Faber Music Opera Catalogue by Faber Music

Opera

Cover illustrations A collage of all opera production photographs printed in this catalogue Published by Faber Music Ltd, April 2009

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INTRODUCTION

CONTENTS BY COMPOSER

This catalogue gives details of operas and dramatico-musical works published by Faber Music (listed alphabetically by composer).

Thomas AdĂ¨s

5-6

George Benjamin

Anne Boyd

Benjamin Britten

9-14

The rights of performance, including broadcast, of all these works are controlled by the publisher. Permission to perform any work must be obtained in advance from Faber Music or its overseas agents listed on page 44.

Francesco Cavalli

15-18

Inspection scores of any work will be supplied on request.

Nicholas Maw

Minoru Miki

Instrumentation is given in the form of figures and/or instrumental abbreviations in the usual order of the score beginning with woodwind and brass. Doubling is indicated by an equals sign within brackets. A selection of books on opera from Faber & Faber is given on page 43.

John Gay Jonathan Harvey

19 20-22

Gustav Holst Oliver Knussen

Claudio Monteverdi

23 24-25

28-30

Wolfgang Amadeus Mozart

Dominic Muldowney

Modest Mussorgsky

Henry Purcell

Jean-Philippe Rameau

Torsten Rasch

Peter Sculthorpe

Humphrey Searle

Ralph Vaughan Williams

John Woolrich

MUSICAL THEATRE

39-41

BOOKS ON OPERA FROM F&F

INDEX

FABER MUSIC HIRE CONTACTS 44

ABBREVIATIONS VOICES VOICE TYPE S ................................soprano colS ......coloratura soprano dramS ....dramatic soprano hS ....................high soprano lyrS ................lyric soprano M ................ mezzo soprano dM dramatic mezzo soprano lyrM ....lyric mezzo soprano A ................alto or contralto charA character contralto Tr ..................................treble CT ....................countertenor T ....................................tenor buffoT ................buffo tenor charT ........character tenor hT ........................high tenor heldT ..............heldentenor lyrT ....................lyric tenor Bar ..........................baritone hBar ..............high baritone lyrBar ..........lyric baritone BBar ..............bass baritone B ....................................bass buffoB ................buffo bass charB ..........character bass nsr ..............non-singing role

INSTRUMENTAL WOODWIND picc ............................ piccolo fl...................................... flute ob .................................. oboe bass ob .............. bass oboe ca ...................... cor anglais cl .............................. clarinet bcl .................. bass clarinet bsn .......................... bassoon dbsn .......... double bassoon ssax .... soprano saxophone tsax ........ tenor saxophone bsax .. baritone saxophone

BRASS hn .................................. horn fl.hn .................... flugel horn ptpt .......... piccolo trumpet tpt .......................... trumpet atrbn..........alto trombone trbn ...................... trombone btrbn .......... bass trombone scrt ............ soprano cornet crts .......................... cornets rcrt .............. repiano cornet btuba .................. bass tuba euph .................. euphonium Bar .......................... baritone

PERCUSSION ant.cym ....antique cymbals BD ........................bass drum c.bell ........................cowbell cast ......................castanets ch.bl ..............chinese block chic. ..........cym chic cymbal ch.dr ..............chinese drum chtpl.bl chinese temple block chimes ......wooden chimes ch.ba ..................chime bars crot ..........................crotales cyms ..........pair of cymbals glsp ..................glockenspiel mcas ......................maracas mar ........................marimba met.bl .............. metal block mil.glsp military glockenspiel riv.cym ............rivit cymbal SD ........................side drum siz.cym ........ sizzle cymbal susp.cym ..suspended cymbal t.bells ............tubular bells t.mil ........ tambour militaire tab ................................tabor tam-t ......................tam-tam tamb ..................tambourine TD ......................tenor drum tgl ............................triangle timb ........................timbales tpl.bl ..............temple block

vib ...................... vibraphone wdbl ..................wood block xyl ........................xylophone xylrim ................xylorimba

STRINGS vln ................................violin vla ..................................viola vlc .................................. cello db ..................................bass

KEYBOARDS cel ..............................celesta hpd ..................harpsichord org ................................organ synth ................synthesiser pno .............................. piano

OTHERS gtr ................................guitar bgtr .................... bass guitar harm .................. harmonium mand .................... mandolin

THOMAS ADÈS

POWDER HER FACE (1995) OP 14

Chamber opera in two acts and eight scenes for four singers and 15 players Duration 115 minutes cl(I=ssax+barsax.II=asax+bcl.III=bcl+cbcl+swanee whistle) hn.tpt.trbn - perc(1): hi-hat/2 susp.cym/SD/vibraslap/BD/wash board/cabaca/lion’s roar/cyms/pop gun/large fishing reel/t.bells/ tam-t/flexatone/wdbl/3 brake drum/3 tpl.bl/BD+foot ped/bongo/2 timb/siz.cym/guiro/rototom/electric bell/rattle/swanee whistle/ crockery or wood.glass.shell.metal chimes crushed together/whip - harp - pno - accordion - 2 vln.vla.vlc.db Cast: Duchess (dramS); Maid (hS); Electrician (T); Hotel Linbury Studios, Covent Garden, 2008 © Bill Cooper

