Tag Archives: Paul Carey Jones

NEWS: REVIVAL OF ANTHONY BESCH’S ACCLAIMED PRODUCTION OF PUCCINI’S TOSCA OPENS SCOTTISH OPERA’S 2019/20 SEASON

Scottish Opera’s 2019/20 Season begins in October with Giacomo Puccini’s Tosca, a revival of the much-loved 1980 production by director Anthony Besch and designer Peter Rice.

Last performed by the Company in 2012, Tosca opens at Theatre Royal Glasgow on October 16, and tours to Aberdeen, Inverness and Edinburgh. Conducted by Scottish Opera Music Director Stuart Stratford, Besch’s production is set in 1940s Rome, in the shadow of Mussolini’s tyrannical rule. It tells the story of a passionate and ill-fated love, played out against a backdrop of political corruption and intrigue. Besch’s production of Tosca has been a huge hit with Scottish Opera audiences, and has toured to London, Liverpool and Newcastle. It has also been taken up by companies in Boston, Lisbon, Murcia, New Zealand and Oviedo.

Revival Director Jonathan Cocker directs an internationally renowned cast including Natalya Romaniw (Eugene Onegin 2018) and Sinéad Campbell-Wallace (who is appearing in Scottish Opera’s Lammermuir Festival double bill this September) as tragic opera diva Floria Tosca. Tenor Gwyn Hughes Jones (Il trovatore 2015) is Cavaradossi and baritone Roland Wood (Pelléas and Mélisande 2017) is Scarpia, the corrupt Chief of Police. They are joined by Scottish Opera favourites Dingle Yandell (The Magic Flute 2019), Aled Hall (Rigoletto 2018), Paul Carey Jones (The Trial 2017) and Lancelot Nomura (Ariadne auf Naxos 2018).

Stuart Stratford said: ‘Puccini’s Tosca really needs no introduction. It is one of the composer’s finest masterpieces and greatest achievements in terms of musical drama and orchestration. We are delighted that for the first time audiences in the UK have the chance to hear Natalya Romaniw in the title role, performing alongside Gwyn Hughes Jones and Roland Wood. Natalya was last on the Scottish Opera stage in our 2018 production of Eugene Onegin and has risen to prominence following her recent successes at English National Opera and Opera Holland Park, so we are thrilled to welcome her back.’

There are also three Dementia Friendly Performances of Tosca in Glasgow, Aberdeen (for the first time) and Edinburgh. With a running time of approximately one hour 45 minutes, these specially abridged performances are carefully designed to make the theatrical experience more accessible to people living with dementia. Sound and lighting levels are adjusted for the comfort of the audience, and the cast is joined on stage by a narrator. Audiences will also be able to go in and out of the auditorium during the performance and see the show in the foyer areas on TV screens.

Those who wish to discover more about how the production was created can attend Tosca Unwrapped, one-hour tasters delving further into the show, as well as Pre-show Talks. Audience members with a visual impairment can enjoy the full opera experience at audio-described performances, which have a live commentary describing the action on stage without compromising the music.

Tosca is supported by The Scottish Opera Syndicate.

Cast List

 

Tosca                                                                     Natalya Romaniw & Sinéad Campbell-Wallace 

Cavaradossi                                                            Gwyn Hughes Jones  

Scarpia                                                                      Roland Wood

Angelotti                                                                    Dingle Yandell  

Spoletta                                                                     Aled Hall

Sacristan                                                                   Paul Carey Jones

Sciarrone                                                                    Lancelot Nomura

 

Theatre Royal Glasgow, 282 Hope Street, Glasgow G2 3QA

Wed 16 Oct, 7.15pm

Fri 18 Oct, 7.15pm

Sun 20 Oct, 3pm

Tue 22 Oct, 7.15pm

Thu 24 Oct, 3pm (Dementia Friendly Performance)

Sat 26 Oct, 7.15pm

 

Tosca Unwrapped

Mon 21 Oct, 6pm

Tosca Pre-show Talk

Sat 26 Oct, 6pm

Tosca Touch Tour

Sat 26 Oct, 6pm

Tosca Audio-described performance

Sat 26 Oct, 7.15pm

 

