (gloriously dark bass-baritone sound), and Kihwan Sim's La Calunnia from Rossini's Barber of Seville (perhaps the only obviously humorous turn of the evening).

However, I firmly believe that, as in all competitions, programme is everything, and not only did Jamie Barton (wearing a stunning cobalt blue) sing splendidly, but her programme allowed her to show off all the facility of her technique, and a real variety of styles.

Coming offstage at 10.25pm, the orchestra were all very aware of being back in the studio at 10am the next day to prepare for our next outing (Concert Three). The short post match orchestral analysis suggested that our members were in agreement with the panel's decision, although Katherine Broderick was very much enjoyed by all. And so, Cardiff Singer of the World 2013 Round One, drew to a close.

BBC Cardiff Singer of the World

Laura Sinnerton — Fri, 21 Jun 2013 13:29:40 +0000

There are some events that without a doubt have their own unique aura. The Aldeburgh Festival, the Three Choirs Festival, and the BBC Proms, for example, all have a real electric undercurrent. They bring with them a collective feeling of pride in our music making, of renewed commitment to creative excellence, and, quite simply, an honest love for music and the arts.

Now in its 30th anniversary year, BBC Cardiff Singer of the World is another of these events with its own special atmosphere. It is a competition of international renown, and without doubt, a very big deal, but equally the atmosphere is like that of a week-long festival dedicated to the celebration of the opera world's emerging talent.

There is a very special atmosphere in St David's Hall as the auditorium doors close for the first round. As the house lights go down, and the stage lights come up, the audience waits in agitated silence for the first competitor to take to the stage.

The audience plays a very special role in Cardiff Singer, with many of the audience members attending all the rounds, all the lieder rounds, and all the associated events. Pre-round, post-round and during the interval, the bar areas are abuzz with in depth discussion of the competitors.

Favourites emerge, and are heatedly defended by their supporters, arguments ensue about repertoire, and who should have sang what, or who would be great to hear in a particular role, past competitors are recalled, and, obviously, frocks are discussed at length.

It is much the same in the BBC National Orchestra of Wales. Working closely with the finalists in rehearsal before their round, we have the opportunity to see perhaps a little bit more of their personality than the audience does when they walk onto stage with their 'game face' on, and so players very quickly find themselves rooting for one competitor or another.

What a feeling it must be to be a competitor in this competition. There is a two year build up to it (although obviously that is a mere blink of the eye in terms of the years of training and dedication the finalists will have already put into their careers), you are representing your country, and you are in a very public shop window for the bookers of pretty much every major management, opera, broadcasting and recording company out there.

Just take one moment to try to imagine yourself in that position, waiting in the wings. One step will take you out onto the stage. You walk out to applause, in front of the members of the orchestra, trying not to trip on the set or electrical cables.

You shake hands with the maestro. You take a moment to gather yourself and calm your breath, before turning to face the darkened auditorium with its sea of unknown faces, and the very well-known faces of the panel illuminated by the lights on their table - all these faces focused squarely on you.

You try to ignore the TV cameras pointed at you, try not to think of the multitude watching this at home. You inhale, filling your lungs with air and as the orchestra start to play you begin your programme. You've only one chance, and in such a short time, it is over.

BBC Cardiff Singer of the World is an incredible competition to be involved in. The talent of the competitors is staggering, and it is an honour to hear them at this stage in their careers. You can see coverage of this year's competition on BBC Two Wales and BBC Four, and you can also follow the action as it happens on Twitter.

Frockwatch: the rules

Maggi Willis — Tue, 18 Jun 2013 13:56:44 +0000

Maggi Willis, resident Frockwatcher for BBC Cardiff Singer of the World, considers the tricky question of how to present yourself best on stage.

Few music colleges prepare their students to develop their own personal presentation style, however excellent the quality of their musical tuition. But we live in a visual age and often opera reviews contain as many words about the visual as about the aural.

It is important that each Cardiff Singer competitor makes full use of their short time on stage – both with voice and presentation – to capture the attention of jury and audience alike. So, leaving aside the music, Frockwatch's role is to look at how they present themselves onstage.

Of course, the most immediate impact often comes from the outfit. Let's consider first the female competitors. Where do they start?

The design can be a tricky choice. Personal style and comfort are important but there are other points to consider. Strapless dresses may look 'naked' in TV close-up – those cameras can get quite close!

