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NEWS: SCOTTISH OPERA ANNOUNCES 2023/24 SEASON

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Scottish Opera has unveiled its 2023/24 Season, which includes a UK premiere, a Scottish premiere, a Scottish Opera Young Company double bill, and revivals of some of its most beloved productions. The Season promises to be a celebratory showcase of the power and beauty of opera.

Alex Reedijk, Scottish Opera General Director, said: ‘Following the ambition and achievement of our 60th Anniversary Season, we are thrilled to present a 61st Season of exciting premieres and cherished classics – performed across Scotland and continuing the Company’s reputation for high quality opera, artistic flexibility, and innovation.

‘Sir Thomas Allen’s much-loved, whimsical production of Rossini’s The Barber of Seville returns this autumn and tours to Glasgow, Edinburgh, Inverness, and Aberdeen. Next is the UK premiere of Jonathan Dove’s Marx in London! directed by Stephen Barlow, a madcap comedy seeking to unearth the human side of the great theorist. To finish the Season, Verdi’s ever-popular La traviata returns in Sir David McVicar’s sumptuous production – adored around the world and now back home in Scotland.

‘Scottish Opera Young Company presents an innovative, immersive double bill of Henry McPherson’s Maud and Kurt Weill’s Down in the Valley. Our partnership with Lammermuir Festival continues with Richard Strauss’ Daphne, which receives its Scottish premiere 85 years after its first performance. The French Collection offers the variety, innovation, and crowd-pleasing creations of France’s great composers of the 19th and 20th centuries. Opera Highlights, Pop-up Opera, and schools projects travel to all corners of the country, continuing our unabated dedication to bringing opera to everyone in Scotland. This Season you can also see productions that began their lives at Scottish Opera around the world, from Cardiff to Vancouver.

‘While times are hard for all right now, we are hugely proud of the standards of work achieved over recent years. We are immensely grateful for the loyal support of everyone who makes our work possible, and we hope that you find much to enjoy and look forward to welcoming you soon.’

Stuart Stratford, Scottish Opera Music Director, added: ‘There is so much to look forward to in this new season. I am particularly delighted to present the Scottish premiere of Daphne, a rarely performed work by Richard Strauss. It shows the composer at the height of his powers, and the orchestration is not just about the sonic power of seventy instruments but the subtle blending of all the different colour palettes. The singing roles are as virtuosic as the orchestral writing.

‘Jonathan Dove is one of Britain’s most successful international composers, and his Marx in London! is a brilliant satirical take on one of history’s most iconic and divisive thinkers, which gives real human understanding to all of the protagonist’s idiosyncrasies. It has a really poignant conclusion, relevant to us all today.

‘We are also thrilled to be reviving The Barber of Seville, this time in English, which promises only to strengthen the riotous hilarity of this comic masterpiece. An incredible, first rate cast features in La traviata, originally directed by Sir David McVicar, whose production of Il trittico blew audiences away earlier this year.’

A truly international line-up of singers appears throughout the season. Making their debuts with the Company are Ross Cumming, Paul Hopwood, Inna Husieva, Claire Barnett-Jones, Jerome Knox, Innocent Masuku, Simone McIntosh, Ji-Min Park and Katy Thomson.

There are welcome return visits from Katherine Aitken, Orla Boylan, Francis Church, Alasdair Elliott, Anthony Gregory, Catriona Hewitson, Thomas D Hopkinson, Heather Ireson, Samuel Dale Johnson, Jessica Leary, Hye-Youn Lee, Monwabisi Lindi, Jamie MacDougall, Andrew McTaggart, William Morgan, Colin Murray, Shengzhi Ren, Lucy Schaufer, Lea Shaw, Paula Sides, David Stout, Roland Wood, and Dingle Yandell. 

 

Season 2023/24 Productions

Opening the season this September is the Scottish premiere of Richard Strauss’ Daphne. It forms part of the Opera in Concert series, curated by Scottish Opera Music Director, Stuart Stratford, who is passionate about introducing audiences to rarely performed works. Emma Jenkins (Opera Highlights 2022/23) directs this concert staging, featuring Hye-Youn Lee, Shengzhi Ren, Claire Barnett-Jones and Dingle Yandell, accompanied by The Orchestra of Scottish Opera. Originally premiered 85 years ago, this wistful one-act opera is loosely based on Greek mythology as told in Ovid’s Metamorphoses and Euripides’ The Bacchae. Performed first at Theatre Royal Glasgow, Daphne will then go to St Mary’s Parish Church in Haddington, in partnership with Lammermuir Festival, and to the Usher Hall in Edinburgh in December.

Daphne is supported by Friends of Scottish Opera and The Scottish Opera Endowment Trust.

Sir Thomas Allen’s riotous production of Rossini’s The Barber of Seville, designed by Simon Higlett, opens in October at Theatre Royal Glasgow. First seen in 2007, this is the third time Scottish Opera has presented this delightful comedy, and it tours to Edinburgh, Inverness and Aberdeen. Stuart Stratford conducts Samuel Dale Johnson (Eugene Onegin and Pagliacci 2018) as the titular barber, with Anthony Gregory (Anthropocene 2019) and Simone McIntosh as Count Almaviva and Rosina. Also joining the cast are David Stout (Nixon in China 2020) as Doctor Bartolo, Dingle Yandell (Thérèse 2022) as Don Basilio and Inna Husieva as Berta.

