We are so sorry to have heard of the death of Hilary Phoenix who for many years was one of the principal singers with Duchy Opera. You can read about her here.  (end of page)

"It is with much sadness that I am contacting you regarding one of your honorary members, Hilary Phoenix.
Hilary (my aunt, and my mum’s twin sister), passed away peacefully at her care home in Watford, Hertfordshire, on 17th September. She had been suffering from dementia and had become very frail in her last few weeks.
Please would you be so kind as to communicate this news to the wider team at Duchy Opera. I am sure she had many friends and contacts who may wish to know."

"Our Auntie Hilary was a real gem - a talented performer with a beautiful voice, and a truly warm and kind person. We enjoyed watching her in Duchy Opera performances when we were visiting her in Cornwall. I always loved the fact that she sang in such a variety of beautiful places - National Trust Properties/ Stately Homes/ outdoor venues (brave!). And I know that Duchy Opera gave her so much pleasure and a new lease of life when she moved down to the South-West from Hertfordshire. She loved singing and performing; she is an inspiration to me as she sang Despina at the age of 65, something I shall aspire to!
 
Her funeral  took place on 11th October at St Lawrence Church in Abbot's Langley, Herts. It was where she and Derrick were married back in 1983, and where she and twin Josephine lived for many years when they first moved to the area. It was a lovely service, complete with some recordings of Hilary singing. "

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only a few days left to watch

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Lucia di Lammermoor
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Les Contes d'Hoffmann
by Jacques Offenbach from Dutch National Opera, Amsterdam

Norma
by Bellini from Teatro La Fenice, Venice

La Princesse lègère
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The Second Violinist
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La Favorite
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Semele
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Cavalleria rusticana / Pagliacci 
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Birgit Nilsson 100 year Anniversary Concert
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Blaubart
by Offenbach from Komische Oper Berlin

Opera Crown - Tbilisi International Voice Competition
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Aida
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Duchy Opera: The Merry Wives of Windsor: Burrell Theatre Truro: 30 May 2018
There was much to enjoy in every department of Duchy Opera’s latest production of Otto Nicolai’s opera buffa, The Merry Wives of Windsor, which was imaginatively directed by Angela Agutter Thomas: singing, acting, staging, costumes and accompaniment.
As in previous years, including their last very successful production of La Traviata, the company wisely invited professionals from elsewhere to join local talent for roles they cannot fill. Richard Woodall was an impressive Mr Page, and especially noteworthy, Matthew Palmer as the suspicious Mr Ford.
​Whether the soprano professional, Caroline Childe, could be classed as a visitor, we shall hopefully see now that she has come here to live after a distinguished career but as Mistress Ford, she has possibly the largest role in the opera and her singing and acting were superb.
The other ‘out of county’ newcomers for this production were the tenor Arthur Swan, as the penniless lover, Fenton, who in the final scene gets to marry the Pages’ daughter, Anne, sung by Rachel Phillips. Their duet charmingly contributed to the happy finale.
Others from the company who effectively completed the cast were Sue Lancaster as Mistress Page (her duet with Caroline in Act 1 was justly applauded); the alto Sheila Collins took the traditional bass role (not as a singer!) and was splendidly foppish as the French dandy, Dr Caius, wearing an extraordinary, colourful costume. Her rival for Anne’s hand was Slender, laudably sung by the tenor Bruce Cross. Completing the cast there was, almost inevitably, John Hobbs as the larger than life, Falstaff. Despite the indignities he suffers at the hands of the scheming Wives, he clearly enjoyed himself. He seems to have been in the company for ever and never fails to impress in the variety of roles he has taken. It is not only his acting and fine bass voice that commends him, but his diction. One can always hear every word – a lesson for many others in the company. The musical director, Paul Drayton, intends to put down the baton after this; he will be difficult to replace. We may see him in performances as the conductor, but his work beforehand in rehearsing the soloists and especially the chorus has always been thorough.
Patiently getting them to sing with confidence and robustly resulted in the best performance that I can remember. The score for two electronic pianos provided a very suitable substitute for the orchestra well executed by Antony Trodd at the top end and Suzanne Brodie for the bass.
The Edwardian (?) costumes were fitting, colourful for Falstaff and especially for the French dandy, Dr. Caius. For a touring production, visiting smaller venues than the Burrell Theatre, the scenery, well lit, was imaginative and adequate (Sheila and Paul Collins). The central tree, made barren with the foliage removed for the ‘spirits’ was ingenious. It was, however, this final scene in Windsor forest that was the weakest in the direction with too many spirits for the stage, however spookily lit, and the movements of Falstaff, Slender and Dr Caius lacked conviction. But overall, this was a memorable production in which the whole company can be proud.
Eric Dare

Thanks to  ©Linda Petzing for photography