Manager (B) Libretto: Philip Hensher (Eng) Commissioned by Almeida Opera FP: 1.7.95, Cheltenham Festival, Everyman Theatre, Cheltenham: Valdine Anderson/ Roger Bryson/Jill Gomez/Niall Morris/Almeida Opera/Brad Cohen Libretto 0-571-51611-4 and vocal score 0-571-51730-7 on sale, full score and parts for hire Recordings: Gomez/Anderson/Morris/Bryson/Almeida Ensemble/ Adès: EMI Classics 7243 5 56649 2 1 DVD: Produced and directed for television by Margaret Williams: Digital Classics DC 10002 Linbury Studios, Covent Garden, 2008 © Bill Cooper

‘… a composer of masterful technique’ SYNOPSIS 1990: The Duchess surprises a Maid and an Electrician in the act of ridiculing her in her suite on the top floor of a West End hotel. Owing to their negligence, Her Grace’s coat is soiled. As she changes, all three express unanimous admiration for Her Grace’s clothes and scent, and varying opinions about her Grace’s circumstances. An entrance ensues. 1934: The Duke is expected at a large country house. Former ‘Debutante of the Year’ Mrs Freeling awaits him eagerly as her divorce is discussed by a Confidante and a Lounge Lizard. His Grace’s recent affairs are a topic. A song is given and His Grace arrives. 1936: Fashionable interest in Mrs Freeling’s wedding to His Grace in no way affected by her status as a famous divorcee, a magnificent reception is thrown. Behind the scenes, a thoughtful Waitress prepares elaborate dishes. 1953: On one of her frequent visits to the capital, Her Grace relaxes in the room of one of London’s foremost hotels. She telephones for Room Service and gives the Waiter the friendly welcome which has earned her such popularity among the staff. 1953: Meanwhile, His Grace entertains a friend at home after returning from a party. Her Grace is discussed and information revealed. 1955: As the historic divorce trial nears its close and the Judge’s concluding remarks are awaited, Rubberneckers discuss the sensational aspects by which they have been attracted. A judgement is given and Her Grace

reacts. 1970: Her Grace grants an interview at her lovely home. She offers insights from her experience of health, beauty, entertaining, millinery and English society. 1990: Her Grace receives two visits from the Manager of the prestigious London hotel which has been her home for over a decade. They finalise details of her forthcoming departure and in the interim, she reflects. She vacates the suite, whereupon it is made ready for the next occupant.

‘… one of the most striking new operas I have seen in years… a composer of masterful technique. From the tango of the overture to the tango of the close, one is on the edge of one’s seat trying to catch as much as possible of the prolific, fast-altering, vividly etched and instrumentally outrageous detail of a score that is boiling with life.’ The Sunday Times (Paul Driver)

‘… the tone of Firbankian camp is sly and subtle and elegantly wedded to Adès’s hugely colourful and virtuosically inventive score, with its brilliant Jazz Age pastiche and homages to Berg and Stravinsky…’ The Daily Telegraph (Rupert Christiansen) 5

THOMAS ADÈS

THE TEMPEST (2003–04) OP 22

Opera in three acts Duration 122 minutes 3(II & III=picc.).3(III=ca).3(I & II=Bb, III in A=bcl).3(III=cbsn) 4.3.3(III=btrbn).1 - timp - perc(2/3) - upright pno - harp (act 3 only) - strings (some basses with extensions to B)

Cast: Prospero (hBar); Ariel (hS); Caliban (T); Miranda (M); Ferdinand (T); King (T); Antonio (T); Stefano (B-Bar); Trinculo (CT); Sebastian (Bar); Gonzalo (BBar); The Court (SATB chorus) Libretto: Meredith Oakes, after Shakespeare (Eng) Commissioned by the Royal Opera House FP: 10.2.04, Royal Opera House, London, UK: The Royal Opera/Thomas Adès/dir. Tom Cairns Libretto 0-571-52337-4 and vocal score 0-571-5220-8 on sale, full score and parts for hire Recording: Simon Keenlyside/Cynthia Sieden/Ian Bostridge/Kate Royal/Toby Spence/Philip Langridge/Chorus and Orchestra of the Royal Opera House: EMI: 5099969523427

‘…a resounding triumph’ The Tempest is inspired by Shakespeare’s play, rather than literally being based on every aspect of it. There are key images from the play as well as new material. From among the play’s many themes and possible interpretations, the opera focuses on the difficulty, and the necessity, of mercy. The libretto uses contemporary vocabulary. Its lines are short, rhythmic and rhymed or semi-rhymed, echoing Shakespeare’s strophic songs more than his blank verse. This choice reflects the play’s magical, ritual, childlike elements, and acknowledges the traditional power of incantation in song. The operatic Prospero is the passionately vengeful man seen in the play, more than the wise disconnected actor also seen there. Despite his nearomnipotence, he finds things out as he goes along, and experiences contradictory emotions to the end.

‘The music lifts you into the stratosphere, and you don’t want to leave… Adès himself conducted, drawing a riot of color from the orchestra… A huge, stamping-and-shouting roar greeted the composer when he took his solo bow – a final storm of sound on the enchanted island.’

