She grew up in Cheshire, born to two painters, Mark Coote and Mary Moss, and learned her craft at the Guildhall School of Music and Drama, the Royal Northern College of Music and the National Opera Studio. [3] In 2009, she appeared as Maffio Orsini in Donizetti's Lucrezia Borgia at the Bavarian State Opera. He’s a friend. In March 2017 she reprised the role of Idamante in six performances at the Metropolitan Opera. You can find all of our 2020-21 season concerts in one handy pdf brochure here. Metropolitan Opera audiences have applauded English mezzo-soprano Alice Coote in a wide variety of roles: as a plucky Cherubino, a steadfast Hansel and, most re It’s exciting to be part of the festival, particularly the way [novelist and Brighton Festival Guest Director] Ali Smith is joining with us to explore gender. Mezzo-soprano Alice Coote is regarded as one of the great artists of our day. Who are we kidding? There is a huge spectrum, and yet I have always refused when a director or designer has suggested I wear a false penis under my costume to make myself feel “more male”. [8], "Portrait of the artist: Alice Coote, mezzo-soprano", "Opera's Alice Coote on trousers, English songs", "Alice Coote: 'Nothing touches people more than the human voice, unadorned, "Transcript of interview of Alice Coote and Julius Drake", "Mozart's 'Idomeneo' Shows the Met Opera at Its Best", https://en.wikipedia.org/w/index.php?title=Alice_Coote&oldid=969834603, Alumni of the Guildhall School of Music and Drama, Alumni of the Royal Northern College of Music, Articles with dead external links from March 2019, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 27 July 2020, at 17:33. Overleaf: watch Alice Coote perform "Under The Shade" from Handel's Xerxes in rehearsal with the ENO in 2014. Mahler: Das Lied von der Erde (Song of the Earth), Schubert Winterreise D911 - Wigmore Hall Live, Schubert: Winterreise (Wigmore Hall Live). It was fitting, then, that Alice Coote and Julius Drake should open the final weekend of the eleventh festival. She attended London's Guildhall School of Music and Drama, Manchester's Royal Northern College of Music, and the National Opera Studio. It feels like my home town really because I live at the top the South Downs in East Susses so, when I try to calm myself down after travelling abroad, I regularly drive up to Ditchling Beacon and look down over Brighton to the sea. When I have experienced that and it’s great, it’s truly extraordinary. It used to be a much more lonely affair. 2, Ging heut' morgen übers Feld, Rückert-Lieder: No. An interpreter of Handel[6] she has also performed contemporary pieces such as Dominick Argento's From the Diary of Virginia Woolf, a partly atonal work first performed by Janet Baker, who influenced Coote. Although that’s the place I end up performing, my preparation time needs to be in a quiet place where the only sound I can hear is music I’m preparing. Anybody who does this job knows that. Equally famed on the great operatic stages as in concert and recital she has been named the ‘superlative British Mezzo’ (San Francisco Chronicle). Alice Coote, mezzo-soprano in the organ room, Glyndebourne. “Alice Coote ushering us into the beyond with haunting tenderness: on this form, she is matchless. In Europe she has appeared at opera houses including Opéra de Paris and the Théâtre des Champs-Elysées, in Amsterdam, Geneva, Munich, Frankfurt, and Salzburg. For the record I have immediately scuttled out blushing and shocked into reality when I am confronted by the apparatus on the walls. If I’m going to have the nervous energy to perform I need to get away from that. Golly! I’d imagine it was a damn sight more lonely for those people who got on boats many decades ago and it took them five days to get to America. For the majority of that there were no mobile phones, no Skype. There are at least 70 of them in the repertory, and they are by no means limited to baroque opera. Most recently, she has debuted Schubert’s Winterreise at ‘’The Stars of the White Nights’’ Mariinsky Festival in St Petersburg. I have read or heard most of the interviews with her and she sounds like a fantastic person. To sing with a female voice and act with a male persona requires decades of dedication and love for the craft and creative process. Coote was born in Frodsham, Cheshire, the daughter of the painter Mark Coote. Is it my body, my mind, my chromosomes alone, or the conditioning of society? USA and Canadian appearances include Lyric Opera of Chicago, Seattle, Los Angeles, San Francisco, Toronto and the Metropolitan Opera New York. She attended London's Guildhall School of Music and Drama, Manchester's Royal Northern College of