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With our mixture of celebrity interviews, leadership profiles and behind-the-scenes features, you'll appreciate the diversity, passion and dynamism of the people who make opera happen. It is the global platform for opera, reaching out to opera lovers worldwide, but also into the heart of the industry from the grassroots to the glamorous.


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New opera proves an asset to the Abbey in St Albans

22 May 2009, St Alban's Abbey, Hertfordshire, UK

Opera Now’s Roderic Dunnett reports from the world premiere  an accomplished chamber opera that recalls the church parables of Benjamin Britten . . .  

With last Wednesday's world premiere of Alban, young British composer Tom Wiggall has served up a cogent chamber opera worthy of Britten’s Church Parables. Admirably structured around a wittily unsentimental libretto by award-winning poet John Mole, Wiggall’s score freshly persuades at every turn, from the haunting initial oboe and strings motif to the forcefully designed confrontations/mishaps that engineer a cogent dramatic build-up, thanks to conductor David Ireson. Director Beckie Mills had her alert large chorus marshalled in impressive detail: slyly plotted, all action relevant, strikingly well-clad (beiges, russets, browns) by Ann Hollowood.

Dominique Thiebaud (Alban’s wife) shines amid six strong principals and a bevy of believable youngsters (notably Alban’s Miles and Flora-like children), drilled to perfection.  Thanks to a shrewdly judged text and Wiggall’s fertile, assured composing, Alban, full of absorbing storytelling echoing the Gospels, easily rose far above a kitsch local-historical piece of amateur dramatics.

Set against the ancient stone-clad backdrop of St Albans Abbey, the ecclesiastical ambience was sensuously lit by Colin Innes-Hopkins, yards from Alban’s martyrdom. This may be harder to recreate in a theatre context, but the strength of the work should mean that it’s eminently viable. This piece should travel (Buxton, York, the Linbury Studio in Covent Garden). It betokens great expectations of composer and producers alike.  

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Opera gets into the swim of things

19 May 2009, Manchester, UK

Juliana Snapper dives into opera

The world’s first underwater opera, You Who Will Emerge From the Flood, had its premiere in one of  Manchester’s half-derelict architectural gems, the Victoria Baths. 86,000 gallons of water were pumped in for a single performance of this new ‘operella’ devised by the Los Angeles-based soprano Juliana Snapper and the Parisian composer Andrew Infanti, and presented as part of the city’s gay and lesbian festival  Queer Up North.

Adorned with swathes of white fishnet and silver sequins, Snapper impressed in the role of Blorkra – a genetically engineered aquatic ‘posthuman’ living 500,000 years in the future. She is used to challenging situations having previously worked with the extreme performance artist Ron Athey on The Judas Tree in which she hung upside down singing until her voice collapsed. But on this occasion a faulty underwater microphone rendered at least half of her underwater vocal sequences inaudible so that the unique sound of Snapper’s voice filtered through water, accompanied by percussive bubbles, was drowned out before it could surface.

What was left was a ululating warble, with snatches of intense soprano tones as Snapper glided through a sea of words by Wedekind, Wagner (Erda’s Warning) and Brecht, sung in German and the forgotten, constructed language of Volapük. Infanti’s watered-down score began promisingly enough, drawing on obscure musical systems and pitches, but ended up burbling on inconsequentially. Film footage featured some live projections of Snapper while the Sing or Swim Choir provided a suitably aqueous background to this soggy night at the ‘operella’. As a piece of performance art, You Who…  had distinct potential which was somewhat thwarted by the technical difficulties.

The experiment is not going to spawn a new genre of underwater ‘operellas’, however, and while Juliana Snapper is clearly committed to expanding the boundaries of music theatre, neither the bland pre-recorded score nor the predominantly unengaging visuals seemed to match that keen seriousness of purpose. As a work I think it is likely to sink without trace.  

Lynne Walker  

The Queer Up North festival continues in Manchester until 25 May.


Grange Park prepares for UK Premiere of Cavalli Opera

1 May 2009


Michael White looks forward to one of the summer's most lively operatic premieres...

Scandalous misdeeds in Ancient Rome, cross-dressing, slap-and-tickle sex.... Cavalli's Eliogabolo, written for the Venice Carnival of 1668 and due for a belated UK premiere at Grange Park opera festival in Hampshire this summer,  sounds like a TV script for Frankie Howerd in the 1970s and is, as its  director David Fielding admits, 'a sort of romp’.

‘But not so much in the way of Up Pompei as I Claudius' adds Christian Curnyn who'll be conducting. ‘There’s tragedy as well as comedy in this piece: after all, the central character ends up assassinated, so it's not all laughs. And in a loose sense  it’s based on history, although the character of Heliogabolus has been cleaned up here and there in the process of turning him into opera.’

Gibbon's Decline and Fall of the Roman Empire sums up Heliogabolus’s reign as ‘inexpressible infamy, beyond that of any other place or time’. Among the many counts on Heliogabolus's charge-sheet are that he drowned his enemies in poisonous petals (a creative death, you'd have to agree), boasted that he never wore the same clothes twice or slept with the same woman, set up an all-female senate for sole purpose of molesting its members, and nonetheless pursued a robustly bi-sexual interest in transvestitism.

This may explain why the piece was apparently never performed during Cavalli's lifetime, though the reasons for its absence from the stage are obscure.  What is known is that it's one of the last Cavalli' operas, composed when Cavalli  was in his mid-60s with long experience as one of the world's first true professionals in opera.