The New Yorker (Alex Ross)

‘…a resounding triumph for Adès… At the end, as Caliban reclaimed his island and Ariel’s wordless song quivered into silence, the audience burst into long, loud, almost ecstatic applause… the music takes off into an evocation of primeval magic and the blend of human and supernatural such as has not been heard in English music since Tippett’s The Midsummer Marriage… Adès does not shirk the traditional big operatic moments. There is a thrilling and moving quintet of reconciliation and he gives each of his main characters an imposing and impressive aria…these are expressed in music of extraordinary imaginative power… The Tempest should be spell-binding and that is what Adès has made it… It’s a must.’ The Sunday Telegraph (Michael Kennedy) 6

‘The wonderful quintet of healing begins with a kernel of melody so pure, simple and English that it might be John Dowland. The way it burgeons into something lofty and aspirational says more about the possibilities of new beginnings than anything I know in contemporary music.’ The Independent (Edward Seckerson)

‘If you need proof that the hype surrounding Adès is more than just hope and expectation, this is where to find it’ The Guardian (Erica Jeal)

GEORGE BENJAMIN

INTO THE LITTLE HILL (2006)

A lyric tale in two parts for soprano, contralto and ensemble of 15 players

Duration 40 minutes fl(=picc + bfl).2 basset hn in F.cbcl - 2 crts.tenor trbn - cimbalom =perc(1): cyms/guiro/2 crot/whip - 2 vln.(II=mandolin).2 vla (II=banjo).2 vlc.db Text: Martin Crimp (Eng) Commissioned by the Festival d’Automne à Paris, with contributions from the Ernst von Siemens Music Foundation; Opéra National de Paris; and Ensemble Modern, with contributions from the Forberg-Schneider Foundation FP: 22.11.06, Festival d’Automne, Paris, France: Anu Komsi/Hilary Summers/Ensemble Modern/Franck Ollu/dir. Joël Jouanneau Score 0-571-53212-8 on sale, libretto 0-571-53149-0 on sale, and parts for hire Recording: Anu Komsi/Hilary Summers/Ensemble Modern/ Frank Ollu, Nimbus: NI 5828

Martin and I wanted to tell our lyric tale in the most direct and authentic way possible, not an easy task in the age of TV and cinema. Our solution – where the story-telling as well as the multiple roles are shared between just two singers – acknowledges at all times the artificial nature of sung drama, while still permitting dialogue and characterisation. Occasionally, particularly in heated moments, it approaches the naturalistic. Martin’s text remains faithful to the traditional myth of the Ratcatcher of Hamelin, though it evokes disturbing contemporary resonances too. It also reflects upon the power of music as well as its exploitation in today’s world. This work was very much a collaborative undertaking, from the beginning. All those involved tonight in singing, playing and directing were in place – and closely consulted – before a note of the score was written. The orchestration employs some highly unusual timbres, ranging from bass flute and cimbalom to banjo and basset-horns. The resultant sonority is often discreet and always, I hope, transparent, so that the vocal lines can occupy the foreground without struggle. Above all I wanted to embed these lines as clearly as possible into the harmonic environment that surrounds them. In this fusion, I believe, lies a crucial expressive resource on the lyric stage. © George Benjamin

‘George Benjamin doles out his music in dark, powerful droplets…’ Newsday (Justin Davidson)

‘Into the Little hill is a jewel-like piece of music theatre… a remarkable soundworld in which complex characterisations and layers are thrillingly refined… The wealth of invention, remarkable textural ingenuity and particularly imaginative use of the instruments mark out the score as a miniature masterpiece.’ The Independent (Lynne Walker)

‘The word setting is always pellucid and sometimes lyrical, the orchestration… luminous, subtle and delicate. Most strikingly imaginative of all, however, is the way that Benjamin creates a world of sound, quite unlike any other. …it left me both stunned and elated. A masterpiece, no question.’ The Telegraph (Rupert Christiansen)

‘It is a transcendentally beautiful piece, perfectly scaled to Martin Crimp’s taut libretto… The Guardian (Andrew Clements)

Festival d’Automne, Opéra Bastille, Paris, 2006 © Raphäel Pierre (Left: Hilary Summers, Right: Anu Komsi

‘… by all accounts a blazing masterpiece’The Guardian (Brian McMaster)

ANNE BOYD

THE LITTLE MERMAID (1946)

Opera in two acts Duration 60 minutes 7 wind instruments: (1 very high; 4 medium; 2 low) - timp perc(11): 2 susp.cym/gong/3 xyl/cheng-cheng/2 glsp/3 metals/bongos/BD/claves - pno - strings (min 3.2.2.2.1) electronics Cast: The Little Mermaid (S); The Grandmother (A); Witch of the Sea (A); Five Sisters (M & 2 A)

Libretto: Robin Lee after the story by Hans Andersen (Eng)

By marrying contemporary music with Hans Christian Andersen’s well-known classic fairytale, musically The Little Mermaid gains accessibility for children unfamiliar with opera. The story of The Little Mermaid’s sacrifice for love reveals to us life in three worlds – the subterranean world of the sea people with their strange myths and moral codes against the tangible world of the land folk; together with the mysterious unknown world of the heavens and the Daughters of the Air. The Little Mermaid’s experience of these three worlds seems to reinforce the fragility of life.

