Alfie Boe, recently a rather good Tybalt in Roméo et Juliette, rules out working for the "snooty and elitist" Royal Opera House ever, ever, ever again.
What an ungrateful s*** he is. They're well rid of him.
Stephen Follows |
06 January 2011 at 12:24 PM
I do believe a part of it is due to his genuine frustration [talking about it to Dailymail would be insane tho] but I think most of it is just good PR. He's got the new album out with lots of Broadway tunes, and this story should appeal to potential buyers: his background plus a juicy f*off to establishment --> that always works...
Did you see the end of that article?
‘Over Christmas, he received dozens of pairs of women’s underwear from fans,’ I am told. ‘Two girls approached him in the street this week and asked him to sign their knickers — while they were still wearing them!’
Opera Cake |
06 January 2011 at 01:40 PM
"He was one of the stars of the Royal Variety Performance and is fast becoming the pin-up of British opera."
06 January 2011 at 01:44 PM
Well, I wonder what's changed since his MusicalCriticism interview, as recently as October?
"But, as he tells me as we meet soon after the concert, he's equally excited about being back at the Royal Opera House, where he was a Young Artist for six months, for a revival of Gounod's Romeo and Juliet in the secondary role of Tybalt. The mere suggestion that it might be an anti-climax to sing such a relatively small part after being the centre of attention at the O2 is instantly dismissed.
'That's ignorant, man, you mustn't ever say that,' he replies, passionately. 'This is the Royal Opera House, and playing a small role is just as important as playing a big one. The story still needs to get told, and you have a job to do for the principal roles. What I found doing Les Mis was that the whole company, whether a member of the ensemble or a lead role, is a team. It's a team effort. There's no principals. Everybody is important in the production. That goes for a lot of the people I work with. They all respect each other, we all have a job to do, and we're a team. There's no hierarchy. Working here is a great honour – working with fine singers like Piotr [Beczala, the Romeo] and Nino [Machaidze, who plays Juliet]. It's great to support them and be here.'"
And, on leaving the Young Artists? "To be honest, I had got to a position in my career where I'd had enough education and I wanted to get out and start doing it."
So, either he's a little inconsistent or, perhaps - just perhaps - the Daily Mail isn't entirely reliable. But then, he should have thought about that before he ran with the devil...
06 January 2011 at 08:30 PM
Ummmm..... maybe if he could actually sing, we might all take him a little bit more seriously. I'm just back from the Vienna Staatsoper - where the Tenors were really rather good....
06 January 2011 at 10:43 PM
I never knew that he was a car mechanic. This accounts for his aptly-named Nadir at ENO last year, as brutally bawled, hard-toned, unimaginative assualt on a role that is usually regarded as a touchstone of poetic delicacy as I've ever heard. And I thought his Tybalt was grim going, too, a voice without colours, warmth or juice. I think I'll send him some of my underwear....
07 January 2011 at 03:37 AM
Mechanic? Underwear? Skiddies comes to mind, if you ask me...
07 January 2011 at 09:59 AM
It really wasn't a piece that did anybody favours, perpetuating as it does, the nonsensical stereotypes of opera. More absurd is the contradiction of him having bailed out of the ROH young artists programme and they still had him back! Most opera singers I know at whatever level come from working-class backgrounds. The man is delusional.
08 January 2011 at 10:19 AM
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daddy I want a harpsichord