This revival is sung in an English translation by Amanda Holden (Falstaff 2021), and tells the story of barber and fixer, Figaro, who is enlisted by Count Almaviva to woo the beautiful Rosina. However, he first has to deal with Rosina’s guardian Doctor Bartolo who keeps her under lock and key with the intent of marrying her himself.

The Barber of Seville is supported by The Scottish Opera Syndicate.

In February 2024, the UK premiere of Jonathan Dove’s Marx in London! takes place at Theatre Royal Glasgow, before transferring to Edinburgh. The production is directed by Stephen Barlow (who last worked with the Company on Dove’s Flight), with libretto by Charles Hart, and set designs by Yannis Thavoris.

David Parry conducts Roland Wood (Il trittico 2023) as Karl Marx, alongside Paula Sides and William Morgan, last seen together in 2022 in Scottish Opera’s five-star production of Candide. They are joined by Orla Boylan (Breaking the Waves 2020) Lucy Schaufer (The Diary of One Who Disappeared 2020), Alasdair Elliot (The Miserly Knight 2022), Jamie MacDougall (Il trittico 2023) and Paul Hopwood.

Originally written for the 200th Anniversary of Karl Marx’s birth, Marx in London! is set in 1871 over the course of a single summer’s day, and is an examination of the philosopher’s more human side. The spectre of communism might be haunting Europe, but Marx’s demons are far more mundane and closer to home, and his personal life is in chaos. Watched by a spy, chased by debt collectors, harried by his family (legitimate and not), and rescued repeatedly from financial ruin by Friedrich Engels, audiences can expect a madcap production filled with zany humour.

Marx in London! is supported by The Alexander Gibson Circle and Scottish Opera’s New Commissions Circle.

Audiences in Glasgow, Inverness, Aberdeen, and Edinburgh have the chance to experience a revival of Sir David McVicar’s La traviata in May and June 2024. This treasured production, which began life at Scottish Opera in 2008, has frequently been seen at the houses of co-producers Teatro Real Madrid, Gran Teatre del Liceu, and Welsh National Opera.

Stuart Stratford conducts Hye-Youn Lee (Carmen 2023) in the role of courtesan Violetta Valéry who throws herself into a doomed love affair with the idealistic Alfredo, sung by Ji-Min Park. Set in hedonistic Paris during the Belle Époque, the luscious design of this devastating Verdi tragedy is by Tanya McCallin. Reviving Sir David McVicar’s original production is director is Leo Castaldi.

La traviata is supported by Scottish Opera’s ‘Play a Supporting Role’ Appeal.

In March 2024, Stuart Stratford conducts The French Collection. Few cities saw as much innovation and creative output in opera as Paris did during the 19th century. With three major opera houses and composers from France and further abroad vying for a coveted premiere at one (or more) of them, French opera contains a vast variety of musical and dramatic styles as its artists pushed boundaries on stage and in the pit. This concert includes excerpts from some of the era’s grandest and most beloved operas as well as its rarer gems that deserve a second hearing, including works by Georges Bizet, Charles Gounod and Jules Massenet.

The Orchestra of Scottish Opera captures the vivacity and grandeur of this uniquely brilliant musical epoch, accompanying a first rate group of singers to be announced later this year. This night of romance, drama and beautiful music will be performed in Caird Hall, Dundee and Glasgow Royal Concert Hall.

The French Collection is supported by Friends of Scottish Opera and The Scottish Opera Endowment Trust.

 

Opera Highlights

Opera Highlights goes on the road again visiting 35 venues around Scotland, in a vibrant new production directed by Laura Attridge (The Miserly Knight and Mavra 2022) with designs by the internationally renowned Ana Inés Jabares-Pita.

The troupe of talented singers performing in this one-of-a-kind show are Katy Thomson, Katherine Aitken, Innocent Masuku and Jerome Knox in the autumn production, which travels to Giffnock, Edinburgh, Aberdeen, Strathmiglo, Newtonmore, Lossiemouth, Ardross, Thurso, Lochinver, Arisaig, Seil Island, Tillicoultry, Glasgow, Dumfries, Crawfordjohn, Maybole, and Musselburgh.

In the spring, Scottish Opera’s 2023/24 Emerging, and Associate, Artists Inna Husieva, Lea Shaw, Monwabisi Lindi and Ross Cumming tour to Greenock, Stirling, Ardrishaig, Blairgowrie, Peterhead, Aboyne, Strathpeffer, Tongue, Stornoway, Poolewe, Dornie, Ballachulish, Tobermory, Johnstone, Middleton, Duns, St Andrews and Largs.

Accompanying them on piano are Music Directors Toby Hession (autumn) and James Longford (spring).

Opera Highlights is supported by Friends of Scottish Opera, Forteviot Charitable Trust and Jimmie Cairncross Charitable Trust.