The Grange has seen few performances of Baroque opera beyond Handel’s Rinaldo, and it's a genre that scarcely features on the radar of the company's director Wasfi Kani. ‘But she agreed to Eliogabolo largely because in many ways it isn't quite Baroque,’ says Curnyn. You don't get all those rigid conventions. But you do get very attractive, flowing arioso – though it doesn’t culminate in quite so many tragic laments as you get in earlier Cavalli. There's a lot more comedy...’

Michael White’s full account of Grange Park’s Eliogabolo will appear in the July/August issue of opera Now. Cavalli's opera will receive its UK premiere run at The Grange, Northington (near Winchester) from 4 June to 5 July.

For details of all this year's Grange Park Festival productions, visit www.grangeparkopera.co.uk

The Trial by Philip Glass – 'a truly brilliant achievement all round'

2 December 2014, London, UK

Johnny Herford as Josef K
Johnny Herford as Josef K(Photo: Clive Barda)

Review by Tom Sutcliffe

Christopher Hampton and Philip Glass’s operatic version of Kafka’s The Trial is really a perfect match between composer and librettist. Hampton’s text, brilliantly faithful to the original, is immaculately crafted for opera, and Glass’s impersonal, minimalist music embodies the narrative functionalism with ideal mechanical appropriateness. The performers’ singing and acting, directed by Michael McCarthy and his Music Theatre Wales cast, humanises what happens in a way that serves Kafka’s concept almost more powerfully than his own original writing.

Glass only slightly illustrates the characters in his music, since his minimalist purpose is never to be expressive. The music is constant, reassuring, forgettable infill, with no inherent meaning: aural wallpaper that just accompanies the action or attaches to sung words. The relationship between music and text is much less tedious than usual in a Glass opera, since it so well suits what happens to the story’s principal character,  Josef K,  himself a quixotic, enigmatic figment.

Simon Banham’s costume designs draw on Kafka’s own interwar era, though in a thoroughly realistic way rather than being fecklessly expressionist. It’s the set, with its rigid plain walls filled with secret doors that give onto spaces from which the unexpected and dangerous promptly emerge, that provides a sense of interminable, desperate functionality.

Michael Rafferty conducts. The multi-tasking cast (four roles for Nicholas Folwell) perform flawlessly in this exploration of endlessly mystifying, innocent frustration. Johnny Herford as Josef K is brilliantly sympathetic and also somehow pathetic. Michael Druiett impresses powerfully as both Uncle and Inspector. Gwion Thomas is memorable as the Magistrate and Lawyer. Paul Curievici is a brilliant Titorelli with his failed solution. Amanda Forbes and Rowan Hellier in the four seemingly reassuring female roles, and Michael Bennett as Franz and Block, flesh out the story’s skewed sense of normality. This is a truly brilliant achievement all round.

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Festival Choice: Lu Festival ti tri Culuri

28 April 2014

Rustic charm: setting the scene for Puglia's new Festival of Three Colours
Rustic charm: setting the scene for Puglia's new Festival of Three Colours(Photo: Mark Glanville)

Report by Mark Glanville

Lu Festival ti tri Culuri (The Festival of Three Colours in Pugliese dialect) is a celebration of the music of a region long blessed by remarkable cultural diversity, from the Greek-speaking and gypsy peoples of Italy's south-east corner, to the Albanians near Taranto and the Provençale speakers in the north of the province. Arabs, Normans, Jews, Angevins and Aragonese have all spent time in Puglia and left their mark there.

Paisiello, Giordano and Piccinni all hail from the region and their works have frequently featured in the programmes of the established Festival della Valle d’Itria which takes place in the noble courtyard of the ducal palace in Martina Franca. Performances at Lu Festival ti Tri Culuri will be given in the grounds of my own rather more rustic country mansion near the beautiful medieval town of Oria.

The original intention had been to run a course where mainly amateur participants would rehearse and perform a production of Carmen, learn local dances such as the pizzica-pizzica and perform a piece of their own choosing (the third colour). But I couldn’t have anticipated the quality of those who came to audition. More used to standing in front of the table of an audition panel than sitting behind one, it was an afternoon of sheer delight for me, beginning with a superb rendition by Rebecca Goulden (our Micaëla) of the Jewel Song from Faust worthy to be heard on any major operatic stage. Another highlight was Liszt’s ‘O quand je dors’ performed by the remarkably mature 20-year-old RCM student Kelly Mathiesson, so poised and moving that I was forced to conceal embarrassed tears. Nor can I quite believe that we have managed to engage the services of our outstanding musical director, Philip Sunderland who has recently been conducting ETO’s Paul Bunyan. Jos Vantyler, a prodigiously talented young actor, will make his directorial debut, moving cast and chorus around the mansion's orange grove, church, courtyard and, of course, garage (a perfect smugglers’ haunt.)

Some may find Carmen an odd or perhaps even uninspired choice, but we didn’t want to overstretch ourselves first time around and given Puglia’s own historic tobacco-growing tradition and not always welcome Spanish presence, it seemed only right to transfer the opera’s action to the region itself.

It’s going to be a crazy week of opera, pizzica, Yiddish song, G & S and whatever other flavours our participants plan to share with us. There are still places available in the chorus and one or two small parts, so if you’re up for a week of sheer diversity and madness, one which, I guarantee, will leave you floating on air a lot more uplifting than Ryan’s, then get in touch!

Mark Glanville's full preview feature about Lu Festival ti tri Culuri will appear in the July/August issue of Opera Now. The inaugural Festival runs from 6 to 12 July 2014

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