His Majesty’s Theatre, Rosemount Viaduct, Aberdeen AB25 1GL

Thu 31 Oct, 7.15pm

Fri 1 Nov, 3pm (Dementia Friendly Performance)

Sat 2 Nov, 7.15pm

 

Tosca Pre-show Talk

Sat 2 Nov, 6pm

Tosca Touch Tour

Sat 2 Nov, 6pm

Tosca Audio-described performance

Sat 2 Nov, 7.15pm

 

Eden Court, Bishops Road, Inverness IV3 5SA

Tue 5 Nov, 7.15pm

Thu 7 Nov, 7.15pm

Sat 9 Nov, 7.15pm

 

Tosca Unwrapped

Fri 8 Nov, 6pm

Tosca Pre-show Talk

Sat 9 Nov, 6pm

Tosca Touch Tour

Sat 9 Nov, 6pm

Tosca Audio-described performance

Sat 9 Nov, 7.15pm

 

Festival Theatre, 13–29 Nicolson Street, Edinburgh EH8 9FT

Thu 14 Nov, 7.15pm

Sun 17 Nov, 3pm

Tue 19 Nov, 3pm (Dementia Friendly Performance)

Thu 21 Nov, 7.15pm

Sat 23 Nov, 7.15pm

 

Tosca Unwrapped

Mon 18 Nov, 6pm

Tosca Pre-show Talk

Sat 23 Nov, 6pm

Tosca Touch Tour

Sun 17 Nov, 1.45pm

Tosca Audio-described performance

Sun 17 Nov, 3pm

IMAGE: operaomnia.co.uk

REVIEW: Scottish Opera: The Trial – Theatre Royal, Glasgow

The nightmarish world of Franz Kafka’s The Trial, a world of surveillance, authoritarian power and injustice, was a work of paranoid fantasy when it was written in 1914/15. However, in 2017, the subject matter of this modernist masterpiece, has proven to have an eerie prescience.

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Philip Glass’s 20th opera, a co-production between Music Theatre Wales, The Royal Opera, Theatre Magdeburg and Scottish Opera, faithfully follows Kafka’s original text, thanks to its pin-sharp libretto by Oscar-winner Christopher Hampton. Enhanced by its innovative score by Glass, this is opera for non-opera goers.

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In this surreal tale, it’s the morning of his 30th birthday, and the unsuspecting Josef K is arrested for an unspecified crime. Initially disbelieving, he refuses to think that this could end any other way but well, but those closest to him urge him to take the charges seriously. As time ticks ominously by, and confronted by a parade of unpredictable characters and absurd situations, (including a web-fingered maid, a portrait artist, lawyers, court officials and a pair of guards that are dead ringers for Tin Tin’s the Thompson Twins) he increasingly realises that this nightmare may be one from which he can never escape.

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There’s a danger that Kafka’s bleak story (though one that is blackly comic) coupled with Glass’s (in his own words) “music with repetitive structures”, played out on a minimalistic set, could be entirely one-dimensional, but it manages to be grippingly atmospheric. There are flashes of the great Bernard Herrmann in Glass’s score and the music matches the mood of the piece perfectly, a menacing bass line ramping up the discomfort throughout.

Sung in English, The Trial’s accessibility is one of its strengths, that and the talented eight-strong cast. Sure-footed and fine-voiced, Nicholas Lester delivers a well-judged Josef K, veering between nonchalance and despair perfectly. Scottish Opera Emerging Artist Elgin Llyr Thomas makes his mark too, a singer with a successful future ahead of him, he shines brightly in the array of roles he’s charged with tackling.

Scottish Opera’s first production of 2017 perfectly showcases the diverse repertoire the company is increasingly becoming known for.and long may it continue.

Next up for the company is Debussy’s Pelléas et Mélisande, a Sunday Series concert performance of L’Enfant Prodigue, a lesser-seen Debussy work and the much-loved Opera Highlights tour.

For more information visit: https://www.scottishopera.org.uk/