Then there is the question of repertoire. While no one expects authenticity, too much flesh on display sits uncomfortably with tormented nuns and consumptive virgins.

Off-the-peg or made-to-measure? Off-the-peg may be cheaper but, even with alterations, may be inappropriate onstage: fabric too flimsy for stage lights or too revealing of muscle action; straps not reliable - all sorts of unexpected disasters could await.

Many singers prefer the support of a corsetted dress which can require a specialist costumier. This also gives confidence and allows her to choose her own colour and fabric, with the help of an expert. Budget obviously plays a major part and many singers have told me of their families' contributions to the costs.

Irina Lungu's corseted bodice allowed her the freedom to make dramatic gestures.

There is one other danger area that may be best avoided. Looking back over 30 years' worth of outfits, it's the contemporary fashion styles that have not stood the test of time. No fingers will be pointed here – but one decade's fashion is another decade's faux pas. Beware!

Female singers have an advantage over the men because they can wear colours to stand out against the all black worn by the orchestra. Now what about those men?

My most over-used phrase when writing Frockwatch is "he wore tails". There are practical reasons of course. White tie and tails is a serious investment for a young singer and will see him through many engagements. A well-made suit is constructed to pull back the wearer's shoulders and make him stand upright – ideal for singing.

Some men add personal details. In 2001 Leigh Melrose had his jacket lined in red silk; not visible to the audience other than an occasional tantalising flash and surely a confidence-booster. He also had a handsome cream brocade waistcoat. Not all men remember to elegantly conceal that untidy shirt/trouser waistband junction.

There are variations of evening wear that are less reminiscent of Pavarotti. The long-line jacket, single-breasted, with either a Nehru collar or slim lapels, is a handsome choice. It also gives a sense of early 18th century fashion without appearing to be fancy dress.

Just occasionally, the male peacock is seen in the land - the countertenor. Now, most countertenors dress conventionally but some embrace their theatrical side more readily.

Sergejs Jegers stood out in 2005. I remember vividly a suit with a red piped line running from mid-left shoulder, down the left trouser crease and onto the co-ordinating shoes.

Sergejs Jegers (Latvia, 2005) showing countertenor style in his Song Prize recital

So, you've chosen your dress or suit. How to add the finishing touches? Ah yes, accessories.

Most singers have a favourite heel height they feel comfortable in and which helps their posture. I remember Natalie Christie's high high heels, long before the current fashion, that gave a tiny lady height and presence.

But too many singers (OK, men) forget that their shoes are at the eyeline of the stalls audience. If you are wearing evening suits, smart shoes please, thin soles not stout walking shoes and CLEAN. Toes and heels polished to a shine! And leather soles need to be scored to avoid the 'walking on ice' entrance.

Shawls and stoles are another potential danger area. Ideal for Carmens to flounce and women under threat to hide behind but all too often they slide off the shoulder or force the singer to cling to them like a drowning soul.

There's no easy choice – too soft and they flop pathetically, too stiff and they stand proud and independent of the performance.

Nino Surguladze (Georgia, 2003) used her shawl to help her get into character as Carmen

Jewellery is less contentious but always to be looked for. The female contestants have usually got the measure of it, filling in gaps at neck and wrists, drop earrings at just the right length to give movement but not distract.

More recently we've seen men adding a jewelled detail. These are often a national symbol – think Bryn Terfel's lapel pin or Tommi Hakala's tie clip.

Presentation starts with the way a singer walks on stage. The joy of Cardiff is that the audience is totally on the singers' side. But the singer must also reach out to them and nothing beats a warm, confident smile. It's also good to acknowledge the orchestra – it shows a confident command of the stage.

The next question is how much do you act the role? This is tough because a balance must be struck between opera house acting and wooden and disengaged.

This is no moment to offer your new interpretation of Don Giovanni as a misunderstood orphan. So don't go over the top, don't blend into the background, don't internalise too much, do convey your character's emotion in that song or aria and do share with the audience. There, it's easy!

And please look as if you enjoy it, even though we are all sure it must be scary up there!

As an audience member, there is nothing more enjoyable than to sit back in your seat and sigh at the end of a singer's performance. Not with boredom, but with the pleasure of having spent 20 minutes in the company of someone who has enjoyed sharing their talent with us and successfully delivered the full package.