 

Scottish Opera Young Company

This July at Scottish Opera’s Production Studios in Glasgow, Barrfields Theatre in Largs and Stirling’s Albert Halls, four immersive performances of Henry McPherson’s Maud, and Kurt Weill’s Down in the Valley, will be performed by Scottish Opera’s Young Company, directed by Flora Emily Thomson.  Aged 17 to 21, the 11 members of the Company rehearse throughout the year with Artistic Director Chris Gray, who also conducts, to present this thought-provoking double bill, which moves between centuries. The operas are connected by a single Hebridean-inspired set, designed by Finlay McLay.

Maud, by composer, improviser and teacher, Henry McPherson, is a modern retelling of a traditional folk tale. It received its premiere in 2018 at Glasgow’s SWG3 as a winner of Scottish Opera’s Opera Sparks competition.

It is performed alongside composer Kurt Weill’s and librettist Arnold Sundgaard’s magical and menacing folk-inspired opera Down in the Valley, a bittersweet coming-of-age tale showing the light and darkness of one claustrophobic community.

Scottish Opera Young Company offers young singers a unique and practical introduction to the world of opera and the chance to develop their talent through a year-long programme, working with a range of opera professionals. The Company most recently premiered Gareth Williams’ and Johnny McKnight’s acclaimed production of Rubble last summer.

Maud and Down in the Valley are supported by Scottish Opera’s New Commissions Circle, Scottish Opera’s Education Angels, the Leverhulme Trust, Professor Richard Rose and Gordon Fraser Charitable Trust.

 

Pop-up Opera

This summer Scottish Opera’s popular Pop-up Opera tour kicks off on 27 May at the Dumfries and Galloway Arts Festival, with 30-minute shows for all the family, including A Little Bit of Die Fledermaus and A Little Bit of Eugene Onegin.

Experience opera on a miniature scale with performances brought to life by a storyteller, singers, instrumentalists, narration and colourful illustrations. Touring to Sanquhar, Moniaive, Linlithgow, Blantyre, Springburn, Stornoway, Dornoch, Strathpeffer, Cruden Bay and Dundee, schoolchildren can also look forward to the tour popping up in primary schools across these locations for free performances of Puffy MacPuffer and the Crabbit Canals, which has narration by Allan Dunn, music and lyrics by Marion Christie and illustrations by Iain Piercy.

An ideal opportunity for anyone new to opera to try a taster of these classics by Strauss II and Tchaikovsky, a series of colourful illustrations help guide audiences through the plot. Cleverly re-scored by Scottish Opera’s former Head of Music, Derek Clark, they are performed by storyteller Allan Dunn alongside singers Jessica Leary and Andrew McTaggart, cellists Andrew Drummond Huggan and Sonia Cromarty, and guitarists Sasha Savaloni and Ian Watt (Ainadamar 2022).

Pop-up Opera is supported by Friends of Scottish Opera and JTH Charitable Trust.

 

Emerging Artists

The Scottish Opera Emerging Artists programme offers young talent a period of full-time work with the Company to help launch their careers. This season they include returning mezzo-soprano Lea Shaw (Il trittico 2023) as Associate Artist, along with Ukrainian soprano Inna Husieva, South African tenor Monwabisi Lindi, and Scottish baritone Ross Cumming. The costume trainee and repetiteur are still to be announced.

Emerging Artist singers perform in a number of this season’s productions and tours, and in recitals at the University of Glasgow and Royal Conservatoire of Scotland. They are supported by Scottish Opera’s Emerging Artist Benefactors and Elizabeth Salvesen.

 

Scottish Opera Education and Outreach

In spring and summer 2024, the ever-popular Primary Schools Tour for children in primaries five to seven is the newly created show Vikings! The Quest for the Dragon’s Treasure. Vikings! can be facilitated with an in-person workshop day led by Scottish Opera teaching artists, with full rental of props and costumes, or entirely within the classroom by teachers themselves. In both, teachers receive materials in advance.

How The Dragon Was Made is an interactive performance project for all 27 Confucius Institute classroom hub schools, designed to explore Chinese culture and language through music and visual arts. Senior primary classes use the digital resources to create their own performances that introduce one of China’s most ancient folk tales to the youngest pupils.

This year, Scottish Opera also offers teaching resources for Secondary School pupils. Having worked alongside Largs Academy to develop the materials suitable for young people, The Elixir of Love: Three Ways to Stage an Opera is a free teaching resource for teachers. Pupils will learn about music, drama, and art and design – incorporating elements of history, storytelling, and critical thinking – as they explore Donizetti’s comedy through three interpretations.

Scottish Opera continues to offer its Memory Spinners project for those living with dementia. The free project uses music, storytelling, movement, and visual arts to help Glasgow-based people living with dementia get creative and form new support networks. Throughout each eight-week term, they share memories that are then incorporated into a relaxed performance for friends and family.

Memory Spinners is supported by The RS MacDonald Charitable Trust, Sylvia Aitken Charitable Trust, Bellahouston Bequest Fund, Trades House of Glasgow (Commonwealth Fund), and Scottish Opera’s Education Angels.

The ground-breaking online programme, Breath Cycle, was formed with the Respiratory and Cystic Fibrosis Medicine team at NHS Glasgow. Designed to benefit those living with conditions affecting lung health – particularly Long COVID – free resources introduce participants to vocal exercises and breathing techniques. The response is overwhelmingly positive, with participants citing improvement in breathing, energy levels and mood. To find out more, please visit our website, where you can access a series of short tutorials and exercises, or sign up for weekly online sessions and song writing workshops.