Commissioned by New Music in Action with funds provided by the Australia Council FP: 26.9.81, Wollogong Technical College Auditorium, Australia: Wollongong Institute of Higher Education Large score (fp) 0-571-55489-X, score (fp) 0-571-55488-1, vocal score 0-571-50593-7 on sale, and parts for hire

ANNE BOYD

THE ROSE GARDEN (1972)

Theatre piece in one act Duration 70 minutes 2 fl(I=picc).afl - 2 gtr(I=elec. II=acoustic) - perc(6): glsp/3 gong/timp/cel/crot/bongos/ fingercyms/tom-t/t.bells/xyl/ tam-t/vib - pno(=cel) electronic tape Cast: The Rose (S); The Searcher, The Gateway, The Warden (mimed roles); Chorus SATB Libretto: Robin Hamilton (Eng) FP: May 1972, University of York, UK: University of York/Dominic Muldowney Large score (fp) 0-571-55491-1, score (fp) 0-571-55490-3 on sale, and parts for hire

The Rose Garden is a ritual, concerned with the search for spiritual values and purpose in life and death. The Rose symbolizes the achievement of an ideal; the Searcher symbolizes all those who strive for this achievement. The Garden is the world, in which not only is the Rose to be found but also all the obstacles which will impede the search for the Rose.

‘A profoundly beautiful work, at once chaste and passionately eclectic… yet assembled in a cogently personal way, thrilling in its long, sure control of timespans…’ The Financial Times (Andrew Porter)

BENJAMIN BRITTEN

CHURCH PARABLES

CURLEW RIVER (1964) OP 71 Parable for church performance Duration 71 minutes fl(=picc) - hn - perc(1): 5 small untuned drums/5 small bells/ large tuned gong - chamber organ - harp - vla.db Cast: Madwoman (T); Ferryman (Bar); Traveller (Bar); Spirit of the Boy (Tr); Leader of the Pilgrims/Abbot (B); Chorus of Pilgrims (3T, 3 Bar, 2B); 3 Assistants Libretto: William Plomer after the Japanese Nohplay Sumidagawa (Eng) FP: 9.6.64, Aldeburgh, UK: English Opera Group Full score (cased) 0-571-50001-3, full score (paper) 0-57150720-4 (O/P), rehearsal score (Eng/Ger) 0-571-50002-1, libretto (Eng) 0-571-0094-3 on sale, rehearsal score (French) for hire, parts for hire Recordings: Pears/Shirley-Quirk/Blackburn/English Opera Group, London Records/Langridge/Allen/Saks/

THE BURNING FIERY FURNACE

Keenlyside/London Voices/Academy of St Martin in the Fields/Mariner, Philips: 454-469-2

In Tokyo in 1956 Britten attended two performances of the 15th century Noh-play, The Sumida River, which made a profound impression on him. The simple story, the austerity, formalism and deliberate pace of the action; the mixture of chanting, speech and singing; the all-male cast with a handful of instrumentalists – all these offered what he described as a ‘totally new operatic experience’. In collaboration with the poet William Plomer he conceived the transplantation of the original play to an English setting, presented along the lines of a medieval religious drama with plainsong taking the place of the traditional ancient Japanese music. Monks and acolytes make up the cast of the Parable which tells the most moving of stories: a demented mother seeks her lost son and finally discovers his grave by the side of the Curlew River.

(1966) OP 77

Second parable for church performance Duration 64 minutes fl(=picc) - hn.alto trbn - perc(1): 5 small untuned drums/anvil (small untuned steel plate)/2 tuned wdbl/lyra/glsp/babylonian drum/multiple whip - chamber organ (=small cyms) - harp (=little harp) - vla.db (=babylonian drum) Cast: Nebuchadnezzar (T); Astrologer/the Abbot (Bar); Ananias (Bar); Misael (T); Azarias (B); Herald/Leader of Courtiers (Bar); Chorus of Courtiers (3T, 2Bar, 2B); Attendants (Tr) Libretto: William Plomer from the Book of Daniel (Eng), Ludwig Landgraf (Ger), Armand Bex (Fr) FP: June 1966, Aldeburgh, UK: English Opera Group

Full score 0-571-50721-2 or 0-571-50681-X, rehearsal score (Eng/Ger) 0-571-50026-9, libretto 0-571-50088-9 on sale, parts for hire Recording: Pears/Drake/Shirley-Quirk/Tear/Dean/ Leeming/English Opera Group: London Records

In Britten’s second Parable the style of performance sustains the Noh tradition of Curlew River. But composer and librettist have here found the source of their inspiration in the familiar Biblical story of Ananias, Azarias and Misael. The music takes its point of departure from the plainsong, Salus Aeterna, which recurs throughout a uniquely coloured score as a symbol of the Israelites’ integrity. The figure of Nebuchadnezzar, the cult of the ‘god of gold’, and the resistance movement of the three exiles evoke themes of clear, contemporary significance.