Gary Griffiths on opera and performing in BBC Cardiff Singer of the World 2013

Laura Sinnerton — Thu, 23 May 2013 15:00:55 +0000

In June, the biennial BBC Cardiff Singer of the World Competition will take place. This prestigious, international contest will see some of the finest voices, on the brink of global careers, converge upon Cardiff to compete for the title of Cardiff Singer of the World 2013.

The Welsh representative will be baritone Gary Griffiths from Pembrey. From an alumnus of the Guildhall School of Music and Drama, where he was awarded their Gold Medal - the conservatory's most prestigious performing accolade - to audiences at Welsh National Opera, Gary is already a familiar face.

As an associate artist of the company, he made his professional début in Così fan Tutte in 2011, and has performed in Don Giovanni, Beatrice and Benedicte, and La Boheme.

Gary Griffiths. Photo: Claire Delaney

I recently spoke to Gary about life as an opera singer, and the upcoming competition:

Many followers of Welsh National Opera will already be familiar with you. What opportunities has your position as associate artist with WNO offered you?

My association with WNO has presented many opportunities, and each opera has provided me with new skills and, more importantly, professional stage experience. The opportunity to work with a top orchestra, top conductors, directors and great singers, in addition to the incredibly high level of coaching received as part of the Associate Artist Programme, has given me a really good grounding.

How do you choose repertoire, and prepare for competition? Do you feel competitions are important to the development of a performer's career?

With competitions, planning is the most important aspect of preparation. If I know I have to put together a 17 minute programme, I will firstly listen and allow gut instinct to choose for me. It has to feel right - I have to be able to see myself up on that stage singing those arias with the orchestra.

Competitions are important for many reasons, most obviously exposure. But it's the experience you gain that is most important - you carry it with you throughout your career.

What does being the Welsh representative in the Cardiff Singer Competition mean to you?

It has always been an ambition of mine to represent Wales in this competition. There are many international competitions, but none where you actually represent your country. I hope it will be a positive thing for my career; I just want to enjoy the experience and show people what I can do.

Which musicians inspire you?

Many different singers, for many different reasons, have inspired me. For Lieder it has to be the late Dietrich Fischer-Dieskau. His knowledge was unsurpassed and his recordings prolific.

For opera, American baritone Robert Merrill; technique and character were at one with each other. Others would be Keenlyside, Terfel, Warren and Milnes. Strangely, the voice that introduced me to singing was Pavarotti. My parents loved the Three Tenors, and as a child hearing his voice was like hearing perfection.

The BBC National Orchestra of Wales will be performing as part of BBC Cardiff Singer of the World 2013 at Concert 1 on Monday 17 June, Concert 3 on Wednesday 19 June and the Final on Sunday 23 June.

Dame Kiri Te Kanawa invites Cardiff Singer 2013 entrants

Cardiff Singer — Tue, 03 Jul 2012 16:08:15 +0000

In 2011 it was a great pleasure for me to follow in the footsteps of my friend and inspiration Dame Joan Sutherland by accepting the invitation to become Patron of BBC Cardiff Singer of the World.

Next year marks the 30th anniversary of this prestigious competition and we are now searching to find the next BBC Cardiff Singer of the World. The competition has a reputation as a hugely important showcase for young singers and the twenty who will be invited to Cardiff will follow in the footsteps of some distinguished predecessors, including Dmitri Hvorostovsky, Bryn Terfel and the first ever winner, Karita Mattila.

BBC Cardiff Singer of the World is open to classical singers of any nationality, resident anywhere in the world and is intended for those at the beginning of their professional careers. For those singers who make it through to the concerts in Cardiff, the competition provides valuable international exposure as well as extensive coverage on BBC television, radio and online. The Final attracts wide media attention as well as the opportunity to sing before a distinguished jury.

Each singer who performs in Cardiff will receive a bursary of £1,000. There is a £15,000 cash prize for the winner and each finalist will receive £2,000. As well as the main competition, singers can chose to enter for the Song Prize for which the winner receives £5,000.

First round audition is by DVD and singers who are shortlisted will be auditioned in person at venues across the world. Finalists will travel to Cardiff in June for rehearsals followed by performances with full orchestra in the National Concert Hall of Wales.

May I encourage you to audition for the next BBC Cardiff Singer of the World - a competition which, as Patron, is close to my heart.