‘The Covid Composer’s Songbook’, a selection of songs written by Breath Cycle participants, has been recorded for anyone to use and enjoy. Visit Scottish Opera’s website to download the full collection.

Supported by The Scottish Government, Cruach Trust, The Murdoch Forrest Charitable Trust, W M Mann Foundation, Souter Charitable Trust and Scottish Opera’s Education Angels

Scottish Opera continues its fruitful partnership with Disney Musicals in Schools. Collaborating with primary schools with no previous engagement with the arts and often facing a range of social and economic challenges, teaching artists guide pupils through rehearsals for special adaptations of Disney musicals and provide training for teachers to build their pupils’ skills and confidence through performance arts, creating a sustainable arts legacy for the future. The Company recently worked with Disney and pupils from St Anthony’s Primary School in Renfrewshire, to present the first official Frozen kids show outside of America. The performance was part of a three-day workshop with over 600 pupils from 11 schools who performed songs from Aladdin, The Jungle Book and The Lion King as well as Frozen. 

Scottish Opera’s Opera in Schools programme is supported by Harbinson Charitable Trust, David & June Gordon Memorial Trust, Hayward Sanderson Trust, Scottish Opera’s Education Angels and JTH Charitable Trust.

Places are available in Scottish Opera’s Community Choir, open to adults of all ages and conducted by Katy Lavinia Cooper, which starts up again in September. The choir sings a mixture of opera, classical, popular, folk and world music, and meets every Wednesday.

The Community Choir is supported by Scottish Opera’s Education Angels.

 

Accessible Performances

Scottish Opera is offering a range of accessible performances, to ensure everyone has the opportunity to enjoy a live opera experience that is inclusive and welcoming. With Access Opera performances and audio-description available this year, the Company aims to make it as easy as possible to attend the opera.

Specially created Access performances of The Barber of Seville and La traviata run alongside the mainstage productions in Glasgow and Edinburgh. With Dementia Friendly values at their core, afternoon Access performances are for those who enjoy a more relaxed opera experience. With a shorter running time (under two hours including an interval) and tickets at just £10, these audio-described performances are open to all, including those who may be living with dementia or Long COVID, more comfortable at a shorter show, struggling to get to evening performances, or would simply benefit from the more relaxed atmosphere.

Those who are visually impaired can also take advantage of audio-described performances of all three main stage productions – The Barber of Seville, Marx in London! and La traviata – where a live commentary is provided by a specialist audio describer during the show, describing the action on stage without compromising the music. As part of the experience, a recorded introduction to the opera is available in advance, as well as a live audio introduction before the start of the performance.

Pre-show talks are also available. These half-hour sessions delve into the detail of each opera, enhancing the audience enjoyment and extending knowledge of the piece.

Further information on the 2023/24 Season can be found at www.scottishopera.org.uk

Tickets go on sale from 1 June.

NEWS: SCOTTISH OPERA TRAVELS SCOTLAND WITH POP-UP OPERA TOUR

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This summer Scottish Opera’s popular Pop-up Opera tour kicks off on 27 May at the Dumfries and Galloway Arts Festival, with 30 minute shows for all the family, including A Little Bit of… Die Fledermaus and A Little Bit of… Eugene Onegin.

An ideal opportunity for anyone new to opera to try a taster of these classics, a series of colourful illustrations help guide audiences through the plot. Cleverly re-scored by Scottish Opera’s Head of Music, Derek Clark, the stories are brought to life by storyteller Allan Dunn, along with singers Jessica Leary and Andrew McTaggart, and cellist Andrew Drummond Huggan, guitarists Sasha Savaloni and Ian Watt.

 

Scottish Opera’s Director of Outreach & Education, Jane Davidson, said: ‘This year, the Pop-up Opera company are coming off their trailer and back inside schools and community halls across the country, with a blend of weekday visits to primary schools and week-end performances in public venues. Travel is still very much at the heart of our programme, introducing primary pupils to the adventures of a very small boat with a very big heart as Puffy MacPuffer sets sail on the Scottish canal network from Inverness to Crinan and from Grangemouth to Glasgow.

‘For older audiences, it’s time travel, as we journey back to the last decades of the nineteenth century with two contrasting love stories. Will it be the doomed love affair of Tchaikovsky’s Eugene Onegin or perhaps a glass of champagne with the original Batman— better known as Die Fledermaus by Johann Strauss II. The magic of time travel makes it possible to catch both in one afternoon!’

Scottish Opera’s General Director, Alex Reedijk said: ‘Pop-up Opera is at the heart of what we do as a company, bringing opera to as many people as possible no matter their geographical location, ensuring everyone can enjoy a live musical experience.

‘During the pandemic, Pop-up Opera highlighted the importance of our national touring profile as it allowed local venues, whilst unable to open their doors, to facilitate our live performances in their carparks and open spaces. Between 2020 and 2021 we presented 246 sold out Pop-up performances to communities across Scotland, which attracted an audience of over 13,000. For many, it was the first time they had come to a live show since 2019, many braving wind and rain to attend.

