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BPO: Brahms & Beethoven

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The Dome, Brighton, 11 January 2015

Andrew Gourlay brought bite and enthusiasm to his reading of both the Brahms’ Piano Concerto and Beethoven’s 7th Symphony. The symphony was conceived as a single arch, opening with controlled crescendi before launching into the gentle dance of the first theme. There was nothing deadly about the slow movement, its rhythms seeming closer to the scherzo of the 5th rather than the funeral march of the 3rd. The third movement romped along with a rather soupy Trio from the horns before we were almost literally blown away with the speed of the finale. It was a compelling approach which was obviously to the taste of the audience.

Brahms’ first Piano Concerto proved somewhat more problematic. Tempi were again on the fast side, with a fine sense of tension between the more strident passages and Brahms’ more indulgent moments. However, not until the final movement did the soloist, Martin Roscoe, seem to be fully at ease with the orchestra. Though there had been nothing to fault with his own approach, in the opening movement his playing had seemed somewhat distant from the intensity of the orchestra. Thankfully he suddenly came alive in the finale which was full of fire and virility.

 

ENO Director-in-Residence Peter Sellars directs Purcell’s unfinished opera The Indian Queen

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P Sellars

Opening Thursday 26 February 2015, 7.00pm at London Coliseum (8 performances)

Peter Sellars returns to English National Opera following his critically-acclaimed production of John Adams’s The Gospel According To The Other Mary to direct Purcell’s The Indian Queen.

A co-production with Perm State Opera and Teatro Real, Madrid, The Indian Queen has opened to great critical acclaim with audiences in Russia and Spain, “…one of the best theatrical operas in recent years” (El Pais). Sellars takes Purcell’s rich score and incorporates some of the composer’s most ravishing sacred and secular pieces, adding vibrant set designs from Chicano graffiti artist Gronk and choreography by Christopher Williams.

Woven throughout the production is spoken text taken from Rosario Aguilar’s novel The Lost Chronicles of Terra Firma, which recounts the initial confrontation between Europeans and the Mayans of the New World through a personal account from a female perspective. The result is a spectacle of music, theatre, dance, literature and visual art.

The Other Mary and The Indian Queen have a shared theme of retelling history recorded by men through the eyes of women – bringing out the humanity of the work and giving a voice to individuals who, over time, have been erased from history.

Opera and theatre director and winner of 2014 Polar Music Prize (often called the ‘Nobel Prize for Music’), Peter Sellars is one of the most innovative and powerful forces in the performing arts in the world. A visionary artist, Sellars is known for engaging with social and political issues through art. Sellars is Professor of World Arts and Cultures at UCLA (University of California, Los Angeles), where he teaches Art as Social Action and Art as Moral Action. The Indian Queen marks the culmination of Peter Sellars’ five-month residency at ENO.

Chicano painter, printmaker and performance artist Glugio Nicandro (known as ‘Gronk’) has designed the set for this production. Best known for his murals, Gronk’s abstract and vibrant set design comprises large, colourful panels that take inspiration from ancient Mayan art.

Baroque specialist Laurence Cummings leads an exceptional cast and the ENO chorus to conduct The Indian Queen. Cummings is Artistic Director of London Handel Festival and Internationale Händel-Festpiele Göttingen. Cummings returns to ENO following his production of Radamisto in 2010 of which The Independent on Sunday remarked, “Lawrence Cummings whips the orchestra into a frenzy of dancing semiquavers and sexily-swung French trills”.

Completing the creative team is costume designer Dunya Ramicova and lighting designer James F. Ingalls.

Young American soprano Julia Bullock makes her ENO debut taking the role of Teculihuatzin, a role she sang at Teatro Real, Madrid in 2013 to great critical acclaim – “The star of this Indian Queen was American soprano Julia Bullock” (Opera News). Winner of the 2014 Naumburg International Vocal Competition, Bullock is currently in her final year of the artist diploma programme at The Juilliard School, New York.