"Good Luck and I look forward to hearing you in Cardiff next year.

Dame Kiri Te Kanawa

Welsh classical performers scoop major prizes

BBC Wales Music — Thu, 10 May 2012 10:06:46 +0000

There's been a flurry of successes for Welsh classical musicians in the last couple of weeks, with two leading young musicians winning major national awards.

Llŷr Williams

Pianist Llŷr Williams beat classical music titans Sir Colin Davis and Sir Harrison Birtwistle to win the Classical Music South Bank Show Award on 1 May at The Dorchester in London.

This self-effacing, serious performer does not seek the media spotlight, but his rare insight and musicality are winning him an increasingly large worldwide fan base for his solo performances and chamber music and song collaborations.

The award was for Llŷr's Beethoven piano cycle at the Edinburgh Fringe Festival in 2011, in which he performed all 32 sonatas at Greyfriars Kirk over a two week period. This is a mammoth undertaking, ranging across Beethoven's output from the early, classical-style pieces to the incredibly intense, introverted sound world resulting from the composer's total deafness.

The cycle was the surprise hit of the 2011 Fringe, attracting the attention of all the major national press. Reviewers included The Guardian's Fiona Maddocks: "I heard three of Llŷr Williams's complete Beethoven piano sonatas recitals at Greyfriars Kirk, each yet better than the last. Inward and serious... Williams communes with the piano as if seeking new layers in a palimpsest. The results, as in the Op 10 set last Monday, can be revelatory." The concerts soon became sell-outs.

After the ceremony, Llŷr said: "It is a great honour for me to receive this award and it is particularly fitting that is should be presented for a big project of substance."

He plans to repeat the Beethoven marathon in London and Glasgow.

Leaders of the contemporary British arts scene gathered to celebrate the awards, now in their 16th year, representing the entire spectrum of British arts. Other winners this year included Michael Frayn, Grayson Perry, Kate Bush, Claire Tomalin, Terry Gilliam and the BBC's Sherlock team.

Llŷr Williams was born in 1976 in Pentrebychan, north Wales, read music at The Queen's College, Oxford and went on to take up a postgraduate scholarship at the Royal Academy of Music where he won every available prize and award. As well as his recital work, he performs as soloist with orchestras across the world, collaborates with violinist Alexander Janiczek and has a strong interest in the Lieder and song repertoire. Since 2003, he has been one of the official accompanists for BBC Cardiff Singer of the World.

Natalya Romaniw

It was also a very good week for soprano Natalya Romaniw, who represented Wales in the 2009 BBC Cardiff Singer of the World competition, reaching the song prize final.

On 27 April, she received both the main and song prizes in the prestigious Kathleen Ferrier Awards, the first time any singer has won in both categories. Rupert Christiansen was there for the Daily Telegaph: " ...there can be no argument that the winner of both the first and song prize is potentially a world-class talent... Natalya Romaniw has a thrillingly large and resonant soprano, which one day could enable her to embrace the big Verdi roles."

Natalya comes from Swansea and studied at the Guildhall School of Music and Drama, receiving the coveted gold medal in her final year. She is currently associate artist with the Classical Opera Company and joins Houston Grand Opera's prestigious Young Artist Programme in autumn 2012.

Cardiff Singer diary: part three

Cardiff Singer — Mon, 20 Jun 2011 16:10:49 +0000

Laura Sinnerton, a viola player in the BBC National Orchestra of Wales, has been keeping a diary during the 2011 BBC Cardiff Singer of the World competition.

Here's her third and final update (from the final), following on from her first and second instalments.

Saturday 18 June

What a week! A number of my colleagues who have seen more Cardiff Singer competitions than they would care to admit have said this has been the finest contest they remember.

On the nights we haven't been performing, I've been glued to my tv watching the orchestra of the Welsh National Opera performing with the competitors of rounds two and four. I actually watched the song prize final twice (how exquisite was Maire Flavin's La Souris de l'Angleterre?).

We now know who the five finalists are, so today we will be rehearsing with the representatives from England, South Korea, Russia, the Ukraine and Moldova.

These last two days of the competition are really quite stressful for the orchestra. The rehearsal day is long and it feels like there is a lot of waiting around. There is just so much music to get through and so little time.

