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Iestyn Edwards, Guildhall trained ***** Variety Headliner, bass-baritone, ***** best-selling author.
Sharing fits of of crazily-gleaned How To...
Create work, tout it, tour it, be disastrous at it, improve it.
'A rare and perfect synthesis of art and larkiness.' The Times
Late (or early) Christmas corporate for the Crystal Maze company at the Phoenix Arts Club. It's where I most wanted a Madame Galina residency. A night for the general public and fellow artistes. The latter still in the panstick la-laing in at curtain down on their own shows. I envisioned everyone from Dame Judi through Jamie, who everyone loves, to the Jiving Jazz Handers.
And of course at every show I'd dance with a topless beauty like Sam, pictured.
Very excited - gigging this weekend for the revamped Crystal Maze TV lot. A terrible line of my dad's came to mind. 'A revamp is when Diana Dors couldn't hear the pianist.'
I'm here all week...
Awash with tea and thinking. I'm getting ready for more opera. Studying with tenor Peter Wedd, working on Dichterliebe for recitals, choosing rep for auditions. When I get going with those, we'll rename this blog: Can we Please Hear your Mozart? Which brings us to the title of this blog entry, and my approach to putting onstage Madame Galina Ballet Star Galactica. I was studying at Guildhall. And bass Robert Lloyd said we end up performing the roles after which we most hanker. By which he meant Figaro, Rigoletto, Papageno - whereas I had started my ballet schwärm and hankered after Odette/Odile and Nikya. And I've since put those dreams onstage.
Which process I must rinse and repeat now for singing. Last week I caught myself dreaming - and what I was singing in the dream was King Marke. And why not - so I reserved the Tristan und Isolde score from Aldeburgh library.
The library Tristan score is such old stock it has the little card warning borrowers not to return th…