THE PRODIGAL SON (1968) OP 81 Third parable for church performance Duration 72 minutes afl(=fl) - hn.tpt - perc(1): 5 small untuned drums/ch.cym/conical gourd rattle/large untuned gong/ wdbl - perc(on stage): small drum/cyms/tamb/sistrum/small bell-lyra - chamber organ - harp vla.db Cast: The Tempter/Abbot(T); the Father(BBar); the Elder Son(Bar); the Younger Son(T); Chorus of Servants(3T, 3 Bar, 2B); 5 Young Servants (Tr) Libretto: William Plomer from the New Testament

(Eng); Hans Keller (Ger) FP: 10.6.68, Aldeburgh, UK: English Opera Group Full score 0-571-50682-8, rehearsal score (Eng/Ger) 0-57150231-8, libretto 0-571-50270-9 on sale, parts for hire Recording: Pears/Drake/Shirley-Quirk/Tear/Dean/ Leeming/English Opera Group: London Records

Of all the parables in the New Testament, none has had quite such a universal and ever-renewed appeal as that of the Prodigal Son. With its unforgettable climax of reward and rejoicing being lavished not upon virtuous correctness but upon a sinner, this parable celebrates the triumph of forgiveness. 9

BENJAMIN BRITTEN

DEATH IN VENICE (1973) OP 88

Opera in two acts based on the short story by Thomas Mann Duration 145 minutes 2(=picc).2.2(II=bcl).2 - 2221 - timp - perc(5): 2 SD/2 TD/2 BD/tuned drum/3 tom-t/3 ch.dr/small drum/ cyms/2 susp.cym/pair small cym/tamb/wdbl/tgl/2 whip/2 tunedgong/2 tam-t/wind machine/bells/bell tree/crot/vib/2 glsp/2 xyl/mar - pno - harp - strings

Aldeburgh Festival, 2007 © Malcolm Watson

Cast: Gustav von Aschenbach (T); the traveller/ multiple role(B-Bar); the voice of Apollo (CT); Small roles from SATB chorus (4S, 3C, sT, 2Bar, BBar, B) Dancers: Polish mother, Tadzio her son, her 2 daughters, Governess, Jaschiu, children, strolling players/beach attendants Libretto: Myfanwy Piper based on the short story by Thomas Mann (Eng); Claus Henneberg & Hans Keller (Ger) FP: 16.6.73, Aldeburgh Festival, UK: English Opera Company Full score (cased) (Eng/Ger) 0-571-50533-3, vocal score (Eng/Ger) 50514 7, chorus part (Eng/Ger) 0-571-56823-8, libretto (Eng) 0-571-51453-7 on sale, full score and parts for hire Recording: Langridge/Opie/Chank/BBC Singers/ City of London Sinfonia/Hickox, Chandos

‘… a great opera.’ Death in Venice was Britten’s last opera, the culmination of the composer’s unique contribution to twentieth-century operatic repertoire. The ageing novelist, Gustav von Aschenbach, seeks inspiration for his work in Venice and becomes infatuated by the beauty of a boy he sees on the beach. Tormented by guilt and unable to confess his love, he dies as the city is ravaged by plague.

‘Benjamin Britten has once again proved the impossible. Thomas Mann’s Death in Venice, a compressed and intense story, an artist’s inner monologue, lacking conversation, has against all odds become a great opera.’ The Guardian (Edward Greenfield)

‘Britten’s consummate skill as an opera composer has never been more apparent. In scene after scene he establishes atmosphere and dramatic points with uncanny rapidity and sureness of touch.’ The Observer (Peter Heyworth)

Aldeburgh Festival, 2007 © Malcolm Watson

‘Mrs Piper’s libretto succeeds brilliantly in drawing scenes and dialogues from a narrative of virtual interior soliloquy… Above all the music has a unity of purpose, obtained by continual development of a few simple yet subtle motives, which pulls the opera together not dogmatically but with the effortless blossoming of a masterly improvisation.’ The Times (William Mann)

BENJAMIN BRITTEN

THE GOLDEN VANITY (1971) OP 78

Vaudeville for boys and piano Duration 17 minutes pno - drum Cast: 3 Tr, 2 A soloists, Tr/A chorus Libretto: Colin Graham (Eng)/Ger/French

Oper Frankfurt production, 2004 © Katrin Schander

FP: 3.6.67, Aldeburgh Festival, UK: Vienna Boys Choir Vocal score (Eng/Ger) 0-571-50106-0, chorus part (Eng/Ger) 0-57150107-9 on sale, French translation vocal score (fp) 0-571-55492-X on sale Recording: The Wandsworth School Boys’ Choir, Russell Burgess/ Benjamin Britten, Decca 436397-2

‘The simplicity, both dramatic and musical, spells pure magic …’

SYNOPSIS

Oper Frankfurt production, 2004 © Katrin Schander)

honour their promise. Finally, the crew throw him a rope, but he dies on reaching the deck. He is buried at sea amid much sorrow and remorse. His voice can be heard evermore over the spot where he died.

‘The simplicity, both dramatic and musical, spells pure magic… This is a parlour game translated, capturing in music all of a child’s excitement in a charade.’

