Our previous productions are listed here
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Die Fledermaus Johann Strauss II
Princess Pavilion, Falmouth: 6th & 7th JUNE 2024 & Park House, St Clement, Truro: Tue 9, Wed 10, Fri 12 & Sat 13 JUL 2024 A light-hearted mischievous revenge is planned by Dr Falke on his friend Eisenstein after being ridiculed in a practical joke some years previously. Prince Orlofsky is holding a ball and, with his permission, Falke sends separate invites to Eisenstein, his wife Rosalinda, their maid Adele and Frank, the prison governor. Add to the mix the return of Alfred, Rosalinda's ex-lover, and you have a champagne-filled night full of disguises, mistaken identities and infidelities - will all be forgiven and the status quo restored? Our lavishly costumed, joyful production had an abundance of local talent with Adele’s Laughing Song and the Champagne Chorus among the well-known pieces from this popular comic 3-act operetta that first premiered in 1874. Music Director: Patrick Bailey. Director: Gillian Geer Chorus Master: Clive Ellison English version: Bill Bankes-Jones Orchestration: Patrick Bailey |
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"Around the World in 18 Songs"
Jubilee Hall, Mevagissey: 4th November 2023 St Bartholomews Church, Lostwithiel: 7th April 2024 (In association with the 'Save our Spire' St Bart's Tower Appeal) The chorus of Duchy Opera 'circumnavigated the world', calling in at famous operatic locations on the way, with arias and choruses from favourite operas and operettas. Soloists from the chorus were joined by Honorary Member John Hobbs. The Programme included many iconic opera favourites, including, from France, Bizet’s Carmen, from America, Gershwin’s Porgy and Bess, from Russia, Tchaikovsky's Eugene Onegin, and more from the best of Italy and Germany. "Fasten your seatbelts and enjoy the ride!" Chorus Master and Conductor: Clive Ellison |
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"Cavalleria Rusticana" and "Trial by Jury"
Princess Pavilion, Falmouth: 8 and 9th June 2023 & Park House, St Clement, Truro: 27 Jun to 1st July 2023 Cavalleria Rusticana was cast in 1890's rural Sicily as composer Mascagni intended. It has passion, betrayal and revenge, a potent mixture in a devoutly Catholic Sicilian village. Turiddu challenges Alfio's infidelity witnessed by villagers as they celebrate Easter and this leads to the opera's tragic denouement. By contrast, Trial by Jury has excellent pace, humour and characterisation in this delightful courtroom drama. In a case of 'breach of promise of marriage' Gilbert produces a genial satire on the British system of justice. Music Director: Jane Anderson-Brown Director: Angela Agutter Thomas |
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The Gondoliers Gilbert & Sullivan
Princess Pavilion, Falmouth: 24 and 25th June 2022 and Park House, St Clement, Truro: 20, 22 and 23rd July 2022 Two Venetian gondolieri – but one is a King promised in marriage when a child to Casilda, the baby daughter of a Spanish Duke and Duchess. Now Casilda is coming of age her parents are keen to find the King! Trouble is, due to an insurrection in his country, the baby Prince was smuggled away and taken to Venice to be brought up in a gondoliers family. But, with their own son of similar age, the family can no longer remember which boy is the long-lost Monarch and which the humble gondolier! A first for Duchy Opera to perform Gilbert and Sullivan; a gamble which paid off according to our audiences who reported a delightfully entertaining voyage of discovery and great fun. Music Director: Jane Anderson-Brown Director: Richard Jackson |
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Duchy Opera Christmas Concert
St Johns The Evangelist Church, Truro 10 December 2021 Duchy Opera gave their first Christmas Concert in 2021, joined by John Hobbs and included the notoriously difficult Vaughan Williams "Fantasia on Christmas Carols". Despite the ongoing challenges of the pandemic, the audience commented it was a wonderful festive evening and enjoyed mince pies and mulled wine after the concert. Chorus Master and Conductor: Clive Ellison |
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The Elixir of Love Donizetti
Park House, St Clement, Truro 2, 4 and 5 September 2021 Duchy Opera successfully navigated the challenges of rehearsing through a pandemic and performed The Elixir of Love, a comic opera with bel canto melody and a lighthearted story of life and love. A production in partnership with Park House Opera. Music Director: Timothy Dean Director: Richard Jackson |
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"Duchy Opera Favourites"
Gerrans Parish Memorial Hall, Portscatho 17th January 2020 Roseland Music Society presents Duchy Opera in concert with guest soloists Cheryl Brendish and John Hobbs and the Duchy Opera Chorus conducted and accompanied by Clive Ellison including Opera Scenes from Semele, Eugene Onegin, Tales of Hoffman, Macbeth and Faust. |
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Macbeth Verdi