Of course, it is nothing in comparison to the stress that the competitors are under. Some of them will have performed four times by the end of the competition and a few seem to be suffering from sniffles and slightly croaky throats. This competition means so much to the competitors and the pressure at this stage must be huge.

As I've mentioned before, I'm an avid Twitter fan on which the competition has had a huge profile. It's been amazing to see how fiercely it has been discussed.

Tweets are exchanged at lightening speed, opinions on who could lift the trophy are retweeted and challenged immediately; for anyone who thinks the social networking generation are indifferent to competitions showcasing real talent, think again!

If I was asked to choose a winner right now, I would struggle. I'm actually completely in awe of all of them. It is going to be an amazing final.

Laura Sinnerton

Sunday 20 June

Competition final day. It is here, at last! The atmosphere in the hall is incredible. There is a great sense of expectancy; at times you could cut the atmosphere with a knife as the mood swings between excitement, stressed tension and nervous energy.

If ever there was a day that a good meal is needed before a concert, this is it. The concentration the orchestral members must put in is incredible and you are always very aware of the fact that making a mistake could be cataclysmic disaster for the competitor.

Today, I opt for a sushi dinner, but I go easy on the green tea as we will be on stage with no break until the last competitor has performed. That's a long time!

The hall is packed with an obviously excited audience. Meeta Raval takes to the stage first, resplendent in a sea of red satin. This English soprano is so exuberant and genuine in her passion for opera, she was a pleasure to rehearse with and tonight, I am genuinely moved by her performance.

Meeta's final aria 'Beim Schlafengehen' from Strauss' timeless Four Last Songs is one of my desert island discs (we performed the complete work with 1995's winner, the beautiful Katerina Karneus, quite recently).

Ms Raval is followed by Olesya Petrova from Russia who is one of my favourites - I just love her dark voice and the way she uses her face. Her aria from Rimsky-Korsakov's 'The Tsar's Bride is a real highlight for me.

I enjoyed her choice of the Habañera from Carmen as her final piece. It was lovely to see a different side to her in the flirtatious role of Bizet's original diva, Carmen.

Watching Concert 4 on tv, I was completely blown away by Hye Jung Lee's I Am The Wife of Mao Tse Tung from Nixon in China by John Adams. This South Korean's tiny frame completely belies the incredible voice she has.

The pyrotechnics of her coloratura are jaw - dropping and the stratospheric range of her voice is incredible. Her programme must have required so much stamina and I particularly enjoyed her Alcina. I just wish she had sung Madame Mao again!

I thought her outfit was stunning, a very simple white dress reminiscent in shape and style of traditional Korean costume.

The final two competitors have caused conflict between my father and I. My favourite to win is Andrei Bondarenko from the Ukraine. My father likes 'that wee Moldova girl' .

Andrei receives a very warm reception from the audience, he has obviously built up quite a following in Cardiff over this week with his characterful performances and that incredible voice.There is just something so believable about the roles he embodies and appears to have such control over his voice.

He does not disappoint in his performance this evening and the audience react with great enthusiasm. I am very jealous of anyone who gets the opportunity to hear and see him perform Malatesta in Don Pasquale this autumn Glyndebourne Touring Opera).

The final competitor is Moldovan soprano, Valentina Naforniţă. She looks every inch the star in a dress that is both demure and exceptionally alluring at the same time.

The highlight of her programme for me is Je veux vivre from Gounod's Romeo and Juliet. You truly can imagine her not just acting, but embodying this role on stage.

There follows a long interval during which there is pretty much only one topic of conversation! I go outside to get some fresh air and am surprised to see how sunny it is - being in the hall is like entering the Twilight Zone, there is no sense of time or of anything much outside of the hall.

We're eventually ushered back on stage and to tumultuous applause, Valentina Naforniţă is announced, not only the winner of the Dame Joan Sutherland Audience Prize, but also as BBC Cardiff Singer of the World 2011. I can hear my father saying, 'see, I told you so, you'll listen to your old da yet' all the way from County Antrim.

What a week indeed! I feel very honoured to have been part of what I'm sure will go down as a very memorable competition. Congratulations to Valentina, to Andrei (winner of the Song Prize) and to all of the singers. The competitors of 2013 will have a very high standard to live up to.

And the winner is...