‘Therefore, it is with great joy that we are back on the road as we continue our commitment to tour to communities across Scotland, with these bite-size productions offering an excellent introduction to opera, this time in schools and local venues.’

Strauss’s Die Fledermaus (The Bat) is a rip-roaring comedy filled with deceit, betrayal, and Viennese waltzes. At Prince Orlofsky’s New Year’s Eve party, Dr Falke is out for playful revenge on his friend Eisenstein, who once left him in a drunken stupor after a night out at a fancy dress ball. Left to stagger home alone the next morning, still in his bat costume, the locals laughed behind Dr Falke’s back, but now is his chance for payback. Falke plots to expose Eisenstein’s flirtatious ways to his wife Rosalinde, who is disguised as a Hungarian countess. The end result is hilarity – and lots of champagne.

 

Also on offer is Tchaikovsky’s sweeping music which perfectly captures the desperation and raw emotion of Pushkin’s much-loved masterpiece, Eugene Onegin. In this timeless story of first love and missed opportunities, the lovesick young Tatyana sends a heartfelt letter to the young, handsome neighbour who recently moved next door. However, the arrogant Eugene thoughtlessly spurns her affections. After a heart-stopping duel between friends and the passing of many years, perhaps there is a second chance for love.

Created specifically for five to eight year olds, with music & songs by Marion Christie, Puffy MacPuffer and the Crabbit Canals is a tale of the five waterways that link Scotland from the North Sea to the Atlantic. Like most families, each one is different: Caledonian – the longest; Crinan – the most beautiful; Monklands – hard working; Union – the fastest; and of course the wise old Forth & Clyde. Each one thinks they’re the best. Can an ordinary little puffer boat make them think again?

Tickets are on sale at https://www.scottishopera.org.uk/shows/pop-up-opera-2023/ from 23 March.

Dates and locations of the tour are listed below.

www.scottishopera.org.uk

You can follow Scottish Opera on Twitter, Facebook and Instagram @ScottishOpera

Cast

 

Storyteller                                  Allan Dunn  

Soprano                                    Jessica Leary  

Baritone                                    Andrew McTaggart  

Cello                                         Andrew Drummond Huggan  

Guitar                                        Sasha Savaloni / Ian Watt

 

With Illustrations by Mar Hernandez, Essi Kimpimäki and Iain Piercy

 

Performance Diary

A’ the Airts Community Arts Centre, Sanquhar

Saturday  27 May, 1pm & 3pm

 

Glencairn Memorial Institute, Moniaive

Sunday 28 May, 1pm & 3pm

 

Linlithgow Burgh Halls

Saturday 3 June, 12pm & 2pm

 

David Livingstone Birthplace, Blantyre

Sunday 4 June, 12pm, 2pm & 4pm

 

Springburn Auditorium

Sunday 11 June, 12pm, 2pm & 4pm

 

An Lanntair, Stornoway

Saturday 17 June, 2pm & 4pm

 

West Church Hall, Dornoch

Saturday 24 June, 2pm & 4pm

 

Strathpeffer Pavillion

Sunday 25 June, 2pm & 4pm

 

Little Theatre Dundee

Sunday 2 July 2pm & 4pm

NEWS: SCOTTISH OPERA’S OPERA HIGHLIGHTS TOURS THIS SPRING TO 18 VENUES ACROSS SCOTLAND

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Scottish Opera’s hugely popular Opera Highlights is taking to the road this February, travelling across the country from the Scottish Borders to the Highlands and Islands.

The tour kicks off on Valentine’s Day at East Kilbride Village Theatre, exploring love in all its forms in one enchanting evening.

Marking its 60th Anniversary, Opera Highlights forms part of the Company’s commitment to bring opera to over 60 communities across all points of the compass around Scotland this Season. This beautifully crafted show travels to Crail, Garvald, Perth, Stonehaven, Boat of Garten, Invergarry, Wick, Orkney, Ullapool, Torridon, Skye, Oban, Campbeltown, Islay, Gretna, Hawick and Ayr.

Director Emma Jenkins and designer Janis Hart bring verve and creativity to this year’s original piano-accompanied production. The cast includes Scottish Opera 2022/23 Emerging Artist Colin Murray, alongside Annie Reilly who both recently performed in the five-star production of Ainadamar, as well as Andrew Henley (Thérèse 2022) and Holly Teague, led from the piano by James Longford. Join the cast as they transport to another world, where anything is possible.

The production also features the world premiere of a new piece by Scottish Opera 2021/22 Emerging Artist and composer Toby Hession, with libretto by Emma Jenkins. Enitled ‘Told By An Idiot’ it is a modern and humorous re-working of Macbeth.

Scottish Opera’s Head of Music Derek Clark, introduces audiences to a treasure trove of work with a playlist from much-loved opera’s including Mozart’s The Magic Flute and The Marriage of Figaro, Beethoven’s Fidelio, Verdi’s Macbeth and Bizet’s The Pearl Fishers alongside music by Rimsky-Korsakov, Gounod and a composition written by Mendelssohn when he was just 12 years old.