The Minack Theatre, Porthcurno 8th - 12th July 2019 Verdi’s lifelong love affair with Shakespeare began with his play ‘Macbeth’, which he regarded as ‘one of the greatest creations of man’. The tragedy unfolds inexorably, triggered by the witches’ spine-tingling prophecy of Macbeth’s meteoric rise to power. Having achieved the throne through shameless betrayal and bloody murder, we follow his guilt-ridden progress driven by paranoia, madness and, ultimately, despair. Music Director: Timothy Dean Director: Angela Agutter-Thomas |
Photographer Linda Petzing
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"Duchy Opera Presents … "
Jubilee Hall, Mevagissey Nov 24 2018 Duchy Opera made an eagerly-anticipated return to Mevagissey with an evening of operatic delights. Eight soloists and chorus presented semi-staged dramatic excerpts from operas spanning a century and a half, with music ranging from the simple, rural setting of Handel’s Semele to the hedonistic Parisian life of Puccini’s La Boheme – from the charms of Mozart (The Magic Flute, The Marriage of Figaro) to the grandeur of Gounod (Faust) and Tchaikovsky (Eugene Onegin). This concert marked the end of an era for Duchy Opera: 14 years of musical leadership from Paul Drayton, one of the most prodigious talents of his generation. |
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The Merry Wives of Windsor Nicolai
23 May - 7 June 2018 Toured Perranporth St Austell Truro Penzance Bude Falmouth A traditional, fully staged and costumed performance. Music Director: Paul Drayton Director: Angela Agutter-Thomas "a memorable production of which the whole company can be proud." "John Hobbs …. 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" |
Photographer Linda Petzing
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La Traviata Verdi Princess Pavilion Falmouth 9th/10th June 2017 Minack Theatre Porthcurno 3-7th July A fully staged and costumed traditional production directed by Richard Jackson (director of our acclaimed 2014 production of "The Elixir of Love") with Musical Director Paul Drayton. " the best for years ; how much we enjoyed every moment." Some were coming the following night as well as they had enjoyed it so much ! |
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“Midsummer Music” Charity concert
Ruan Minor recreation ground Saturday 25th June at 5pm A concert of opera and songs from the shows |
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Northcott Theatre, Exeter
Sunday 12th June 2016 ‘One Fine Day’ featuring the life & music of Puccini narrated by John Nettles, with full orchestra and guests tenor David Webb and soprano Cheryl Brendish. Arias and choruses from Duchy Opera singers and soloists. "Wonderful Puccini celebration at Northcott Theatre, Exeter tonight with the charming John Nettles narrating. Floated home! Congratulations to all involved. Please can we have more?" "Down in the SW singing with @duchyopera @ExeterNorthcott @CherylBrendish & John Nettles, who my mum has a crush on!" |
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Roseland Music Society Portscatho
DO Troubadours sing opera scenes & solos Saturday 14th May 2016 "The Troubadours, a hand-picked group of Duchy Opera soloists, are a tough operatic rapid-response unit ready at a moment’s notice to bring relief to any trouble-spot that is suffering from a lack of opera." Staged operatic scenes culminating in the gloriously chaotic finale to Act II of Mozart’s The Marriage of Figaro. |
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Tresillian Village Hall
One-hour concert with afternoon tea Sunday 3rd April 2016 "To the Duchy Opera Council: I write to pass on the very sincere thanks of the Tresillian Village Hall Committee for the lovely concert yesterday afternoon. Apart from the magnificent sum raised for the Hall funds - £387.80! - there were so many expressions of pleasure with the music, the opportunity to hear, and meet, members of the Company for the first time, and to enjoy a scrumptious tea. Please ensure that all the singers and everyone involved in the performance are thanked on our behalf." Duchy Opera would like to say how much we enjoyed entertaining you all on Sunday. Thank you to all those who arranged such a successful event and especially to the providers of the scrumptious TEA (Ann McCormick and friends)! |
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Die Fledermaus
September 2015 and July 2016 Touring eight venues around Cornwall A wonderfully funny Strauss operetta. How do we define our identity? A person can wear many skins, but which one is the reality, and which is the pretence? Bluff and deception take centre-stage as a group of revellers weave an increasingly complex chain of events involving a bat-mask, a stolen pocket-watch and copious amounts of champagne, into a joyous and inebriated climax! Directed by Helen Tiplady, with Musical Director Paul Drayton See a full review on our BLOG page (23/09/15 - "Entertainment at its best"). |
"Please pass on to the musicians and singers in Duchy Opera how much I enjoyed their music and beautiful voices in last night's performance of Die Fledermaus..."