Taking the role of Don Pedro de Alvardo, the Spaniard who falls in love with and eventually rejects Teculihuatzin, is American tenor Noah Stewart. Bachtrack said of Stewart and Bullock’s partnership in the original 2013 Madrid production, “a [performance]…that bursts with chemistry, sensuality and sexuality.”

Stewart is the first black artist to reach Number 1 in the UK Classical Music Charts (a position he reached with his 2012 debut solo album Noah). This role marks Stewart’s ENO debut. During April 2015, Stewart will embark on a seven date UK solo concert tour.

Leading British soprano Lucy Crowe sings the role of Doña Isabel. Crowe last appeared at ENO in the 2013 revival of The Barber of Seville, where she sang the role of Rosina in a performance described as “glorious” by The Observer.

Making his ENO debut, South Korean countertenor Vince Yi takes the role of Hunahpú. A former participant of San Francisco Opera’s prestigious Merola Programme, Yi has sung the roles of Idamante in Mozart’s Idomeneo and the lead in Handel’s Giulio Cesare as part of his time at San Francisco Opera.

American countertenor Anthony Roth Costanzo plays the part of Ixbalanqué. Costanzo has recently sung the role of Prince Orlofsky inDie Fledermaus at The Metropolitan Opera, New York and made his European debut playing the role of Eustazio in Glyndebourne’s production of Rinaldo.

Completing the cast is British tenor Thomas Walker, playing the role of Don Pedrarias Dávila, and South African baritone Luthando Qave, playing the role of Sacerdote Maya.

The Indian Queen opens at the London Coliseum on 26 February 2015 for 8 performances – 26 February, 2, 4, 6, 9, 12 March at 7.00pm, 28 February at 6.00pm and 14 March at 3.00pm

Pre-performance talk: Monday 2 March, 5-5.45pm, £5/£2.50 concs

ENO Music Director Edward Gardner leads the ENO Orchestra and Chorus and an exceptional cast in Wagner’s comic masterpiece

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Opening Saturday 7th February 2015, 3pm at the London Coliseum (8 performances)

meistersinger

ENO Music Director Edward Gardner will lead the “world-class” ENO Orchestra and Chorus (WhatsOnStage) alongside an outstanding cast in Wagner’s comic masterpiece The Mastersingers of Nuremberg. Known for championing British and British trained talent, ENO will field a predominantly British cast led by one of ENO’s major discoveries of recent years, Iain Paterson, making his role debut as Hans Sachs.

Originally created for Welsh National Opera in 2010, Richard Jones’s spectacular staging of Mastersingers comes to London for the first time. Jones provides a “clear and brilliant” (The Arts Desk) retelling of Wagner’s drama about the 16th-century guild of amateur poets and musicians called The Mastersingers. The tensions between creativity and conformity are played out in a society obsessed with rules and regulations.

This production originated at Welsh National Opera where Richard Jones’s “questingly intelligent staging” (Daily Telegraph) was enthusiastically received. The Mastersingers of Nuremberg forms part of a series of works that Richard Jones will direct as part of an ongoing collaboration with ENO. His recent productions for the company include Rodelinda and The Girl of the Golden West, both of which received an outstanding critical and audience response. Richard Jones has been made a CBE for Services to Music in the recent New Year Honours List.

Leading Wagnerian bass-baritone and former ENO Company Principal Iain Paterson will sing his first Hans Sachs. This will be his second Wagnerian role debut this season, following on from his “impassioned and magnificent” (WhatsOnStage) success as Kurwenal in Christof Loy’s production of Tristan und Isolde at the Royal Opera House.

Brilliant singing-actor Andrew Shore, whose ENO triumphs range from Donizetti to Britten, makes his stage role debut as Beckmesser. He was most recently seen at ENO in the twin cameos of Benoit and Alcindoro for La bohème, and will return to the London Coliseum in May as Major-General Stanley in Mike Leigh’s new production of The Pirates of Penzance.

