8 am ET: Wigmore Hall presents Michael Collins & Michael McHale. The clarinetist and pianist’s program includes Joseph Horovitz’s Sonatina which premièred at Wigmore Hall in 1981. Widor’s
Introduction et rondo was composed in 1898. At its première in 1935, Bax’s clarinet sonata was actually played twice; it was repeated in the program when the sheet music for a work by Lennox Berkeley was lost in the post. Each of the four
Time Pieces by Robert Muczynski highlights a characteristic of the clarinet in terms of range, technical prowess, tone color, and expressiveness. Register, view here and on demand for 30 days. LIVE
Last modified on Fri 14 May 2021 15.43 EDT
The soprano Pauline Tinsley, who has died aged 93, was idolised by audiences and critics alike for her peerless performances in a wide range of repertoire, yet was consistently passed over by the operatic establishment.
The blazing intensity of her singing in such roles as Turandot, the Dyer’s Wife in Die Frau ohne Schatten, Elektra or any number of Verdi heroines could be searing and imprinted itself on the memories of countless operagoers, but notwithstanding acclaimed appearances with Sadler’s Wells Opera (1963–74, the year in which it became English National Opera) and Welsh National Opera (1962–72 and 1975–81), her talents were unaccountably neglected later in her career, both by British national opera houses and by commercial record companies.
Pauline Tinsley, outstanding and popular British soprano who was hailed as ‘a whirlwind’ on stage – obituary
Her Elektra for Welsh National Opera was praised for its ‘stamina, intensity and eloquence of voice and bearing’
Pauline Tinsley rehearsing Aida
Credit: Alamy
Pauline Tinsley, who has died aged 93, was a soprano with a voice of great stamina and penetration whose repertoire of more than 100 roles, ranging from Handel, Mozart and early Verdi to Strauss’s leading ladies and Janacek’s matriarchs, sustained her through 40 years on the opera stage.
Much of her early career was with Chelsea Opera and Welsh National Opera, where she was first seen in spring 1962 as a bright and pleasing Susanna in Mozart’s The Marriage of Figaro. The following season the company also cast her in a new production of Wagner’s Lohengrin. “So I sang Susanna on Tuesday and Thursday and Elsa on the Wednesday,” she said.