The Seckerson Tapes: Philanthropist Ian Rosenblatt

The man who brought Flórez and Cura to these shores reveals all

It has been said that making money is music to the ears of any entrepreneur. In the case of Ian Rosenblatt you might need to turn that concept on its head. The music itself is his passion and the financial losses he routinely absorbs in pursuit of musical excellence is for him a small price worth paying. Well, not so small actually: through Rosenblatt Solicitors - his prestigious City law firm - he spends around £400,000 a year financing the Rosenblatt Recital Series, a now internationally recognised platform for up-and-coming operatic talent. Major young singers of today, stars of tomorrow.

Opera has been Rosenblatt's passion since his Liverpool childhood when his father routinely listened to Verdi's La Traviata over breakfast. After moving to London Rosenblatt would queue for the real thing outside the Royal Opera House, Covent Garden until one day its former artistic director asked if he might be interested in sponsoring the first London concert by a rising young Argentinian tenor José Cura.
That was in 1999 and a year later Rosenblatt's 40th birthday present to himself was to found the Rosenblatt Recital Series. Among his conspicuous successes have been the Peruvian superstar tenor Juan Diego Flórez who enjoyed his UK recital debut under Rosenblatt's auspices and will be returning this year to say thank you. In this exclusive audio podcast, Edward Seckerson, a fellow Liverpudlian and operatic soulmate, hears the Rosenblatt story at first hand.

<font color="#333333" size="-1"><a href="http://tadcasts.podbean.com/mf/play/4z8a9s/IanRosenblattmix.mp3">Listen to this episode</a></font>


[Musical extracts featuring Juan Diego Florez, Ailyn Pérez, and Lawrence Brownlee all taken from Ian Rosenblatt recitals.]


Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.

rating

0

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

DFP tag: MPU

more opera

Gods, mortals and monsters do battle in Handel's charming drama
Dance and signing complement outstanding singing in a story of virtue rewarded
Appealing performances cut through hyperactive stagecraft
Jakub Hrůša’s multicoloured Puccini last night found a soprano to match
A Sister to remember blesses Puccini's convent tragedy
Eye-popping acrobatics don’t always assist in Gluck’s quest for operatic truth
Cast, orchestra and production give Jennifer Walshe’s bold collage their all
Janáček superbly done through or in spite of the symbolism
Allison Cook stands out in a fascinating integrated double bill of Bernstein and Poulenc