British soprano Rachel Nicholls, an exceptional and experienced Wagnerian, sings the role of Eva. She sang her first Brünnhilde inGötterdämmerung for the 2012 Longborough Festival, returning for three complete Ring Cycles in 2013, and was described by The Guardian as “The most impressive British Brünnhilde for years”. Her performances as Senta in Scottish Opera’s 2013 production of The Flying Dutchman were described as “powerful” (The Times) and “spellbinding” (The Scotsman).

Welsh tenor and ENO favourite Gwyn Hughes Jones, who “just gets better and better with every appearance” (theartsdesk.com) will sing the role of Walter.

American bass James Creswell, an “impressive” Sarastro (The Stage) in Simon McBurney’s ENO production of The Magic Flute will sing the role of Pogner. He will be joined by ENO Harewood Artist Nicky Spence as David and former ENO Young Singer Madeleine Shaw as Magdalene. Completing the cast is baritone David Stout as Kothner. He recently performed at the London Coliseum in the title role of Fiona Shaw’s The Marriage of Figaro.

2014/15 will be Edward Gardner’s final season as ENO Music Director. Described as a “natural and exciting Wagnerian” by The Guardian, Gardner was nominated for an Olivier Award for his 2012 performances of The Flying Dutchman. His performances of Otelloopened the ENO 2014/15 season in September, with the Daily Telegraph writing that “Edward Gardner’s conducting of his splendid orchestra was incandescent in its magnificence”. Gardner will return in June to conduct his final production as Music Director, The Queen of Spades.

The creative team is completed by set designer Paul Steinberg, costume designer Buki Shiff, lighting designer Mimi Jordan Sherin and choreographer Lucy Burge.

The Mastersingers of Nuremberg opens at the London Coliseum on Saturday 7th February for 8 performances – Feb 7, 14, 21 & Mar 7 at 3pm, Feb 18, 25 & Mar 3, 10 at 5pm

Brighton Philharmonic Orchestra’s 90th

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Brighton Philharmonic Orchestra’s 90th season continues on Sunday 11th January at 2.45pm at Brighton Dome with pianist Martin Roscoe and conductor Andrew Gourlay presenting a programme that features two giants of the orchestral repertoire – Brahms’ Piano Concerto No.1 and Beethoven’s Symphony No.7.

Pre-concert interview with Martin Roscoe and Andrew Gourlay in the Education Room, Brighton Museum at 1.45pm: tickets £3.50  NB: Limited availability for pre-concert interview due to venue – book early!

Tickets for concert & interview are available from Brighton Dome Ticket Office in person, by telephone (01273) 709709 & online at: www.brightondome.org

Details for this and future concerts are available on our webpage at: www.brightonphil.org.uk

New Year’s Eve with the BPO

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Stephen Bell

It would not seem like New Year without the Brighton Philharmonic Orchestra’s annual gala at The Dome, and this year was no exception. Stephen Bell guided us from the podium through a rich collation of familiar Strauss pieces, along with just a soupcon of unusual works, and arias from soprano Susana Gaspar.

Suppe’s Overture Poet and Peasant started quietly with a finely crafted cello solo from Peter Adams, but soon rose to more extrovert enthusiasm which became the hallmark of the afternoon. Strauss Polkas dominated the shorter items, with Josef’s Ohne Sorgen, Johann’s Tritsch-Tratsch, Champagne and Pizzicato Polkas. For more substantial works we heard Roses from the South, Enjoy Your Life, the overture to Die Fledermaus and inevitably The Blue Danube.

Josef Strauss’ delightfully delicate Die Libelle- the dragonfly, was a particular highlight of the first half and in the second Peter Adams was again the soloist for the first Romance for cello and orchestra by Johann junior. This provided a gentle interlude between more substantial items but still reflected the enjoyment of life in late nineteenth century Vienna.

Susana Gaspar

Susana Gaspar brought us operatic favourites in the first half, with an incisive Quando m’en vo and a plaintively seductive O mio babbino caro. Turning to operetta in the second we heard Adele’s Laughing Song from Die Fledermaus and Lehar’s enchanting Meine Lippen from Giuditta. It is difficult to realise that Lehar’s last operetta was written in 1934, almost a century after the first Strauss waltzes, and at the same time that Schoenberg was moving to America.