"We can say straight away that we liked the very innovative location in a rubbish cum recycling dump." See our BLOG for further audience remarks. |
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Summer Serenade 2015
Sparkling programme of popular arias, ensembles and choruses 11th & 12th July 7.30 pm in the new Amphitheatre at Trebah Garden, Mawnan Smith, Nr Falmouth, TR11 5JZ. 2nd August 5.30 pm in the canopy-covered moorland Amphitheatre at Sterts Theatre and Arts Centre Liskeard. |
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One Fine Day
An evening of Puccini highlights narrated by JOHN NETTLES May 4th 2015 * One Fine Day -The life and music of Giacomo Puccini * 8pm on May 4th (Bank Holiday Monday) at the Minack Theatre Porthcurno. * Actor John Nettles (Inspector Barnaby/Midsomer Murders) as Narrator * John Treleaven, leading international tenor, as guest soloist * Duchy Opera soloists and chorus. * Orchestra of 22 local players in association with Drummond Productions * Conducted and devised by Paul Drayton A popular programme rich in lavish harmonies and passionate music. Duchy Opera was delighted that John Nettles (President) agreed to join them for this magical evening. Accompanied by a 21piece orchestra (sponsored by Drummond Productions). Also that acclaimed Wagnerian heldentenor John Treleaven was participating. A Cornishman who has ‘eaten, drunk and breathed music’ all his life, once he had made his Covent Garden debut in 1979 his career was launched. His repertoire has been wide-ranging, including French and Italian opera as well as Wagner. Roles stretch from Don Jose in "Carmen" to the title character in Benjamin Britten's "Peter Grimes" and Captain Vere in Britten's "Billy Budd," from Dick Johnson in Puccini's "The Girl of the Golden West" to Jenik in Smetana's "The Bartered Bride." He resides in Germany but has sung in opera houses around the world. |
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The Elixir of Love by Gaetano Donizetti
Oct/Nov 2014 Written in haste in a six-week period, L'Elisir d'Amore was the most often-performed opera in Italy in the years following its first performance in 1832, and it has remained continually in the international opera repertory. Today it is one of the most frequently performed of all Donizetti's operas: it appears as number 13 on the list of the most-performed operas worldwide. It contains the popular tenor aria "Una furtiva lagrima". The story features Dulcamara, an itinerant quack doctor who arrives in town to sell his bottles of elixir, a cure for all ills. Unrequited love & courtship, disappointment & delight, secrecy & proposals ------ but who marries whom? Elinor Chapman: Adina Elinor first graduated with a degree in Law with French before studying for a post-graduate diploma in performance and vocal studies at the Royal Welsh College of Music and Drama. Since then she has performed many operatic roles including Despina (Cosi), Oscar (Ballo in Maschera), Adele (Fledermaus), Mercedes (Carmen) and Blonde (Die Entfuhrung aus dem Serail) for companies such as Kentish Opera and Unexpected Opera. She has twice toured as a soloist with the Kent Sinfonia to China and has given concerts and recitals as far afield as New Zealand. Oratorio work includes Pergolesi's Stabat Mater, Mozart's Requiem, Handel's Judas Maccabbeus, Vivaldi's Gloria, Mozart's Exsultate Jubilate and Faure's Requiem. William Morgan: Nemorino William is a graduate of the Royal College of Music, where he studied with Tim Evans-Jones, and of Durham University, where he was awarded a degree in Natural Sciences. He continued his training as a member of the Opera Works scheme at English National Opera, studying roles which included Jupiter Semele, Ory Le Comte Ory, and Castor Castor et Pollux. In July 2014 he appeared in Monteverdi's L'Orfeo at the Bayerische Staatsoper, conducted by Ivor Bolton, where he also covered the role of Apollo. In 2013 he performed in Hippolyte et Aricie conducted by William Christie at Glyndebourne. Recent opera work includes the workshop of the new opera Between Worlds by Tansy Davies (ENO), First Triplet in James Macmillan's Clemency (The Union Chapel), Henry Crawford Mansfield Park (Hampstead Garden Opera), Alfred Die Fledermaus (OperaUpClose), and Anthony Sweeney Todd (Longborough Opera Festival). " Last evening was the first night of the Elixir of Love at the Mylor Theatre, Truro - a sparkling evening! Here are some of the comments made after that performance: "absolutely loved it"; "really wonderful evening"; "star performance from everyone"; "really good, great fun!".
Do go if you can - you will love it. " |
Director:
Richard Jackson Musical Director: Paul Drayton Designer: Kathy Brown Soloists: Nemorino: William Morgan Adina: Elinor Chapman Dulcamara: Keith Sparrow Belcore: Ian Kinver Gianetta: Hannah Pascoe |
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A Rough Guide to Opera
August 2014 A whistle-stop tour of the operatic repertoire with some well-known pieces and some lesser known ones, from the birth of opera, through the main centres of excellence – Paris, London, Vienna - and leading to 19th/20th century opera in Italy/France/Russia/Germany/USA and England. A highly entertaining semi-staged production with solos, choruses and ensembles. Sterts Theatre near Liskeard |
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Dearest Papa...