Oper Frankfurt production, 2004 © Katrin Schander)

The boys march on and form two groups, those representing The Golden Vanity and those representing the enemy ship ‘The Turkish Galilee’. The Golden Vanity is riding the Lowland Sea with a cargo of silver and gold when it comes across the marauding vessel. The ship floundering and vulnerable from a blast from the pirate ship, the cabin boy asks the captain what his reward would be if he were to sink The Turkish Galilee. The captain offers him the hand of his ‘pretty little daughter who lives upon the shore’. The cabin boy dives into the water and swims over the the enemy ship, boring three holes in the side. As The Turkish Galilee begins to sink, the boy returns to The Golden Vanity but the rascally captain and bosun refuse to let him back on and to

The Guardian (Edward Greenfield)

‘Skirling clashes of tones and semitones like stiff breezes, and becalmed murmuring ostinatos, and bold chordal shouts. The vocal writing is entirely characteristic - already my head is ringing with the three-part chords that Britten sets to “the Lowland, Lowland Sea”…’ The Times (William Mann)

BENJAMIN BRITTEN

OWEN WINGRAVE (1971) OP 85

Opera in two acts based on the short story by Henry James Duration 106 minutes 2(II=picc).2.2(II=bcl+Ebcl).2(II=cbsn) - 2221 - timp - perc(3): SD/2TD/BD/wdbl/whip/2 susp.cym/cyms/smallgong/tom-t/vib/ xyl/tamb - pno - harp - strings Cast: Owen Wingrave (Bar); Spencer Coyle (B-Bar); Lechmere(T); Miss Wingrave(S); Mrs Coyle(S); Mrs Julian(S); Kate(MS); General Sir Philip Wingrave (T); Ballad Singer (T)

Alan Titus as Owen Wingrave, Santa Fe Opera, 1973 © Martin Weil

Libretto: Myfanwy Piper based on the short story by Henry James (Eng); Claus Henneberg and Karl Robert Marz (Ger) FP: May 1971, BBC Television: First staged performance: May 1973, Royal Opera House, Covent Garden Study score 0-571-51542-8, vocal score (Eng/Ger) 0-571-50502-3, libretto (eng) 0-571-50299-7 on sale, full score and parts for hire Recordings: Luxon/Shirley-Quirk/Douglas Fisher/Harper/Vyvyan/ Baker/Pears/Wandsworth School Byos Choir/ECO/Britten, London Records Coleman-Wright/Opie/Gilchrist/Connell/Watson/Fox/Helen/ Leggate/Tiffin Boys Choir/City of London Sinfonia/Hickox, Chandos: CHAN 10473(2)

‘…one of the most challenging and necessary works of the late 20th century.’ SYNOPSIS

‘Britten has packed his most skilful craftsmanship into Owen Wingrave. He uses a handful of musical techniques; among them, a percussive motif representing the military tradition of the Wingrave family, and a sequence of plain chords that recall Billy Budd for the pacifist beliefs of Owen himself.’ The Financial Times (Gillian Widdicombe)

‘One needs hardly emphasise how many threads from the deepest of Britten’s preoccupations, formulated in wholly characteristic dramatic and musical images, are drawn together as the opera moves to its ironic close. These are major preoccupations and this is a major theatrical work, in which they are again pressed home with consummate art.’ The Listener (Donald Mitchell)

Alan Titus as Owen Wingrave, Donald Gramm as Spencer Coyle, Santa Fe Opera,

At Coyle’s cramming establishment in London, Owen and his friend Lechmere are learning the strategy of battle. At the end of the lesson, Owen declares that he cannot go through with a military career. Coyle is angry but agrees to break the news to the Wingrave family for whom soldiering has been a way of life for decades. At their haunted country house, Paramore, Owen is rounded on by his aunt and Miss Wingrave, his fiancée Kate Julian and her mother. The elderly head of the family, Sir Philip Wingrave, who fought at Bhurtpore, is similarly outraged. In the Prologue to Act Two, a ballad singer narrates the tale of the young Wingrave boy killed by his brutal father for refusing to fight over an argument with a friend. Sir Philip disowns Owen, depriving him of his inheritance. Kate humiliates Owen by flirting with Lechmere. After everyone has gone to bed, Owen, left alone, reflects on his predicament and reaffirms his passionate belief in peace. Kate comes looking for him. She taunts him with cowardice and dares him to sleep in the haunted room. Owen agrees and Kate locks him in. Lechmere is concerned for Owen’s welfare and alerts Coyle. Kate is heard sobbing from the doorway of the haunted room. The family rush to the scene. Sir Philip pushes the door open to find Owen dead on the floor. The ballad singer’s voice is heard once more.