The final vocal item on the programme was a rarity – Heia! Heia! In den Bergen from Kalman’s Gypsy Princess and proved to be a barnstorming number before the Blue Danube.

Needless to say encores were demanded and we came closer to home with I could have dance all night from My Fair Lady before the Radetsky March sent us off to celebrate the New Year in fine style.  

Hastings Philharmonic Choir: Christmas Carols for all

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hast philA full house at St Mary-in-the-Castle for the annual Christmas Carols for all and an impressive range of material, given that it followed so closely on their autumn concert. A brisk Ding Dong Merrily on High launched the evening, leading straight into the first of five carols for audience and soloists.

A feature of this year’s music was the many quieter, reflective pieces, the first of which was John Rutter’s arrangement of Sans Day Carol followed by his own recent carol Christ is the Morning Star. The first half also brought us Jesu Joy of Man’s Desiring played impeccably by accompanist Francis Rayner and three carol arrangements from Inspiritus Brass. Before the interval we heard In Dulci Jubilo and The Twelve Days of Christmas, but not before we had been able to relax a little more in Mel Torme’s Christmas Song (Chestnuts roasting on an open fire ….) with Marcio da Silva crooning the central section to the delight of us all.

After the interval, as has become traditional, we were joined by a junior choir, this year the 2nd St Leonards Guides, who led us in Born in the Night and the Star Calypso before we were all able to join them in Away in a Manger.

We don’t often get a chance to hear any of the Choir as solo voices but this year we did in an arrangement by Chilcott of O Little Town of Bethlehem. This is a very clever arrangement. At first it feels as though it has no connection with the familiar tune, until the last verse where the carol we all know is added as the descant – a very neat and effective idea.

The choir then gave us the gentle New Year Carol by Benjamin Britten before Marcio da Silva – surely by popular demand – sang O Holy Night, not only excelling himself but bringing an extra frisson to the choir.

Before the final singing of O Come all ye faithful we heard again from Francis Rayner – a softly effective Claire de lune – and three fine carol settings from Inspiritus Brass.

The novelty this year was the inclusion of the Tune-Up Tuesday Singers. Led by Gary Marriott, the group is drawn from various NHS staff and their ‘service users’  who meet to enjoy themselves singing. Their spirited rendition of the Gloucester Wassail added an extra level to the evening, as had the unexpected solo performance of Jesus Christ, the Apple Tree by Gary himself.

Hastings Philharmonic Choir will be augmented in April for Carmina Burana, and they welcome any newcomers who might like to sing with them. www.hastingsphilchoir.org.uk

 

BBC Singers: Messiah

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temple

The Temple Festival ended a fine week with Messiah but this was anything but a conventional performance. King George always complained about Handel having too many fiddles so we can assume he would have enjoyed this arrangement by Stian Aareskjold for wind band and continuo.

This was as a result of a link between the Norwegian Wind Ensemble and the BBC Singers, for which this Messiah was a return visit.

While much of the accompaniment sounded surprisingly close to the original there were many moments which suddenly came to life in a new way – the saxophone solo in O thou that tellest; the Bach-like intensity of the solo flute and continuo in If God be for us – and the use throughout of the variant versions of individual items, all kept us on our toes.

A brisk overture led to an intense reading of Every valley from tenor Samuel Boden and a crisp first chorus from the BBC Singers. Celebrating their 90th anniversary the BBC Singers were in excellent voice, the diction carrying easily across the Temple Church even at high speed.

David Hill takes a strongly narrative approach to his performance, building from a fast moving but somewhat reserved start to an ecstatic outpouring at the Hallelujah chorus which continues right up to the end. Adding in the organ during the Amen chorus was a stroke of genius, giving that final lift – and gravitas from the pedal – which brought the evening to a triumphant close.