devised by Paul Drayton March 2014 A look at the short but extraordinarily productive life of Mozart, one of the greatest composers of all time, told with extracts from his often colourful letters to friends & family alongside some of his finest music. Readings and extracts from his letters, accompanied by a wide selection of his best-loved vocal works, including solos and chorus pieces from The Marriage of Figaro, Idomeneo, Cosi fan Tutte, The Magic Flute, Don Giovanni. Featuring the soloists and chorus of Duchy Opera, accompanied on piano by Musical Director, Paul Drayton. Guest Presenter John Nettles, of Bergerac fame |
Canapes & fizz at 7pm The Alverton Manor Hotel, Truro Prideaux Place The Headland Hotel, Newquay |
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Baron Herzog's Box Of Operatic Delights Autumn 2013 The irascible International impresario and falafel enthusiast, Baron Herzog, returns from his European travels to present his exuberant show of operatic delights, including solo and chorus pieces from Mozart, Lehar, Donizetti, Verdi and more. With scenes from famous opera’s such as Carmen, Marriage of Figaro, L’elisir d’Amore, The Merry Widow, La Traviata and Il Trovatore, all hosted in the Baron’s inimitable and irreverent style, this is a show for people who like opera, and for people who don’t! Spring/Summer 2013
Minack Theatre Fowey Festival of Words & Music Penlee Park Open Air Theatre Penzance Sterts Theatre (with Sterts Singers) May 2012
Minack Theatre, Porthcurno |
"I've never been into opera as I thought I wouldn’t understand what was going on and as a working class, northern woman, I thought the class connotations would impact on my understanding of what is accessible/enjoyable music. So.... I booked tickets for my first ever opera. Ooh, didn’t expect to feel so chilled. My friend and I decided that we wanted to see Madam Butterfly and The Merry Widow based on just what we had heard tonight. Thanks for opening my mind to something other……………." 
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ADDED 02/01/2014 "My dear All of You,
"What a wonderful evening you gave us yesterday - the Village Hall was completely transformed by you all and it was splendid. I loved the red, black and white theme, and how clever you were to add a bit, and use it differently to change the mood. The music was perfect - so professional and so beautiful. Herzog was clever and completely entertaining and Paul was his usual perfection - so able and so in control and a perfect accompanist. It all went with a wonderful swing - I was struck by a huge gratitude. I know how hard and how long you have worked over years to get to your high standard of performance - and I know how hard you work to perfect and finish each performance - such a lot of real effort to transport us into other worlds - it was a very varied programme and broadened our perception of opera.
"So - thank you ..... really genuine heartfelt thanks for all you give to me, and for your charm and expertise and joy." (letter from an appreciative concert-goer)
"What a wonderful evening you gave us yesterday - the Village Hall was completely transformed by you all and it was splendid. I loved the red, black and white theme, and how clever you were to add a bit, and use it differently to change the mood. The music was perfect - so professional and so beautiful. Herzog was clever and completely entertaining and Paul was his usual perfection - so able and so in control and a perfect accompanist. It all went with a wonderful swing - I was struck by a huge gratitude. I know how hard and how long you have worked over years to get to your high standard of performance - and I know how hard you work to perfect and finish each performance - such a lot of real effort to transport us into other worlds - it was a very varied programme and broadened our perception of opera.
"So - thank you ..... really genuine heartfelt thanks for all you give to me, and for your charm and expertise and joy." (letter from an appreciative concert-goer)
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HUBBUB Music Festival
Heartlands, Pool Summer 2013 Duchy Opera appeared at the Hubbub Festival at Heartlands in July, presenting a series of half-hour quick-stop opera workshops to introduce opera to people of all ages and abilities. Participants learned a fun, three-part chorus from The Mermaid Of Zennor, in the company of Musical Director Paul Drayton and members of Duchy Opera, presented by the International Impresario Baron Herzog. Entry and participation was free. A celebration of music, arranged by the Cornwall Music Education Hub. |
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The Mermaid of Zennor
Truro Cathedral, Bude, St Johns Hall Penzance June 2012 Princess Pavilion, Falmouth June 2013 A new chamber opera for all ages, adapted from the popular Cornish legend by composer Paul Drayton and director Keith Sparrow, with choreography by Helen Tiplady. Working with local Primary Schools: St Mary’s Falmouth, Threemilestone, Cusgarne and Bosvigo, Truro (2013) and Bude, Pensilva, Tintagel, Mevagissey, Mylor Bridge, Trewirgie (Redruth), Nancledra, Hayle, Newlyn & Penpol Schools (2013). It tells the story of Morveren the Mermaid and her love for the fisherman Mathew Trewhella, who captivates her with his singing at evensong in the tiny village of Zennor. Running at approx. 55mins, with charming music and colourful costumes, it is suitable for adults and children. The Mermaid of Zennor was developed from Duchy Opera’s popular school’s outreach programme known as The School Run, which has visited primary schools the length and breadth of the region for the last three years. The School Run seeks to introduce children to the medium of opera and to stimulate their passion and enjoyment of singing and performing. |
"A polished and enchanting short opera" Eric Dare - West Briton
The Mermaid of Zennor was supported by Truro Cathedral School Trust
and FEAST The performance at Truro Cathedral was filmed by award-winning local film-maker, Brett Harvey, winner of the best writer/director award at the London Independent Film Festival for his first feature film, Weekend Retreat, and younger brother of Simon, who directed the Duchy Opera production of Semele in 2008.
