British Library acquires D'Oyly Carte archive
26 October 2015
Costume design working notebook from the 1970s, with production photograph and fabric samples. (Samples relate to a production of The Gondoliers)D'Oyly Carte Archive
Leaves from the autograph score of Iolanthe, by Sir Arthur Sullivan (dated November 1882)D'Oyly Carte Archive
An audition book for the years 1905-1910, containing the slips completed for each artiste who auditioned for the D’Oyly Carte CompanyD'Oyly Carte Archive
The British Library has acquired the archive of the D'Oyly Carte Theatre Company.
The archive includes extensive correspondence with agents and artistes, relating to auditions, casting, personnel, theatres and tours (around the UK and throughout the English-speaking world); programmes, press cuttings, band parts, libretti, prompt books, papers and photographs of the D’Oyly Carte family, contracts, stage managers’ reports, illustrative materials including sketches for costumes and props, cigarette cards, extensive photographs of artistes, productions and special occasions, posters, recordings on various media including discs, reel-to-reel tape, and sound and video cassette and optical disc.
A key item in the archive is Arthur Sullivan’s autograph score for Iolanthe - the last Sullivan score in private hands until its acquisition - along with William Gilbert’s working prompt copy for the same opera.
Founded by Richard D’Oyly Carte (manager of the Royalty Theatre, Soho), with the intention of presenting the operas of Gilbert and Sullivan, the company commissioned Trial by Jury, The Sorcerer and H.M.S. Pinafore. The D'Oyly Carte family owned the company until the death of Dame Bridget D'Oyly Carte in 1985.
The D'Oyly Carte Opera Company's most recent endeavour was a 2013 performance of The Pirates of Penzance (a co-production with Scottish Opera). The two organisations are set to reunite for The Mikado in 2016.
D'Oyly Carte's Ian Martin said: 'This is excellent news for D’Oyly Carte and for the public, as it means that the archive will remain in the UK, be housed appropriately, conserved and properly catalogued. It also means that it will be accessible once again to the public for research purposes.'
The acquisition was made possible with the aid of the D'Oyly Carte Charitable Trust and the Friends of the British Library. Their support includes funding to catalogue and preserve the archive, which is expected to be fully accessible by spring 2017.
D'Oyly Carte Opera Company
Win a copy of Dmitri Hvorostovsky’s new solo album from Ondine
23 October 2015
Renaissance poetry is the theme of Dmitri Hvorostovsky's latest release for the Ondine label, which brings together two masterpieces of song from the 19th and 20th centuries: Shostakovich's Suite on Poems by Michelangelo and Liszt's three Petrarch Sonnets.
The great Siberian baritone's dark, velvety voice proves the perfect instrument for music that runs the gamut from dreamy and passionate to stark and introspective. Shostakovich's Suite is better known in its orchestral version, but here Hvorostovsky is accompanied by the Estonian pianist Ivari Ilja in performances of powerful intensity.
To enter, simply drop us an email with the subject ‘ONDINE’ to email@example.com, or send a postcard to Rhinegold Competitions, 20 Rugby Street, London WC1N 3QZ. Please include your full name, address and a contact telephone number. (Deadline for entries: 28 November 2015.)
Dmitri Hvorostovsky recently returned to the stage following a brain tumour that prompted him to cancel all engagements over the summer. He has just finished a run of Verdi's Il trovatore at New York's Metropolitan Opera, playing a Conte di Luna described as 'gripping' by the New York Times.
Dmitri Hvorostovsky will sing Tchaikovsky's Eugene Onegin at the Royal Opera in London from 19 December to 7 January
Click here to read Opera Now's March 2012 cover feature interview with Dmitri Hvorostovsky
Plans announced for new opera festival at Grange Park
21 October 2015
A new opera festival will launch at Grange Park in 2017.
With Grange Park Opera set to leave the Grange Estate after its 2016 performances, the establishment of the Grange Festival will mean that the annual opera season will continue to take place on the site.
The festival, which will run in June and July each year, will be overseen by Lord Ashburton and his son Mark Baring, owners of the Grange and its park at Northington in Hampshire.
The inaugural Grange Festival will be directed by counter-tenor Michael Chance. The board of trustees will be chaired by the Hon. Sir Charles Haddon-Cave.
Mark Baring said: ‘It has been wonderful to have opera at Grange Park each summer and we are delighted to announce that we will continue to do so. A great deal has been achieved in nearly twenty years, thanks to GPO, co-founders Wasfi Kani and Michael Moody and their staff, and the generosity and commitment of many supporters, donors and visitors.
‘We look forward to working with The Grange Festival to continue what has become a much-loved cultural event. We are extremely fortunate to have two very talented people to lead and chair the new company and, with the encouragement of many other loyal supporters, we much look forward to 2017 and many years beyond.’