Along the way there had been many splendid musical moments. Soprano Fflur Wyn was delicate for the angels at Christmas and radiant in I Know that my Redeemer liveth. Counter-tenor Robin Blaze sang the solo version of He shall feed his flock mellifluously, and the duet and chorus version of O Death, where is thy sting? Samuel Boden’s finely-focussed tenor brought us the alternative version of Their sound is gone out and a spikey attack in All they that see him. Mark Stone was a late replacement as Bass soloist and brought real authority to his arias. His commanding performance of The trumpet shall sound really deserved applause for that one aria alone.

There is no such thing as a definitive Messiah but this was certainly among the most enjoyable I have encountered for some while.

 

DVDs & CDs December 2014

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Strauss: Arabella

Staatsopernchor & Staatskapelle Dresden, Christian Thielemann

UNITEL CLASSICA 717208

Recorded live at the Easter Festival in Salzburg this year, the production has a welcome frisson not only from the quality of the singing but the simplicity of Florentine Klepper’s production which throws most of the weight onto the singers and the sensitivity of their characterisation. Renee Fleming and Thomas Hampson are outstanding as Arabella and Mandryka, and there is an exceptional Zdenka from Hanna-Elisabeth Muller. Christian Thielemann may look unduly calm in the pit but he has no problem creating the emotional storms the score requires.

Wagner: Parsifal

Royal Opera, Antonio Pappano

OPUS ARTE OA 1158 D

I found this production very effective in the opera house and it transfers to DVD with very little loss of impact. While Stephen Langridge’s production upset some, I found the sense of new life – even of resurrection – at the end completely convincing. The musical quality is also of the highest throughout, Antonio Pappano proving yet again he is a fine Wagnerian, and directs a world class cast led by Simon O’Neill and Gerald Finley. Willard White’s Klingsor is surprisingly sympathetic, shifting the balance of the second act and forcing us to reconsider the moral world Wagner creates.

Mahler Chamber Orchestra

With Steven Isserlis, cello, under Teodor Currentzis

EUROARTS 2059818

This recording was made live in the Concertgebouw, Bruges, in 2013 and brings an interesting if challenging programme. It opens with an exhilarating performance of Shostakovich’s first Cello Concerto with fiery playing from Stephen Isserlis. This is followed by a more reserved Sinfonietta by Benjamin Britten before returning to Shostakovich and his First Symphony. While enjoyable as a one off, it strikes me as an unlikely choice for repeated listening.

Bach: Mass in B minor

Arcangelo, Jonathan Cohen

HYPERION CDA6805 1-2

While some of the solo singing impresses, the approach by Jonathan Cohen is often too staid to involve the listener. The opening sections in particular lack dramatic impact and passion, leaving us feeling the music is worthy but ultimately rather dull. It picks up somewhat from the Credo but by then our appreciation has dropped and it never really recovers a sense of involvement. A pity, the musical qualities are potentially very strong.

Dvorak: Requiem

Warsaw Philharmonic Orchestra and Choir, Antoni Wit

NAXOS 8.572874-75

There was a time when the Dvorak Requiem was as familiar as the Verdi or Mozart settings. As fashions change it seems to have dropped out of the regular repertoire which is a pity for it is a very fine work as we can hear from this new recording with Polish forces under Antoni Wit. At Naxos’ low prices this is a real bargain if you don’t know the work well.

Debussy: La Mer

Singapore Symphony Orchestra, Lan Shui

BIS 1837

The Singapore Symphony Orchestra was very well received when it appeared at the Proms this summer and here prove it was not a one day wonder. The approach to a familiar programme of Debussy – which also includes L’apres midid d’un faune and Images – is sound and musically impressive. Lan Shui has a secure feel for the scores, creating long flexible paragraphs full of individual delights.

GLASGOW TOCCATA – ORGAN MUSIC BY ALAN GIBBS

KEVIN BOWYER, organ of Glasgow University Memorial Chapel

PRIORY 1141 (3 CD set)

This set collects a fine selection of Alan Gibbs’ music expertly performed by contemporary organ champion Kevin Bowyer. It is a follow up to Bowyer’s earlier recording of Gibbs’ music and does not duplicate any of the items on that CD. The organ is the substantial 1927 Willis / 2005 Harrison which sounds superb. The programme is well constructed so that it is an engaging listening experience as well as being a good record of this music. I found the first disk the most enjoyable with its emphasis on hymn inspired pieces but enjoyed the whole recording. The notes group the pieces into particular themes (e.g.  “Serial works”, “For Germany”, “For Scotland”) instead of a chronological commentary.  I found this to be an interesting way to look at the programme. As well as shorter pieces and sets there are a number of longer pieces including Sonatas 2 & 3.