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Review of The Mermaid by Eric Dare, The West Briton
Truro Cathedral
"LOCAL and touring companies give us the standard operatic repertoire; but it is Duchy Opera who in recent years have offered a variety of original productions. Their latest, which ended its tour to a packed audience in Truro Cathedral last week, was The Mermaid of Zennor. Disobeying her father by venturing onto land, the mermaid Morveren is captivated by the singing of a young fisherman, Mathew. They fall in love, and despite his mother's pleas disappear together into the sea.
From this simple tale librettist and producer Keith Sparrow has conceived a polished and enchanting short opera with music by Paul Drayton – four-square choral, romantic for the lovers together with 'sea pictures', sometimes beguiling and serene, sometimes menacing. It was fitting that only the youngsters on the shoreline still hear the distant love duet; for the past two years Duchy Opera has been introducing opera to primary schools. Scores of them took part from Mevagissey, Mylor Bridge and Trewirgie schools. In their colourful costumes they portrayed a host of sea creatures, rocks and waves. A particular highlight was their own Undersea Chorus song choreographed by Helen Tiplady.
The four experienced principals were splendid with voices that filled the vast building – John Beazley, bass, a powerful, commanding Lyr, King of the Ocean; Susan Lancaster, alto, the anxious mother of soulful Mathew (Ranald McCusker, tenor, a cathedral choral scholar) and Lucy Eaton, soprano, as the bright-eyed, adventurous Morveren. There were solos, duets and a particularly effective final quartet. They were supported by the well-rehearsed chorus, principally involved in singing prayerful thanks for the safe return of their fishermen and their harvest.
Jay Brown designed a simple but clever set and the spectacular costumes of King Lyr and Morveren. The accompaniment was provided by a string trio – Veronica Woodburn, violin, Hannah Allen, viola and Liz Brazier, cello, with the musical director, Paul Drayton, on the keyboard. We have had Russell Pascoe's opera, Charlotte Diamond; in a county that abounds in tales and myths, I look forward to more from the Drayton/Sparrow combination."
Truro Cathedral
"LOCAL and touring companies give us the standard operatic repertoire; but it is Duchy Opera who in recent years have offered a variety of original productions. Their latest, which ended its tour to a packed audience in Truro Cathedral last week, was The Mermaid of Zennor. Disobeying her father by venturing onto land, the mermaid Morveren is captivated by the singing of a young fisherman, Mathew. They fall in love, and despite his mother's pleas disappear together into the sea.
From this simple tale librettist and producer Keith Sparrow has conceived a polished and enchanting short opera with music by Paul Drayton – four-square choral, romantic for the lovers together with 'sea pictures', sometimes beguiling and serene, sometimes menacing. It was fitting that only the youngsters on the shoreline still hear the distant love duet; for the past two years Duchy Opera has been introducing opera to primary schools. Scores of them took part from Mevagissey, Mylor Bridge and Trewirgie schools. In their colourful costumes they portrayed a host of sea creatures, rocks and waves. A particular highlight was their own Undersea Chorus song choreographed by Helen Tiplady.
The four experienced principals were splendid with voices that filled the vast building – John Beazley, bass, a powerful, commanding Lyr, King of the Ocean; Susan Lancaster, alto, the anxious mother of soulful Mathew (Ranald McCusker, tenor, a cathedral choral scholar) and Lucy Eaton, soprano, as the bright-eyed, adventurous Morveren. There were solos, duets and a particularly effective final quartet. They were supported by the well-rehearsed chorus, principally involved in singing prayerful thanks for the safe return of their fishermen and their harvest.
Jay Brown designed a simple but clever set and the spectacular costumes of King Lyr and Morveren. The accompaniment was provided by a string trio – Veronica Woodburn, violin, Hannah Allen, viola and Liz Brazier, cello, with the musical director, Paul Drayton, on the keyboard. We have had Russell Pascoe's opera, Charlotte Diamond; in a county that abounds in tales and myths, I look forward to more from the Drayton/Sparrow combination."