Director Emma Jenkins said: ‘Four young singers in search of an identity find themselves, like Alice in Wonderland or the children of Narnia, propelled along an operatic rollercoaster of love and loss, devotion and desire, jealousy and jubilation. The overriding theme of the Opera Highlights is LOVE. Our singers put on and take off various roles as if possessed by the force of love in a fast-paced performance that celebrates not only the voice, but also ensemble work and physical theatre. All this against the backdrop of Janis Hart’s stunning design which combines a retro 70s feel with an anarchic theatrical space in which one feels that anything could happen!’

Scottish Opera’s Head of Music, Derek Clark said: ‘The programme is the usual mixture of music from familiar operas and the less well-known, so we are confident that there will be something for everyone to enjoy, whether you are an experienced opera goer, or coming to see us for the first time.’

Having toured with a different cast in Autumn 2022, audience members said of the show:

‘Fantastic night in Markinch. A real tour de force – superb singing, brilliant acting and the set was masterful. I don’t even know much about opera and I loved it!

‘Enjoyed some culture on my doorstep last night! Was superb, great performances and set, fab opera taster with a mix of drama, deaths and laughs.’

‘What an absolute treat – Scottish Opera’s Opera Highlights in my local town hall! Fabulously sung (of course), beautifully delivered and creatively staged. Thoroughly recommended.’

‘The entire performance was perfect; The Pearl Fishers was the finest I have ever experienced. Great credit also to the set designer – fun, imaginative and the amount of ‘feeling’ from such a versatile set was amazing.’

Opera Highlights is supported by The Friends of Scottish Opera and JTH Charitable Trust.

The production will be touring from 14 February to 25 March 2023.

Tickets at www.scottishopera.org.uk/shows/opera-highlights-202223/

Image from 2022 tour

REVIEW: Tosca – Theatre Royal, Glasgow

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Sumptuous, stunning, shocking, and still sensational, Anthony Besch’s production for Scottish Opera of Giacomo Puccini’s once decried, but now beloved, “shabby little shocker” Tosca, still has the power to stir almost 40 years on. As evidenced by the packed house, this ninth revival, is as popular as ever, and rightly so.

Now widely utilised, but ground-breaking in the 1980s, was Besch’s re-setting of the work from the Napoleonic era to 1940s Fascist-era Rome, and the production looks and feels as fresh and relevant as the moment it first appeared.

As the curtain rises on Peter Rice’s glorious set there is an audible gasp from both those new to this production and those in the audience welcoming home an old and much-loved friend from its extensive travels around the globe. The magnificent realisation of the church of Sant’Andrea della Valle, is truly breath-taking, never more so than in the Te Deum, where the splendidly clad clergy and congregation bring the curtain down on the first act. The representations of Scarpio’s office in the Palazzo Farnese and the ramparts of the Castel Sant’Angelo are just as magnificent and historically accurate.

Puccini’s sublime music sounds strikingly modern and almost cinematic throughout, and the orchestra under the baton of Stuart Stratford sounds majestic, managing to strike the perfect balance of power without ever overwhelming the singers.

Natalya Romaniw is an out-standing Tosca, seamlessly marrying her stunning vocals to beautifully measured and highly convincing acting skills. Roland Wood is an assured Scarpia, but it is Gwyn Hughes Jones as Cavaradossi who is the knock out of the evening, never was a voice more perfectly married to a role, he is truly stunning.

This is a five-star, breath-taking production in every respect, and the perfect example of what opera can and should be.

Runs until 26 October 2019, then touring to Inverness, Aberdeen and Edinburgh.

For more information visit Scottish Opera

IMAGES: JAMES GLOSSOP

 

 

REVIEW: Amadeus and the Bard – Scottish Opera Production Studios, Glasgow

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We’re invited to a night out at Poosie Nansie’s Inn, on of Robert Burns’ favourite hostelries, in Mary McCluskey’s Amadeus and the Bard.

Subtitled 18th Century Cosmic Brothers, this mixture of story and song, explores the lives of Scotland’s best-loved poet and Austria (and the World’s) most revered composer, Mozart and sheds light on the often startling similarities between them. Burns’ traditional Scottish folk tunes are blended with some of Mozart’s most popular arias. Tam O’ Shanter sits alongside The Magic Flute, A Red, Red Rose alongside The Marriage of Figaro.

McCluskey’s production is like a great, big all encompassing hug. From the moment the audience enters greeted by the cast, clad in their authentic looking, late 18th Century garb, to the last notes ringing out, the audience feel more like participants than on-lookers. The engaging performers, the songs, poems and script are delivered so warmly and invitingly that you can’t help be captivated.

The parallels between these two seemingly disparate men are cleverly woven together and delivered inventively. The mixture of professional performers both singers and an actor, and members of Scottish Opera Young Company, blend seamlessly to create an enchanting evening’s entertainment. Particularly of note are baritone Ross Fettes, a current student at the Royal Conservatoire of Scotland, a gifted young singer with a bright future ahead of him, and fellow RCS student, soprano Erin Spence, whose voice and artistry leave a lasting impression, Miss Spence has a rare talent of being able to act convincingly as well as deliver the songs with conviction. Tenor James McIntyre too throws himself fully into his multiple roles. It would be churlish though, not to acknowledge the quality of the entire cast, who are excellent.

That a national company is producing smaller-scale but highly engaging, original and appealing productions is to be lauded – more of this please.