OLIVIER MESSIAEN – LES CORPS GLORIEUX & other works for organ

KEVIN BOWYER, organ of Glasgow University Memorial Chapel

PRIORY 1142

An interesting comparison to the above CD set is this single disk from the same organist and organ. The other works are Offrande au Saint-Sacrament, Prelude, Monodie and Verset pour la fete de la dedicace. As to be expected this is another polished production. There are notes on the pieces by the performer. The first two pieces were only discovered after the composer’s death. A good all-Messiaen recital for anyone not wanting the complete works.

SAINT-SAENS- ORGAN WORKS VOL 4 Miscellaneous Works

GERARD BROOKS, organ of Collegiate Church of Staint-Hippolyte de Poligny

PRIORY 1107  78’56

It is unfair to judge a single disk from a collection without hearing them all. This is a good recording of a large collection of music and is the final CD of a set of 4.  Much of the music is service music which in the context of worship (or as a single item in a more varied concert) would have been fine but I tired of this programme. However, a couple of lively marches towards the end did reawaken my interest. As part of the set I’m sure this is a welcome conclusion but for me it doesn’t really work as a standalone disk.

MUSIC FOR EVENSONG AT GLOUCESTER CATHEDRAL COMMEMORATING THE START OF THE “WAR TO END ALL WARS” ON 4TH AUGUST 1914

GLOUCESTER CATHEDRAL CHOIR, conductor ADRIAN PARTINGTON
JONATHAN HOPE, organ of Gloucester Cathedral

PRIORY 1128

It may be argued that commemorations of the start of the First World War have already reached saturation point. However, it must be said that alongside the need to remember the beginning of such a shameful episode in the history of the modern world, it has been good to revisit some of the largely forgotten musical material from this time. I like the idea of commemorating important occasions with a carefully constructed sequence such as this. Included in this act of worship is an extended chorale prelude and a chant by Ivor Gurney, music from that time by Naylor, Goss and Vaughan Williams. Settings by Neil Cox and John Sanders,  both musicians more recently associated with the cathedral, are featured. The service ends with Parry’s “The Wanderer” Toccata and Fugue. Interesting and moving.

THE COMPLETE PSALMS OF DAVID VOLUME 7 SERIES 2

WAKEFIELD CATHEDRAL CHOIR, director THOMAS MOORE, organ SIMON EARL

PRIORY 1120   75’53

Another very welcome addition to the current series of Psalms sung to Anglican chant. This volume covers psalms  89-104. As with previous volumes there is an interesting selection of chants and well chosen registration which brings additional colour and expression to the psalms. The choir creates a very clear sound and, whilst full texts are included in the booklet, it is often possible to completely follow the words unaided. Sadly this is not always the case with recordings or in live situations. This is proving to be an excellent new series.

BH/SP

 

 

New Year at ENO

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The Mastersingers of Nuremberg (7th February – 10th March 2015)

ENO Music Director Edward Gardner will lead the outstanding ENO Chorus and Orchestra alongside an exceptional cast in these performances of Wagner’s epic masterpiece.

In a spectacular staging by director Richard Jones, Wagner’s only comic opera explores the tension between artistic creativity and conformity as it is played out in a society obsessed by rules and regulations.

From the ever-popular overture’s magisterial opening bars, Wagner’s score is full of glorious melodies and stirring choruses, revealing the composer at the height of his musical and dramatic powers.

The Mastersingers of Nuremberg opens on the 7th February for 8 performances. Tickets are available at eno.org / 020 7845 9300

 

The Indian Queen (26th February – 14th March 2015)

ENO’s director in residence Peter Sellars presents a newly contextualised version of Purcell’s The Indian Queen, which describes the first contact between Europeans and the Mayans of the New World from the perspective of the women who forged a new society.