Photos by Linda Petzing
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Bizet's Carmen
Autumn 2012 Directed by Benjamin Symes Musical Director Paul Drayton Review by Eric Dare, The West Briton Burrell Theatre, Truro Another innovative production. THE overture begins, and on stage a genuine recording of Ireland's TV news – with a video of Belfast FC's new signing: the invincible striker, Escamillo. This clever start introduces us to a different Carmen – Bizet's bullring is now a football pitch, his Spanish Gypsies and smugglers, dissident Republicans in Northern Ireland during the 'Troubles'. All credit to Benjamin Symes for his adaption and direction. He continues the innovative and successful series of Duchy Opera's recent productions. Touring from Helston and St Ives to Liskeard and Bude, the necessarily simple set with boxes as walls, tables and seats is sufficient, efficiently changed and well lit by Adam Honeyman. For the orchestra, two pianos (Anthony Trodd and Jonathan Watts) to support the singers. And in this department there is no economy: the singing was well up to the standard we have come to expect under the direction of Paul Drayton. Professional singers heading the cast gave the production a distinctive polish – Gianluca Paganelli as Johnny J (Don José) who, spurning the trusting Micaela (Milena Dobrzycka/Charlotte Embree) becomes tragically infatuated with Cara Main (Carmen), sung by Saffron Jones/Simone Hellier. Bizet gives all of them splendid melodies that were sung superbly. Among such were Don José's duet with Micaela and his long infatuated solo, having been seduced by Carmen; her sexy Habanera was one of many. The slick quintet with the smugglers and three girls, Carmen, Frasquita (another professional, Lucy Eaton) and Mercedes (Evie Hidderley) was another triumph. These were matched by the singing of Ian Kinver, commanding in both roles, as the officer Morales and smuggler Dancairo, and Keith Sparrow as an exuberant Escamillo. Other local singers included Frank Linn (Zuniga) and Derek Rowse (smuggler Remendado). The chorus impressed, not only in their singing but also generally in their movement, particularly as Gypsy girls / factory workers / football fans – but not the dancing in Lilas Pastia's bar. In the following act there was no sense of risk and danger in smuggling. I also wished that Paganelli's splendid singing was matched by his acting that often lacked the hot-blooded passion the part demands. He could have learnt from Escamillo, the most convincing actor in the cast. Nevertheless it was a rewarding production that, chorally, matched the best in recent years. |
CARMEN cast:
Simone Hellier Saffron Jones MICAELA Charlotte Embree Milena Dobrzycka FRASQUITA Lucy Eaton MERCEDES Evie Hidderley DON JOSE Gianluca Paganelli ESCAMILLO Keith Sparrow MORALES/DANCAIRO Ian Kinver ZUNIGA Frank Linn REMENDADO Derek Rowse |
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The Vampire by Heinrich Marschner
Autumn 2011 Review by Eric Dare, January 2012 issue of Opera Magazine Duchy Opera at the Burrell Theatre, Truro, October 25 "Yet again Duchy Opera has given Cornwall something refreshingly new – remember its 2006 centenary production of The Wreckers? With the innovative Keith Sparrow, who updated The Merry Widow last season, we were assured of an entertaining evening with Heinrich Marschner’s The Vampire. In this Faustian gothic plot, the Earl of Marsden in his alter ego, Ruthven, is condemned to kill (‘bite’) three maidens. After he has killed his first victim, Janthe, his friend Aubry discovers Marsden’s true nature but is sworn to secrecy; they become rivals for the hand of Malwina, but her father, Davenaut favours the Earl. At a village wedding, the Vampire seduces another girl and kills her prior to his own wedding. At the last moment, Aubry, ignoring his vow, unmasks Marsden as the Vampire – who is dragged to hell by demons, while Aubry wins his love. The company recruited a fine group of singing actors. Philip Cade was a superb Vampire; David Webb a convincing hero for Malwina (Elinor Chapman). Their duets in both acts were among the musical highlights. John Beazley as Malwina’s father added the necessary gravitas both in manner and voice; while Phillippa Lusty took the roles of the two victims, Janthe and, on the second occasion, Emmy, who was plausibly seduced to the despair of her fiancé, George (played by the director himself, Keith Sparrow). The libretto was rewritten by Sparrow and the music director; as Sparrow pointed out in his splendidly produced programme, it was an actual vampire hunt in Glasgow’s Gorbals in 1954 that inspired his setting of the opera - a simple but adequate design for touring. It inevitably brought us close to the performers, though it might have gained in atmosphere had we been more remote. Marschener, Germany’s leading operatic composer when he wrote this once-popular work in 1828, obliged with a number of enjoyable ensembles and plenty for the impressive chorus. A pity we had to do without strings – well suited to creating ghostly atmosphere - but the five-piece orchestra, scored and conducted by the company’s music director Paul Drayton, provided adequate support for the singers." Review by Lee Trewhela, The West Briton 'Bloody Good Opera' "This season's production couldn't be more different than last year's frothy, fun version of Lehar's The Merry Widow. Therein lies the success of Duchy Opera – a company which refuses to rest on its laurels, is eager to experiment and keen to attract a new audience to the world of opera. Barring a little too much scene-setting smoke, which set off Truro School's fire alarms ten minutes into the show causing an evacuation, this was a stark production with the look of a camp 1920s silent horror film. Keith Sparrow is a bit like Little Britain's Dennis Waterman who "wrote the theme toon, sang the theme toon". A jack of all trades, Keith directed, designed, put together the impressive programme and even appeared as a husband-to-be who loses his bride to the vampire and, if that wasn't enough, he was one of the demons too. He certainly brings something new to what could be argued is a staid and old-fashioned musical form. Who's