Images: Sally Jubb

REVIEW: Opera Highlights (Scottish Opera) – Motherwell Theatre

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There’s much to delight in every season at Scottish Opera, but the annual Opera Highlights tour is always a shining star of the programme.

We’re invited to a beautiful country garden where our protagonists are setting the scene for a party. We’re not exactly sure who our host is, but while the action unfolds we are introduced to each character, a little of their back stories and their relationship to one other. The inevitable cases of mistaken identity, star-crossed lovers, heartache and romantic resolution ensue.

Scottish Opera 2019 Autumn Highlights – © Julie Broadfoot – http://www.juliebee.co.uk

Derek Clark, Scottish Opera’s Head of Music has again chosen an eclectic and engaging set of arias, from the comic to the heart-breaking on which to weave the lively narrative. Among pieces by Mozart, Handel, Lehár and Tchaikovsky there are works by Ambroise Thomas, Jean-Baptiste Lully, Mildred Jessup, Alfred Cellier and the great Kurt Weill. There is also a world premier from Scottish Opera’s Composer in residence Samuel Bordoli. As fitting for a tour that’s aim is to bring new audiences to opera, there are a large number of pieces in English, either pieces original written in the language or in translation, increasing the accessibility for opera newbies.

Scottish Opera 2019 Autumn Highlights – © Julie Broadfoot – http://www.juliebee.co.uk

As important as the selection of music is, much depends on the quality of the singers. This year the calibre is universally excellent. The quartet: Soprano Charlie Drummond, Mezzo Martha Jones, Tenor Alex Bevan and Baritone Mark Nathan, as well as having fine voices, are easy to warm to, each can act and draw the audience in, keeping them engaged throughout. Of note is Roxana Haines direction, which is tight and breathes even more life into the already sprightly programme.

Scottish Opera 2019 Autumn Highlights – © Julie Broadfoot – http://www.juliebee.co.uk

If you are an established opera lover or someone curious to find out more, Opera Highlights is the perfect event. The extensive tour continues throughout Scotland (see below for dates and venues).

As ever, a five-star production from Scottish Opera.

The Albert Halls

Stirling

Sat 14 Sep

Book Tickets

Stonehaven Town Hall

Stonehaven

Tue 17 Sep

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Duthac Centre

Tain

Thu 19 Sep

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The Macphail Centre

Ullapool

Sat 21 Sep

Book Tickets

An Lanntair

Stornoway

Tue 24 Sep

Book Tickets

Aros Centre

Portree

Thu 26 Sep

Book Tickets

The Corran Halls

Oban

Sat 28 Sep

Book Tickets

Volunteer Hall, Galashiels

Galashiels

Tue 1 Oct

Book Tickets

Perth Theatre

Perth

Thu 3 Oct

Book Tickets

Carnegie Hall

Dunfermline

Sat 5 Oct

Book Tickets

Thurso High School

Thurso

Tue 8 Oct

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Orkney Theatre

Kirkwall

Thu 10 Oct

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Haddo House

Ellon

Sat 12 Oct

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Ryan Centre

Stranraer

Tue 15 Oct

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Beacon Arts Centre

Greenock

Thu 17 Oct

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The Brunton

Musselburgh

Sat 19 Oct

Book Tickets

 

REVIEW: The Magic Flute – Theatre Royal, Glasgow

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Set in a steampunk landscape inspired by H.G. Wells and Jules Verne: a wicked queen, a handsome prince, a damsel in distress, high priests, a comedy side-kick, magical instruments, a serpent and some sorcerers are all given new life in Scottish Opera’s revival of Sir Thomas Allen’s joyous production of The Magic Flute. 

While the work’s misogyny and Masonic undertones have been long debated, it is impossible to judge an opera written in 1791 by 2019’s standards and this utterly charming, gorgeous looking and sounding version is guaranteed to win over even the hardest of hearts. Its three-hour run time passing by in the blink of an eye.

Of note are the irresistible Papageno, so cleverly and cheekily played by Richard Burkhard, his bang up-to-date, witty asides and ability to wrap the audience around his little finger are a delight; Dingle Yandell’s beautifully sung Speaker; a sure-sounding Sarastro in James Creswell; Gemma Summerfield – a radiant and glorious Pamina, and talent to look out for, Julia Sitkovetsky, who handles Der Hölle Rache, one of the most famous arias in all opera, absolutely beautifully.

This five star production is thanks to the stars aligning in every aspect of its creation: sure-footed direction, lively conducting, a laugh-out-loud and oh-so clever translation, perfect casting, an orchestra on top form and an innovative and captivating stage design. It’s not often achieved, but this is as near to perfection as it’s possible to get. 

Runs until 18 May 2019 then touring. Images – James Glossop.

 

REVIEW: Scottish Opera Orfeo & Euridice – Beacon Arts Centre, Greenock

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Gluck’s innovative, influential and hugely popular Orfeo & Euridice is the latest production from Scottish Opera’s Young Company.

Scottish Opera – Orfeo & Euridice © Julie Broadfoot

Following Gluck’s own lead, (he produced three versions of this work to suit the differing tastes of the audiences it was presented to and the voices singing it: Vienna 1762, Parma 1769 and Paris 1774) the company presents its own English language version for its young cast. Starting with the original Viennese version, it splits the role of Amore into three mischievous Cupids and Amore’s Act 1 aria is re-arranged for trio and chorus. It utilises Euridice’s Act 2 aria from the Paris version but with chorus and Gluck’s famous ballet music features the entire company.