Cardiff Singer — Sun, 19 Jun 2011 19:28:41 +0000

In a fantastic final of the 2011 BBC Cardiff Singer of the World competition at St David's Hall, soprano Meeta Raval from England, mezzo-soprano Olesysa Petrova from Russia, soprano Hye Jung Lee from South Korea, baritone Andrei Bondarenko from Ukraine and soprano Valentina Naforniţă from Moldova dug deep into their singing reserves to give the performances of their lives.

The winner of the 2011 Cardiff Singer competition was Valentina Naforniţă, who also won the Audience Prize.

The distinguished jury had a difficult decision to make but the Cardiff Trophy and £15,000 was awarded to Valentina Naforniţă from Moldova.

For the first time, the audience agreed with the jury as Valentina was also awarded the Dame Joan Sutherland Audience Prize. This could have been won by any of the 20 singers competing in Cardiff whether or not they appeared in the Final, and was based only on performances from the preliminary round as the vote closed before the final took place.

All the TV experts got it wrong. Joyce DiDonato, superstar mezzo, and famed voice teacher Mary King thought it would be Andrei Bondarenko or Olesya Petrova; and Nicole Cabell, who won this competition in 2005 and now has a massive career, thought that it would definitely be Andrei Bondarenko.

Opinion on Facebook and Twitter is divided with some people still rooting for their favourites, but on the whole the result has been positively received.

Video clips of all the finalists will be available on the website tomorrow - meanwhile you can view clips from all the preliminary concerts there now, as well as viewing and listening for the next few days on the BBC iPlayer.

Cardiff Singer: Saturday

Cardiff Singer — Sat, 18 Jun 2011 12:29:37 +0000

The audience at St David's Hall was treated to a thrilling Song Prize Final last night. Coverage is on BBC Four tonight at 7.30pm and BBC Radio 3 at 8pm.

If you don't want to know who won, DON'T click on this link.

See the Frockwatch gallery of the Song Prize Final.

Tomorrow is the grand final, with performances from singers by Olesysa Petrova from Russia, Andrei Bondarenko from Ukraine, Hye Jung Lee from South Korea, Meeta Raval from England and Valentina Nafornita from Moldova. Find out what is being sung.

The five 2011 finalists

Today, the finalists are rehearsing and some of the non-finalists are taking part in master classes with members of the jury.

Cardiff Singer: Friday

Cardiff Singer — Fri, 17 Jun 2011 13:00:00 +0000

Thursday night of Cardiff Singer week is always particularly exciting, not just because of the prospect of hearing the singers not taking part in the Song Prize for the first time but also because of the announcement of the line-up for the Final.

If you are saving yourself for the BBC Four programme tonight at 7.30pm, and DON'T want to find out beforehand which of the singers from Uruguay, Ireland, USA, Italy and South Korea was the winner of Concert 4, along with the names of Sunday's finalists, DON'T click on this link.

Dame Joan Sutherland Audience Prize

Voting in the Audience Prize is now open, and closes at around 11am on Sunday. Viewers and listeners in the UK can vote by phone for their favourite singer from the week, irrespective of whether or not they will be in the final. Phone numbers and full terms and conditions are available on the website.

Watch video clips of all the singers to help you decide which will get your vote.

Song Prize

The BBC Cardiff Singer of the World Song Prize Final takes place tonight in St David's Hall. Details of the finalists and programme notes are now available here http://www.bbc.co.uk/wales/cardiffsinger/sites/2011/pages/song_prize_final.shtml

If you can't make it to St David's Hall, you can catch it tomorrow night, on BBC Four at 7.30pm or on BBC Radio 3 at 8pm.

Cardiff Singer diary: part two

Cardiff Singer — Fri, 17 Jun 2011 11:14:15 +0000

Laura Sinnerton, a viola player in the BBC National Orchestra of Wales, has been keeping a diary during the 2011 BBC Cardiff Singer of the World competition. Following on from her opening instalment, here's her second update.

Tuesday 14 June

It is 9.30am and I have already had three cups of coffee (cue phone call from my mother re my disgraceful caffeine habit). The morning seemed to come very quickly after last night's Round 1 competition and I'm off to our studio at BBC Hoddinott Hall for our 10am rehearsal for Concert 3.

Thankfully the studio is fairly empty when I arrive and knock all the music off my stand. I spend the next five minutes crawling around the floor trying to rescue Korngold from underneath the cello chairs. At five to 10 the studio is still rather empty and it is at this point I remember the rehearsal is at 10.30, not 10am. Not the most auspicious start to my day!