seen an opera that begins with an animated Vampire Master laughing manically from above? The story, in short, sees Ruthven the Vampire being given 24 hours, by said cartoon ghoul, to slay three young brides in 1950s' Gorbals (updated from the original German setting of 1828) in order to gain one more year of living. Philip Cade occupied this role with relish; calm and calculating when charming his victims, exploding in fury when his plans are thwarted – and what a voice. The standout for me was Cornish singing star-in-waiting Phillippa Lusty, innocent and demure as Ruthven's (or the Earl of Marsden in his other guise) first victim Janthe and then living up to her surname as sultry Emmy, murdered on her wedding day. Alluring and with a beautiful soprano voice, one wishes Phillippa well with her singing career in London. The charm and humour in the work, which musically isn't that memorable, came from the delightful chorus. Though their accents wavered so much it was hard to tell whether this was Glasgow, Giggleswick or Golant. Elinor Chapman, with a voice so powerful it could possibly shatter glass, played Malwina, saved from being Ruthven's third victim by her true love, Edgar Aubry (David Webb). David deserved a medal for battling on after a nasty cough threatened to derail his delightful tenor – thankfully the vocal cords won. The other winners were musical director Paul Drayton – does this man ever stop working? – and musicians Sarah Hanley, Jess Robinson, Jacqueline Kershaw, Naomi Johnston and Anthony Trodd, who brought the fairly light score to life. Duchy Opera managed to take a bite out of a little-known work and instead of killing it off, breathed new life into it. |
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The Merry Widow by Franz Lehar
October 2010 in a new production by Keith Sparrow A unique new version of a much-loved operetta, set amidst the celebrations in Maxim’s, a run-down cabaret bar in Berlin on November 9th,1989 - the night the despised Berlin Wall finally comes down. Two long-separated lovers are re-united amidst an exuberant gathering of die-hard Bohemian writers artists and poets, who join together to celebrate love, art, freedom and a new hope for the future of Germany. The Merry Widow has all the familiar tunes which have enchanted audiences across several generations, brought vividly to life in this refreshing update, adapted & directed by Keith Sparrow and arranged & conducted by Paul Drayton, with choreography by Helen Tiplady (Cscape Dance company). Comments from the Newlyn audience, "brilliant", "I really enjoyed that", " I didn't have any idea what to expect but it was absolutely amazing"! "I SHOULDN'T think previous directors of Duchy Opera shows have cited their influences as David Bowie, Manga, Marvel comics and Sonic Youth. But Keith Sparrow – who sings in a glam-punk band in his spare time – isn't your typical opera director. He's taken the usually refined company and dragged them kicking and sotto-ing into the 21st century (well, 1989 to be specific). Franz Lehar's fluffy piece from 1905 is now updated to the year the Berlin Wall fell, with all the action set in Maxim's naughty cabaret bar. The design – scarlet and black decor and clothing – recalls everything from Cabaret to A Clockwork Orange and the cult rock opera Hedwig And The Angry Inch (now, I really would like to see Keith direct that one). Keith may have made this a highly stylised Merry Widow but there was no messing with the music. The trio of musical director Paul Drayton on piano, Lucy Jenkins on violin and Naomi Johnston on cello were superb throughout and there was no faulting the performances of the leading players. With roles that called for just as much acting ability as musical, they were testament to the talent in Cornwall. Who needs Covent Garden or the West End when you have Philip Cade's delicious turn as Maxim's down-at-heel owner Baron Herzog, or Cheryl Brendish saucing it up as his flirtatious wife Natalia, all basque, powerhouse voice and audience-teasing? Kieran White as lovesick puppy Camille, professing his love for Natalia, looks like the singer in an emo boy band, but surprises with his accomplished tenor. Ian Kinver – well known to theatre audiences in Cornwall for his appearances with Truro and Redruth amateur operatic societies – gave his first performance with Duchy Opera and shone. Hugely likeable as Danilo, the cultural attaché to East Berlin, who the Baron begs to rekindle his romance with Anna Kaufmann, the widow of the title, Ian proves as successful in operetta as he is, say, in The Full Monty. Rebecca Moon, who has recently performed professionally for Opera North, was wonderful as the merry widow, wrapping all the greedy, lusty men of Maxim's round her little finger and dealing with Danilo with a twinkle in her eye. And what a wonderfully pure voice. The production – which has toured the length and breadth of Cornwall – has already been reviewed more than favourably in these pages by Eric Dare, our doyen of all that is classical and opera, but it deserves more praise from someone who wouldn't know their arse from their aria. For this is opera for those who "don't like opera". I'd like to thank Keith and the company for opening my eyes and ears. What next, Semele set in an inner city brothel?" Read more: http://www.thisiscornwall.co.uk/Duchy-Opera-gets-daring/story-11452345-detail/story.html#ixzz2nePo1Wi3 |
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The Hanging Oak by Paul Drayton