Sellars takes Purcell’s glorious but incomplete score and incorporates some of the composer’s most ravishing sacred and secular pieces, adding vibrant set designs from graffiti artist Gronk and a text based on Nicaraguan author Rosario Aguilar’s novel The Lost Chronicles of Terra Firma.

The result is an astonishing spectacle of music, theatre, dance, literature and visual art that promises both an exceptional musical and theatrical experience.

The Indian Queen opens on the 26th February for 8 performances. Tickets are available at eno.org / 020 7845 9300

 

Between Worlds (11th April – 25th April 2015)

This groundbreaking world premiere, performed at the Barbican, is a sensitive, spiritual and uplifting journey inspired by the events of 9/11. The highly anticipated first opera from British composer Tansy Davies, Between Worlds will be directed by critically acclaimed opera and theatre director Deborah Warner,

A disparate group of individuals is trapped high up in one of the Twin Towers, caught between earth and heaven, between life and death.Between Worlds will provide a unique insight to the tragedy and the human experiences of those affected by it.

Between Worlds opens at the Barbican on the 11th April for 8 performances. Tickets are available at eno.org / 020 7845 9300

 

The Pirates of Penzance (9th May – 27th June 2015)

Fresh from the major success of his celebrated film Mr Turner, film-making legend Mike Leigh will make his opera directing debut with this eagerly anticipated new production of Gilbert & Sullivan’s sparkling comic masterpiece.

In a hilarious production where comedy and romance combine with surprising twists and turns, The Pirates of Penzance leads us into a swashbuckling world of orphaned pirates, flat-footed policemen and beautiful women.

The Pirates of Penzance opens on the 9th May for 14 performances. Broadcast as part of ENO Screen on 19th May. Tickets are available at eno.org / 020 7845 9300

GRANT FUNDING AWARDED TO TAKE GARSINGTON OPERA’S EDUCATION WORK AND DIGITAL SCREENINGS ON TOUR TO COASTAL COMMUNITIES

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Garsington Opera is delighted to announce that it has been commissioned by Arts Council England in partnership with East Lindsey District Council to deliver an exciting programme of free opera throughout the country.

Arts Council England has approved £750,000 for the Opera for All programme which will deliver free public screenings, together with extensive education projects, from Garsington Opera. The screenings will take place in the North, South East, South West and Midlands, including East Lindsey. A large-scale programme of education and outreach work is firmly integrated with the digital free public screenings and will provide ground breaking opportunities for communities to be involved in creating and learning about opera.

The project will be delivered through members of the Coastal Communities Alliance (CCA), which has identified areas of low engagement with the arts for the project to target, remaining a key strategic partner for the delivery of the programme.    The project will establish a new network of touring partners through the Coastal Communities Alliance in areas with little existing access to live performance, enabling high quality art to continue to be presented in these regions after the initial three-year period.

In 2012, Offenbach’s La Périchole was broadcast live to Skegness from Garsington Opera, with Sir Terry Wogan as compere. Following this success, in 2013 the SO Festival presented a relay of Humperdinck’s Hänsel and Gretel and in 2014 Offenbach’s Vert-Vert, both from Garsington Opera. Educational projects took place in support of these free screens.

Douglas Boyd, Artistic Director said:

“We are thrilled that Arts Council England is supporting the Opera for All project, which will be delivered in partnership with East Lindsey District Council and the Coastal Communities Alliance. To be able to reach new audiences through extensive education work and free opera screenings in areas that have limited engagement with the arts is vital and will have an enormous impact in the various communities who will participate in the project, as well as for access to opera and the arts nationwide.

This news comes at an exciting time in Garsington Opera’s development as we continue to strive for the very highest quality of production and performance in our award-winning new opera house at Wormsley. We are passionate about sharing our work with the widest possible audience and both this project and the continued work of our brilliant education team clearly demonstrates that what we do off the platform is as important as what we do on it.