Artistic director Michael Chance said: ‘I am particularly excited about the range of possibilities which this extraordinary venue, and jewel of a theatre, offers. I am confident that more than three decades of treading boards and vocal communication will stand me in good stead for this exhilarating challenge, and I look forward to building on the 18-year operatic legacy at Grange Park, which has been truly remarkable. My first task is to assemble a small experienced management team.’
A spokesperson for Grange Park Opera says: ‘We have been working tirelessly to secure GPO’s future since the decision by our landlords to terminate our lease early. The proposed terms for a new lease and certain conditions regarding the governance and management of the Grange Park Opera charity which our landlords sought to impose were not, we felt, in the best interests of the charity.
‘On Monday [19 October] we were advised by our landlords that they no longer wished to continue discussions around a potential new lease for Grange Park Opera at The Grange in Hampshire and that they intend to pursue their own interests there instead.
‘We have achieved so much over the last 18 years and we believe that this is only the start of the full potential that the charity and its team can achieve.
‘We are in advanced discussions over a 99-year lease at West Horsley Place in Surrey, just 23 miles from London, the estate inherited by Bamber Gascoigne from his aunt, the Duchess of Roxburghe. It is an exquisite place, intensely atmospheric, inherently dramatic with venerable trees, glowing brick walls, tiled roofs and secret walled gardens with woodland beyond. In short, it is an exciting new venture at a magical location that has the marked advantage of being closer to London – which will make it easier for many members of our audience, especially younger people.
‘Meanwhile, GPO is putting the finishing touches to the 2016 festival, its swansong at the Grange. This season’s productions are Verdi’s Don Carlo, Puccini’s La Fanciulla, Oliver! starring Simon Keenlyside, Tristan & Isolde in concert with Anja Kampe and a bouquet of arias from the much sought-after tenor, Javier Camarena.
‘This isn’t the end of the story, but very much the beginning of a bigger and brighter story. We hope that you will join us in our final season in Hampshire – and will follow us to West Horsley Place which is, without doubt, an exciting new chapter in the history of Grange Park Opera.’
Since 1998 the Grange Estate has hosted Grange Park Opera (GPO), an independent opera company, at Grange Park and the Baring family had hoped to agree terms to renew their lease. However, 2016 will be the last GPO season at the Estate.
The Grange Festival
Garsington opera award winners announced
14 October 2015
The winners of this year’s Leonard Ingrams Foundation awards have been named as Bradley Travis and Llio Evans.
The awards, which were launched in May 2006 in memory of Garsington Opera’s founder, aim to support, encourage and nurture talented young artists.
Travis, who sang a number of small roles in Garsington's production of Death in Venice and was winner of the Helen Clarke Award last year, said: 'This award has come at absolutely the right time in my career and amongst other things, will enable me to do an intensive course at the Goethe Institute, invest in a number of scores, have specialist coaching in modern music and continue my regular singing lessons.'
Evans, who understudied the role of Despina in Così fan tutte, said: 'Making the transition from student to professional is a difficult and vulnerable time for any young singer, and the Leonard Ingrams Award will enable me to continue to have regular lessons with my singing teacher, and also to develop my technique with leading international sopranos who specialise in the repertoire that I sing. I am extremely honoured to receive this award and overwhelmed by this incredible gesture of faith in my ability by Garsington Opera.'
Two further smaller awards
were also presented: the Helen Clarke Award went to Oliver Johnston, and the Simon Sandbach Award to Daniel Rudge. These awards were made in recognition of their contributions to the company's 2015 productions.
Opera Holland Park announces independence
5 October 2015, London, UK
Dynamic duo: OHP's James Clutton and Michael Volpe(Photo: Opera Holland Park)
Opera Holland Park (OHP) has formally become an independent charity.
The change in status comes after nearly 20 years as a department of the Royal Borough of Kensington and Chelsea. The annual summer festival will continue to perform in its current venue while maintaining its founding values. OHP will receive a one-off grant of £5 million from the Royal Borough to provide a solid foundation for the festival’s future development – a significant sum compared with its annual funding budget of around £450k.
According to OHP’s website, the change was partly prompted by individual donors: ‘We have been encouraged by a significant upsurge in pledges to our new Founders Fund, something we always believed would be the case since donors tend to have a different attitude towards funding an independent charitable entity rather than Council initiatives.’
While acknowledging the Royal Borough’s significant investment in creating and maintaining OHP for so long, the festival’s management team says that its future needed to be secured without jeopardising other critical services – currently under huge pressure from local council budget cuts. OHP also believes that independence will offer them greater flexibility, freedom to plan and capacity to seek funding from other sources.
OHP general director Michael Volpe said: ‘We are very excited to be taking the company into independence after several years of working through the possibilities. Our board is extremely capable and the company itself is in good hands. As managers of the festival, we now have several degrees more flexibility and we know our patrons will be stepping up to the plate to support us. Artistically, our plans are as ambitious and as interesting as ever and our accessibility aims remain solidly in place.’
OHP announced the news on Twitter, dubbing it ‘OHP Independence Day’.
Opera Holland Park
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