William Thomas - The Floral Dance (CSOTW, 15th June 2023)
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- Опубліковано 3 сер 2023
- William Thomas performing "The Floral Dance" by Katie Moss during the Song Prize Final of the 2023 Cardiff Singer Of The World competition.
The English bass sang the role of Nicholas in the British premiere of Samuel Barber’s Vanessa at the Glyndebourne Festival and made his debut at the Vienna State Opera as Snug (A Midsummer Night’s Dream). In the 2022/23 season, William sang Colline (La bohème) for Glyndebourne on Tour and the Seiji Ozawa Matsumoto Festival and Snug at Opéra de Rouen Normandie.
On the concert platform, he has performed Handel’s Messiah with the Academy of Ancient Music/Laurence Cummings, Mozart’s Requiem with Glyndebourne on Tour, Handel’s St John Passion with the Antwerp Symphony Orchestra/von Steinacker and Narbal Les Troyens with the Monteverdi Orchestra/Sir John Eliot Gardiner.
He'll be making debuts at the Royal Opera House, Covent Garden and Teatro alla Scala well as a return to the Opéra National de Paris.
Accompanied by Simon Lepper
Learn more about William Thomas here
• Meet William Thomas (C...
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Amazing, I have fallen in love. I awaite more from him. the tunes that i wish to hear from him!!!!! A rising star😍🥰🔔
Amazing channel
Excellent!! Diction magnificent
Rarely finest quality of bass voice in such young age. Word - class already. Looking forward to hear more and more songs and arias by this voice.
He is not a bass he is a baritone.. far to high for bass.. I'm a bass and I sing much much lower than that.. his lowest note I can't even reach!!
Bravo👏👏👏👏
Lovely me 'andsome!
Fabulous
Fantastic.
Mr Thomas would not be dancing by himself for long! What a great performance! The Jury must have been mad not to put him through: what a bunch of peasants!
He should have had a brass band playing.
Mr Thomas should have won the Competitiom!
Beautiful performance from a wonderful artist recently assaulted by John Eliot Gardiner (a deranged psychopath who should have retired decades ago).
If all the tyrannical conductors had had to retire, Toscanini, Reiner, Karajan, Szell, Klemperer, Mravinsky, Celibidache or Dutoit would not have been on the map of 20th-century music making, and our ears would have had to learn from a majority of untalented second-rate conductors.
I'll never forget the overwhelming emotion I felt when I heard Gardiner conduct Les Troyens at the Théâtre du Châtelet in Paris twenty years ago. It brought tears to my eyes. The French audience shouted out their gratitude to him with repeated, full-throated "merci!", which made a huge impression on me.
So perhaps, under the combined effects of the heatwave and medication that impaired his judgement, Gardiner slapped a singer 52 years his junior in the same way you slap a child who's done something stupid, but you only have to see William Thomas to be convinced that he was perfectly capable of defending himself, if not with gestures then at least with words.
@@patricedenicolai9894 I am genuinely pleased that you enjoyed that performance 20 years ago , musicians love to share music with others, but I have to say that I find your logic in this situation very difficult to accept.
In many countries of the world slapping a child is illegal and has been for many years now. In any case , why should any Conductor be allowed to behave like that towards a fellow performer?
In the professional music world the Conductor or Director gives notes before the next performance if something was not to their liking. That is the same the whole world over. They don't just go across and start up in the immediate moments after the performance. There have to be standards of behaviour and discipline for a large musical event to run well even in hot weather.
If your Director or Manager at work had come up to you and instead of using words used 'gestures' as you put it would you have been happy to forget it?
It is alleged that it was a slap and a punch in the mouth. There has been no denial of that so far (apparently there was a group who witnessed what happened,) but an official appology has been published. The musical world is a profession and those who work within it deserve protection from physical or verbal abuse. Even the official , legally formatted written appology states that.
It is perfectly possible to make great music without such behaviour. Many great Conductors have done so and are revered and loved by both performers and audiences.
It is to William Thomas' credit that he did not defend himself because the situation might have escalated into something worse. Instead he apparently left with the group who witnessed what happened. A mature reaction.
And what was his supposed crime , was it to have sung wrong notes and ruined the performance? No , apparently it was simply that he made a mistake on which side to leave the stage at the end of the performance. That might even be explained by the way the curtain calls or exits were rehearsed or not. It is customary to rehearse these.
Do you really think such a minor issue, which could have been corrected with a director's note before the next show, deserved the reaction he got?
@@patricedenicolai9894 There are many talented conductors who don't assault singers. There's no excuse for Gardiner's behavior.
Two sides to every story
@@ktw70 name one then