When rehearsal does begin, we take the same approach as for the Round 1 rehearsals - a short orchestra only rehearsal, quick cuppa, on with the competitors. Today we are rehearsing with representatives from Germany, Australia, Wales, Moldova and the Ukraine and the breadth of repertoire is even more vast than in Round 1.

We begin with German soprano Susanne Braunsteffer. I was unfamiliar with her opening aria Il est doux, il est bon from Massenet's Herodiade. Its very beautiful and she sounds wonderful, but when we come to rehearse Un bel di vedremo from Puccini's Madama Butterfly, I feel like she is most definitely holding a lot back. Hopefully in the concert she will, as a colleague of mine put it so eloquently 'let rip'.

I've been very keen to hear the Australian mezzo soprano, Helen Sherman. As an avid Twitter user, I hear lots about what she is doing through her YCAT (Young Concert Artists' Trust) representation. I love the sound of a mezzo voice and Helen has a really rich, dark voice.

Helen's programme presents some of the greatest challenges in contrast for the band. Her opening aria, from Handel's Alcina, requires a very stylised manner of playing from the strings and features exceptionally high horn lines. To go from this straight into Walton's much weightier 'How Can I sleep?...At The Haunted End of The Day' and then into the light opera buffa style of the Rossini truly means keeping your wits about you!

Last year, we played for the final of the Welsh Singer competition and tenor John Pierce was the victor on that occasion. It is lovely to hear how his voice has developed and matured in what really is quite a short period of time. His programme includes Donizetti's Una furtiva lagrima from L'elisir d'amore and our principal bassoon, Amy Harman, has been in a state of great excitement about playing this great solo for a number of weeks. Extra sparkles have been purchased in case there are any bassoon close ups.

The gentlemen of the orchestra certainly sit up when Valentina Nafornita from Moldova enters the studio. We all sit up when she starts to sing. Her control is amazing and there is a real honeyed, lyrical quality to her voice. Her Korngold could potentially be a real show stopper.

There are times when a competitor walks in to the studio and the band immediately warms to them. Such was the case with Ukranian Andrei Bondarenko. He comes across as exceptionally humble, very laid back and very pleasant. And his voice? I can't believe he's only 24! If I were a betting woman, I would put substantial pennies on him doing very well.

Laura Sinnerton

Wednesday 15 June

I'm even more excited than normal for tonight's competition (our manager, Byron Jenkins will probably have to sedate me one day soon). In Round 1, all the singers were fantastic, but to me, Russian singer Oleysa Petrova was the standout competitor. Tonight, however, it feels like there is a much more even playing field; any of the competitors could lift the little crystal round winner's trophy, it just depends how their performance goes.

Tonight really does feel like a competition and the mood is reflected by the chat in the band green room. Also, Mark Padmore is being interviewed by Petroc and I have been in awe of Mr Padmore since his Peter Quint in ENO's production of Britten's Turn of the Screw gave me nightmares for about a week - I am now beside myself with operatic excitement.

The competition opens with German soprano Susanne Braunsteffer. She looked fabulous in her black dress with its tight bodice and full skirt. Regarding her aria from Madama Butterfly, 'let rip' she certainly did. This was, for me, the first of many 'goosebumps moments' during this evening's round.

Next up, Australian mezzo, Helen Sherman. I absolutely loved her outfit - very simple, plain, black dress, but with the most stunning black and red embroidered and sequined, long cover up. Helen's opening Sta nell'ircana was outstanding. This gave her a wonderful opportunity to show off her incredible technical prowess as she sang the aria's long melismatic lines with what felt like complete ease.

The last competitor before the interval was Wales' own, John Pierce (tenor). The competition must have added poignancy for Welsh representatives and they must feel a great weight of expectancy. John's programme opened with a real stalwart of the tenor repertory Mozart's Dis Bildnies ist bezaubernd schön from The Magic Flute and he performs it with a great deal more poise than I would be able to summon up under the circumstances! He is given a very warm, deserved response from the audience. I love the little Clogau gold lapel pin he wore - you seen, even the gents can have a part in Frockwatch!

Backstage the orchestra are very excited about the next two candidates who really set the studio on fire in rehearsal. If they sing the way they did then, this is going to be a closely-fought round. Valentina Nafornita took to the stage, resplendent in a grecian style, off white frock with subtle touches of sparkles.