Music, and the National Opera Studio. From 2001 to 2003, she was a BBC Radio 3 New Generation Artist. She has appeared to acclaim in roles that range from Dejanira in Handel’s Hercules to Octavian in Strauss's Der Rosenkavalier, from Prince Charming in Massenet’s Cendrillon to the title role in Carmen, and has performed in the world’s greatest opera houses and concert halls, collaborating along the way with conductors including Pierre Boulez, Valery Gergiev and Chistoph von Dohnányi. Opera has always dwelt in this complex and confusing state. They won’t be astounded that somebody’s singing at them within a story. You have performed contemporary pieces, such Nico Muhly’s opera Two Boys - what modern music have you responded to lately? She has performed these roles at Opera North, Welsh National Opera, Scottish Opera, English National Opera, Glyndebourne and the Royal Opera House. Alice Coote (b.1968) is one of the world’s leading mezzo-sopranos. THOMAS H GREEN: Did you know there’s a fan site called Fuck Yeah Alice Coote? I have to change my balance and physical movements from the minute to the large. In 2018 she was awarded an OBE for services to music. Her breakthrough came in 2000 when, within the time frame of a fortnight, she sang Ruggiero in Handel’s … British mezzo-soprano Alice Coote sings the title role. She has a particular interest in this subject herself. Her performances have been described as ‘breathtaking in [its] sheer conviction and subtlety of perception’ (The Times) and her voice as ‘beautiful, to be sure, but, more importantly, it thrills you to the marrow.’ (The Daily Telegraph). It didn’t suit me at all to come straight from the middle of nowhere, near the Delamere Forest in Cheshire, straight down on my own aged 18 having never really left my parents, to be in the middle of the Barbican, underground in concrete. We wanted to do something baroque to explore gender because I’ve spent my whole life playing men. It was a few years of having to be there, when I was training, and a National Opera student. The poetry I sing and the way I feel about the world isn’t at its most healthy in the middle of a city. Highlights of the 2019/20 season include; the title role in Gluck’s Orpheus and Eurydice at English National Opera; Berlioz Roméo et Juliet with the London Symphony Orchestra conducted by Michael Tilson Thomas; Mary Magdalene/Narrator in Elgar’s The Apostles with the London Philharmonic Orchestra conducted by Sir Mark Elder and Mahler Symphony No. There have, I confess, been several occasions over the years when come tea break I have walked out of the rehearsal room straight into the men’s toilets. In this performance of Schubert’s great song cycle, however, it was the piano playing of Julius Drake, rather than Coote’s singing, which penetrated to the heart of the work. Some directors find it preferable not to even try to create the illusion of maleness, and want me to play a transparently “female” male, a choice which actually throws up many more nuanced and interesting questions than those faced by a female actor playing as close to a male as is possible. Just because I have a female body is that the largest part of my identity? Ahead of her solo Brighton festival appearance showcasing Handel’s gender-bending operatic writing, mezzo-soprano Alice Coote reflects on the complexities of a creative life playing ‘breeches’ roles. She will also give several recitals including a programme of Schubert with Julius Drake at Mogens Dahl, Copenhagen, and an evening of Haydn, Tchaikovsky, Schubert, Brahms, and Mahler with Christian Blackshaw at Wigmore Hall, London. In her operatic engagements Coote spends a large part of her time engaged abroad, and in the UK, interpreting male and female roles, such as Dejanira Hercules, Leonore La Favorite, Carmen, Charlotte Werther, Dorabella Così fan Tutte, Lucretia The Rape of Lucretia, Marguerite Damnation de Faust, Penelope Ulysses, Octavian Der Rosenkavalier, Composer Ariadne, Orfeo, Idamante Idomeneo, both Poppea and Nerone L’incoronazione di Poppea, Hänsel Hänsel und Gretel, Sesto and Vitellia La Clemenza di Tito, Sesto Giulio Cesare, Maffio Orsini Lucrezia Borgia, Le Prince Charmant Cendrillon, Ruggiero Alcina and the title role in Ariodante. I find my senses sensitive to sound – perhaps that’s why I’ve ended up being a musician - so being in a city constantly bombarded by sounds, noises and awful rumblings through ones being, I get overstimulated. Ranging from the romanticism of Berlioz to Poulenc’s sardonic humour, the recital encompassed an eclectic mix of French repertoire from the late 19th century into the early 20th.

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