Scottish Opera – Orfeo & Euridice © Julie Broadfoot

This whole production is a treat for both the eyes and the ears. It takes the best of the three versions to present a ‘greatest hits’, audience-pleasing edition. Musically it is simply beautiful and the young singers lead by professionals Daniel Keating-Roberts (Orfeo) and Jessica Leary (Euridice) display immense talent and promise for the future. Keating-Roberts counter-tenor can be an acquired taste, but entirely fitting for the role. Leary is glorious sounding as Euridice.

Scottish Opera – Orfeo & Euridice © Julie Broadfoot

Visually, Finlay McLay’s design, though minimalistic, packs a punch and Roy Herd’s lighting design is simply gorgeous – atmospheric and evocative.

Scottish Opera – Orfeo & Euridice © Julie Broadfoot

At 75 minutes running time, with a familiar subject matter (the myth of Orpheus), beautiful and undemanding music, inventive design and execution, this is an ideal introduction to opera. Not only is it an impeccably staged and delivered production, the Young Company shows hope for the future of opera in Scotland.

REVIEW: Scottish Opera Kátya Kabanová – Theatre Royal, Glasgow

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The shining star of Scottish Opera’s current season is undoubtedly Stephen Lawless’ gorgeous looking and sounding version of Leoš Janáček’s Kátya Kabanová. One of the four late operas by the composer that are universally acknowledged as his greatest works, it has been given something of a Scandi-noir look by designer Leslie Travers and lighting designer Christopher Akerlind, for this co-production with Theater Magdeburg. Based on Alexander Ostrovsky’s play The Storm, and originally set in the 1860s in the small industrial town of Kalinov on the banks of the Volga river, the action has been advanced over a hundred years to the dark days of the Soviet era. 

Sweet and loyal Kátya is seemingly happily married to Tikhon but unrelentingly bullied by his over-possessive, domineering mother Kabanicha. When Tikhon is ordered away on business by his mother, the oppressed and isolated Kátya is tempted into the arms of another. Inherently loyal and utterly remorseful of her actions, she cannot come to terms with what she has done. In the closed-minded town she is subjected not only the whispers of the townsfolk, but the whispers in her own head. Kátya decisively takes action to calm the storm inside.

The orchestra of Scottish Opera are on lively form, at times so lively that it takes a strong singer to stand up to their vigour: some are more successful than others. Laura Wilde is a soft and timid Kátya with a crystal clear soprano, however, there are points where she, like others is overwhelmed by the pit. American tenor Ric Furman as her insipid lover Boris, is almost inaudible for much of the production, and as her Mrs. Danvers-like mother-in-law-from-hell, Patricia Bardon is in fine voice, but strays into pantomime territory as the arch villain. Much more successful are lovers Varvara (Hanna Hipp) and Vanya (Trystan Llŷr Griffiths) who provide a lively foil to the darker goings on.

This is a production that transcends its faults, darkly atmospheric, beautifully designed and with a lyrical yet highly dramatic score that is an absolute treat for the ears, it is a shining jewel in Scottish Opera’s current season.

Touring to Edinburgh 21 and 23 March 2019

Image: James Glossop

REVIEW: Anthropocene – Theatre Royal, Glasgow

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Stuart MacRae and Louise Welsh’s fourth work for Scottish Opera (and their first full-length opera) received its world premiere in Glasgow last night. While Anthropocene delivers on many levels, it isn’t quite the perfect package…yet. There’s fantastic potential for thrills and chills both dramatically and musically, but there’s an overriding feeling that the narrative and expected tension of the subject matter has been sacrificed due to uneven pacing.

Entrepreneur Harry King has financed a polar expedition on his state of the art vessel, King’s Anthropocene, an expedition to explore the origins of life on earth. As the ice encroaches, the team become trapped, tensions rise among the small crew and an eerie discovery emerges from the frozen depths.

While Act One firmly establishes each character, it outstays its welcome by a good twenty minutes: there’s unnecessary repetitive padding of the libretto and a uniform musical tone that fails to grip. On the reverse side, its final act comes to its denouement at a break-neck speed. That said there are some hauntingly beautiful musical moments, most particularly at the hands of Jennifer France as the being from the ice. Her gorgeous, ethereal soprano sends shivers down the spine. Less successful both dramatically and vocally are Mark Le Brocq’s Harry King and Sarah Champion as King’s daughter Daisy – each is underpowered vocally and over-acting dramatically.

Samal Blak’s set and costume design, while functional, lacks the necessary detail that keeps the attention for the duration of a full-length work. Matthew Richardson’s direction is functional rather than original or thrilling.

The explorational of our Anthropocene age, science and technology interwoven with ancient beliefs and a touch of Frankenstein, all seem thrilling on paper, and it would have been a stunner had the dramatic potential been fully exploited. It feels like a case of what might have been.

Runs until 26 January at The Theatre Royal, Glasgow, then tours to The King’s Theatre, Edinburgh and the Hackney Empire, London.

IMAGES: James Glossop

 

 

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