BENJAMIN BRITTEN

OWEN WINGRAVE (reduced orch.) (1971/2007)

Opera in two acts

Duration 106 minutes 1(=picc).1(=ca).1(=bcl).1(=cbsn) - 1110 - perc(2): timp/glsp/xyl/ vib/tuned bell/tamb/cyms/susp.cym/whip/wdbl/2 gong/2 SD/TD/ tom-t/BD - pno - strings Cast: Owen Wingrave (Bar), Spencer Coyle (B-Bar), Lechmere (T), Miss Wingrave (S), Mrs Coyle (S), Mrs Julian (S), Kate (MS), General Sir Philip Wingrave (T), Ballad Singer (T) Libretto: Myfanwy Piper based on the short story by Henry James (Eng); Claus Henneberg and Karl Robert Marz (Ger) Commissioned by The Royal Opera House FP: 23.4.07, Linbury Theatre, Royal Opera House, Covent Garden, London: City of London Sinfonia/Rory MacDonald Score and parts for hire

‘… perfectly effective … ’ Benjamin Britten’s deep commitment to pacifism, so movingly evident in War Requiem, is also the central theme of Owen Wingrave. Set in England in 1895, the opera tells of a young man’s rebellion against the military traditions of his family. In fighting for his pacifist ideals he proves himself as brave a soldier as any of his forebears.

‘…Owen Wingrave comes across as swifter and meatier than before – in no small part due to a new chamber orchestration by David Matthews, one of Britten’s former assistants. Matthews’s version is actually an improvement on the original because we hear all the essentials of the instrumental score in better profile, while being able to hear every word…’ Financial Times (Andrew Clark)

‘Richocheting brass and clattering timpani delineated both Owen’s struggle and the forces of reaction that hem him in, while sensual strings and the sound of Britten’s beloved gamelan conveyed the vision of peace that drives Owen on.’ The Guardian (Tim Ashley)

‘… a new reduced orchestration by David Matthews which sounded perfectly effective in a small theatre such as the Linbury Studio. Rory MacDonald conducted the members of the City of London Sinfonia with flair, and Britten would have been delighted at the ease with which the singers communicated the text over the orchestra – without benefit of surtitles.’ The Daily Telegraph (Rupert Christiansen) 13

Linbury Theatre, Royal Opera House, Covent Garden, 2004 © Bill Cooper

based on the short story by Henry James reduced orchestration by David Matthews (2007)

BENJAMIN BRITTEN

PAUL BUNYAN (1940/74) OP 17

Operetta in two acts based on the story of the American folk hero Paul Bunyan Duration 114 minutes 2(II=picc).1.2(II=asax).bcl.1 - 2221 - timp(=susp.cym) - perc(1): susp.cym/tgl/SD/TD/glsp/gong/BD+cym/cyms/wdbl/xyl/tamb/ vib - pno(=cel) - harp - strings (on stage vln.gtr.db) Cast: Voice of Paul Bunyan (spoken role); Johnny Inkslinger (T); Hot Biscuit Slim (T); Sam Sharkey (T); Ben Benny (B); Hel Helson (Bar); John Shears (Bar); Fido, a dog (hS); 2 cats Moppet and Poppet (2 M); Ballad singer (T or Bar). Small roles from SATB Chorus: 4 Young Trees (2 S, 2 T); 3 Wild Geese (S, 2 M); 4 Swedes (2 T, 2 Bar); Western Union Boy (T); Quartet of the Defeated (contralto, T, Bar, B); 4 Cronies (4 Bar) spoken roles: Heron; Moon; Wind; Beetle; Squirrel (Libretto (Eng) by WH Auden; Erich Fried (Ger) FP: 5.5.41, Brander Matthews Hall, New York, USA: unknown FP: (revised edition) 4.6.76, Aldeburgh Festival, The Maltings, Snape: English Music Theatre/Steuart Bedford Full score 0-571-50680-1, vocal score 0-571-50538-4, chorus part 0571-50610-0, libretto 0-571-51938-5 on sale, parts for hire Recordings: Allen/Brown/McKeel/Ramos/Allison/Chorus and orchestra of the Plymouth Music Series, Brunelle: VCD 7592492

‘One of those early works of genius …’ Paul Bunyan was Britten’s first work for the musical theatre, written for performance in New York in 1941. (It was subsequently withdrawn until its revival in 1976). From the start it was conceived for young singers and players to perform: there are big choruses, and many small parts rather than a few star roles. Its action moves swiftly, and its music is deliberately eclectic in style. Spoken dialogue is interspersed with catchy set numbers and there are narrative ballads – sung with guitar – to link the scenes. The work is a parable of the development of the American continent from virgin forest to civilization. Paul Bunyan, the folklore hero of the lumbermen, is the guiding spirit, heard but not seen. The human characters are sharply drawn as prototype figures: Helson, the man of brawn, but no brain; Inkslinger, the man of speculative intelligence; Slim, the successful charmer who marries the boss’ daughter. Although often light-hearted, Paul Bunyan is at heart a deeply serious, tender, poetic work, the obvious precursor to Peter Grimes and Britten’s other operas – a brilliant collaboration and a classic of the stage, which remained unperformed for far too long.