Her opening Verdi was wonderful, but in the Korngold the entire auditorium held its breath. Valentina looks so delicate and yet her voice simply soars above the large orchestral forces of Marietta's Lied (Die tote Stadt ). This was definitely one of the standout moments of tonight's round. Korngold, incidentally, writes a rather lovely viola line.

Last to take the stage, was the Ukraine's Andrei Bondarenko. To me, all of tonight's competitors were stunning, but this young baritone really has that little something extra. He sings four works, not just contrasting in style, but completely contrasting in character.

He seems to have an incredible ability to not just act out the part, but to really embody the character. With his voice, and with his gesture and face, he presented to the audience a myriad range of expression and emotion (not just the yearning for a long lost love, middle distance stare and simper that some singers seem to cultivate).

I particularly enjoyed his Meine Sehnen, Meine Wahnen, again from Korngold's Die tote Stadt and his very funny Quella e una strada (Mascagni). I've always thought comedy must be a difficult thing to successfully achieve in opera without being twee or cliched, but Andrei somehow managed to achieve a very believable and very comic rendition of this song.

The judges could not have been deliberating any more fiercely in their room than the orchestra were, but there was a great sense of satisfaction on stage when Andrei Bondarenko was declared the winner of Round 3. I am so excited to play in the final and really cannot wait to find out who the five finalists are.

If tonight's round is anything to go by, the BBC Cardiff Singer of the World final on Sunday night will be an event not to miss. I'm off to enjoy my free day with my beautiful goddaughter, Rosie, and to buy a recording of Korngold's Die tote Stadt.

The science of Cardiff Singer

Cardiff Singer — Thu, 16 Jun 2011 12:33:04 +0000

This year, the Wellcome Trust is celebrating its 75th anniversary with a series of public events exploring science and medicine through music, theatre, film and the visual arts, and the first of these events, The Science of Singing, is taking place at Cardiff Singer.

In the foyer at St David's Hall, there is an interactive exhibition, which includes a vocal cocktail bar where you can sample natural remedies used by singers over the last 75 years to soothe various different throat-associated conditions.

The vocal health cocktail bar at the Wellcome Trust exhibit at St David's Hall, Cardiff

The Trust is also running two events on Saturday, featuring legendary Welsh soprano Dame Gwyneth Jones, who also celebrates her 75th birthday this November.

The Big Sing, St David's Hall, 12-12.30pm

Consultant laryngologist Tom Harris joins Dame Gwyneth Jones, to talk to a young choir, Solid Harmony, about the biomechanics of singing and the best vocal warm up techniques. The choir then gives a performance of songs made famous by singers born 75 years ago.

Tom Harris shares his top tips for keeping your singing voice healthy in our brand-new guide to vocal health.

Vocal Master Class, Royal Welsh College of Music & Drama, 2.30-3.30pm

Dame Gwyneth Jones will give a master class to students from the College. She is joined by consultant laryngologist Professor Martin Birchall, who will talk about the biomechanics of singing and vocal health.

Full details of all three events can be found on the Wellcome Trust website.

Cardiff Singer: Thursday

Cardiff Singer — Thu, 16 Jun 2011 11:46:26 +0000

The audience in St David's Hall last night were treated to a particularly strong group of singers in Concert 3. The competitors were Susanne Braunsteffer from Germany, Helen Sherman from Australia, local hero John Pierce from Wales, Valentina Naforniţǎ from Moldova and Andrei Bondarenko from Ukraine.

See the full coverage on BBC Four tonight at 7.30pm. If you want to find out who won Concert 3, visit the website.

Concert 4 takes place tonight and it is the last of the preliminary concerts. Taking part are singers from Uruguay, Ireland, USA, Italy and South Korea.

Sunday's finalists will be announced from the stage at the end of the concert, and highlights of concert 4 can be seen on BBC Two Wales at 10pm.

Dame Joan Sutherland Audience Prize

Voting in the Audience Prize opens at around 2pm tomorrow. Viewers and listeners in the UK will be able to vote by phone for their favourite singer from the week, irrespective of whether or not they get into the final. Details of the voting period and full terms and conditions are available on the website. The phone numbers will also appear on the website at the point when voting opens.

Video clips

Watch video clips of all the singers who have performed so far.