2009 A chilling new opera by Paul Drayton. Based on a story by M. R. James (left) John Hobbs as The Venerable Jonathan Haynes, and Cheryl Brendish as Miss Constance Haynes Note from the composer: "Edwardian readers used to thrill to the ghost stories of M. R. James, eminent antiquarian and Provost of King's College, Cambridge. They are less widely read nowadays, though they surface now and again as late-night TV chillers. Re-reading them, I felt that one story in particular, The Stalls of Barchester, would lend itself well to dramatic presentation as an opera. Taking my cue from the Britten church opera Curlew River, which I have long admired, I planned to present the piece in one of our wonderfully atmospheric old Cornish churches, where the ambiance, acoustic, light and shadow would perfectly match the tone of the story. In The Hanging Oak an ambitious clergyman, impatient to take office, appears to have hastened the demise of his elderly predecessor. As his conscience begins to trouble him an ancient carved stall in the cathedral becomes the agent of his downfall. And one of the servants has seen more than she should, making him a prey to blackmail. In some ways it is a morality tale about ambition versus contentment. Written for just four soloists, the work uses a small instrumental ensemble and chorus. There are passages of plainsong, psalms, and a hymn-tune, all adjusted to suggest the mental disintegration of the archdeacon." |
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Semele by Handel
2008 Directed by Simon Harvey, actor, director and film producer (0-region, Kneehigh Theatre etc.). Originally fashioned for presentation "in the manner of an oratorio", the work is more an opera than an oratorio. The music is full of variety, with expressive recitative, inventive orchestration, and believable characterization. Semele Kay Deeming Jupiter Steven Phillips Juno Rachel Bosanko Ino Sue Lancaster Athamas Tim Carleston High Priest/Cadmus John Beazley Iris Cheryl Brendish Somnus John Hobbs Apollo Bruce Cross |
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Tosca by Puccini
May/June 2007 directed by Paul Wignall conducted by Paul Drayton designed by Annabella Waite with the Duchy Opera chorus and the 30-strong Cornish Sinfonia led by John Bradbury Tosca Suzanne Manuell Cavaradossi Jeff Stewart Scarpia Eddie Wade Sacristan Guy Robinson |
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The Wreckers by Ethel Smyth with a new libretto by Amanda Holden from the original French by Harry Brewster translated into German for the Leipzig premiere in 1906
Hall for Cornwall, November 2006 Review by Russell Burdekin published in Capriccio, the Rose Bruford College's Distance Learning Opera course publication. (Jan 2007) "Duchy Opera, by and large, fielded a strong team with Cheryl Brendish, as Thirza, and Paul Carey Jones, as Lawrence, outstanding, although initially it was rather confusing as he appeared to be the same age as his daughter Avis. Unfortunately Ian Yemm, as Mark, probably not helped by the dead Hall for Cornwall acoustic, came across the weakest vocally and was sometimes rather wooden, the combined effect being to undermine the climax of Act 2 where he and Thirza declare their love and light the beacon to warn the ships. John Hobbs as Pascoe and Louise Merrifield as Avis made up the main singers. The design of Tom Barnecut and Myriddin Wannell was superb evoking a nautical atmosphere with its use of planks and rope while its construction on several levels, including a walkway along the back of the stage, provided an essentially single set that was flexible and varied enough to cope with the demands of the three acts. The stage wings were opened up so that the whole backstage was in use, which gave scope for considerable movement but may have contributed to the acoustical problems in swallowing up the sound. Much of the singing was close to the front of the stage and invariable directed straight ahead for the voices were lost once they turned away. Even so, it was difficult to make out some of the words and hence to judge the quality of the new libretto. It was also noticeable that the most successful act, Act 3, was the one where all the protagonists were concentrated in the middle area of the stage, whereas the earlier acts were more diffuse, for example, with villagers sitting at the sides during Mark and Thirza's big scenes even though not involved. While this conveyed the claustrophobic nature of village life, it did perhaps detract from where the focus needed to be. Sulkin drew a convincing performance from all concerned, not least the chorus, where each member seemed to inhabit a distinct persona. However, the dumb show and the video of waves lapping on a beach during the overture were unnecessary, perhaps resulting from an over anxious desire to capture audience attention early. More critically, Sulkin did little to rectify Smyth and Brewster's rather anodyne concept of the villagers and establish a more convincing counterweight to the obvious moral scruples of Mark and Thirza in the desperation of their plight. We first meet the villagers in a conventional drinking scene and the whole impression is more of a group piqued by being denied a bit of gratuitous vandalism than a community fighting for its life. Most probably, not only did Smyth and Brewster lack the social insight into the situation but also did not fully realise what needed to be done to transform the chorus from its traditional background support role into the most critical protagonist in the drama. Smyth's music is not instantly appealing with few obvious melodies but some of it has real dramatic power and atmosphere, particularly in the overture and Act 2 prelude (was Britten familiar with it?) and the vocal climaxes. And here we come to a dilemma. To stand a chance of being staged it was felt that the orchestral demands had to be reduced. The reduction has been done sympathetically and the orchestra here under Paul Drayton certainly gave it their all, but the lack of power, particularly in the strings, and probably not helped by the acoustic, was very noticeable in weakening the impact. Convenient or not, Smyth knew how to get the best out of such large forces and in using a reduced score, the opera is robbed of its strongest element. Will the Arts Council's hopes be realised? Duchy Opera certainly made a persuasive case for it, a stupendous achievement particularly given the size and nature of the company and the unsympathetic acoustic, but it must be doubted whether such hobbled efforts can ultimately win a permanent new audience for the opera. Oddly enough, given its long neglect, another production is planned in Giessen, Germany in May 2007. Perhaps a full size orchestra and a radical German director will give the opera the springboard it needs to show its true colours." (more on our Blog page, 16th December 2013) |