‘It is a marvelous libretto… and his brilliance was matched by Britten’s music, which absorbed the idioms of Gershwin, Cole Porter, Western country music and of Kurt Weill. The resulting score is dazzling in its imaginativeness and invention, touching and prophetic of Peter Grimes… A work that has genius written all over it.’ Opera Magazine, (Michael Kennedy)

‘One of those early works of genius – like Mozart’s Idomeneo – whose youthful freshness and abundance of invention set an audience’s spirit soaring… what matters is the general vision of unspoiled nature and men harnessing (and spoiling) that nature, of first love and first grief, of dreams, ambitions and compromises that life imposes. And what matters most of all is the world of lyrical, joygiving music that Britten creates.’ The New Yorker (Andrew Porter)

FRANCISCO CAVALLI

L’EGISTO (1643)

Opera in three acts with prologue Duration 135 minutes 2 hpd - harp - 2 lute - chitarrone (or gtr) - gtr - flue organ - strings Off stage: 2 fl.2 ob.ca.2 bsn Cast: Principals - Clori (S); Lidio (Bar or CT); Egisto (T); Climene (M); Ipparco (Bar); Dema (T - travesty role) - Small roles: Bellezza (S); Volupia (M); Amor (S); Venus (S); Apollo (Bar); 4 Heroines (3 S, M); 4 Seasons (4 S); In Prologue - La Notte (Bar); L’Aurora (S) Libretto: Giovanni Faustini (Ital) English by Geoffrey Dunn and Raymond Leppard. German by Karl Robert Marz FP of this version: 1.8.74, Santa Fe, USA: Santa Fe Opera Company/Raymond Leppard Vocal score (Ital/Ger/Eng) 0-571-50532-5 , chorus part 0-571- 50396-9, libretto 0-571-50647-X on sale, full score and parts for hire George Shirley as L’Egisto, Santa Fe Opera, 1974 © Cradoc Bagshaw

George Shirley as L’Egisto, Santa Fe Opera, 1974 © Cradoc Bagshaw

Performing edition realized by Raymond Leppard

‘… elegant in its multiple fusions of tragedy and whimsy, heroism and intimacy, reality and illusion’ L’Egisto was composed to a libretto by Giovanni Faustini, who provided Cavalli with some of his best written texts and best constructed plots. The opera resembles the Shakespearean pastoral comedy, with two pairs of lovers brought finally together after considerable vicissitudes. An unShakespearean element, characteristic of early Italian opera, is the participation of the Gods in this drama, for it is their rivalries that control the fortunes of the human protagonists.

‘Musically the opera flows with Cavalli’s distinctive blend of recitative and arioso yielding to more formal aria. Its emotional range is both broader and deeper than many other Cavalli opera (one is tempted to draw parallels here with Mozartian opera), notably in Egisto’s extended mad scene and the encounters between the lovers. This is a marvelous work, broad in its range of passions, inspired in its melodic flights, elegant in its multiple fusions of tragedy and whimsy, heroism and intimacy, reality and illusion.’ Los Angeles Times (Martin Bernheimer)

‘The opera is a charmer… Cavalli is never at a loss for ingratiating tunes, and Mr Leppard has clothed them all in a luscious harmonic framework that is rich in textural variety and full of ingenious theatrical gestures.’ New York Times (Peter G Davis)

FRANCISCO CAVALLI

LA CALISTO (1651)

Opera in two acts with prologue Edition one: by Raymond Leppard Edition two: by Alvaro Torrente

Janice Hall as La Calisto, Santa Fe Opera, 1989 © Murray Haynes

Duration 120 minutes 2 hpd - harp - 2 lute - chitarrone - gtr - flue organ - strings Cast: Giove (B); Mercurio (Bar); Calisto (S); Endimione (CT); Diana (M); Linfea (T-travesty role); Satirino (S); Pane (B); Sylvano (BBar); Giunone (S); Echo (S); In prologue: La Natura (M); L’Eternita (S); Il Destino (S); Chorus: SATB Libretto: Giovanni Faustini (Ital) with Eng & Ger translations by Raymond Leppard FP of edition one: 25.5.70, Glyndebourne, Sussex, UK: Glyndebourne Festival Opera/Raymond Leppard FP of edition two: 23.9.08, Royal Opera House, Covent Garden, London: cond. Ivor Bolton/co-prod. with Bayerische Staatsoper/dir. David Alden Chorus part (Ital/Eng/Ger) 0-571-50396-9, vocal score(fp) 0-57150395-0 on sale, full score and parts for hire Recordings: Cotrubas/Bowman/Baker/Glyndebourne Festival Chorus/LPO/Leppard, Universal Classics Oper Bayerische Staatsoper, 2007 © Wilfried Hösl

‘… one exquisitely beautiful number after another …’ Cavalli was acknowledged, after Monteverdi’s death, to be the foremost operatic composer in Italy, celebrated throughout Europe. La Calisto was first performed in Venice in 1651 and its first modern performance was at Glyndebourne in 1970 in Raymond Leppard’s performing edition.

Oper Bayerische Staatsoper, 2007 © Wilfried Hösl

‘The libretto by Giovanni Faustini is cynical, irreverent, and hilariously amusing. We see Jupiter enamoured of Calisto, one of Diana’s chaste devotees; when she repulses him he assumes the shape of Diana and successfully seduces her. We see the real Diana overcome her votive chastity through love for the shepherd Endymion. Linfea, another of her nymphs, more elderly, likewise succumbs to the predatory lusts of Pan and his satyrs. Juno arrives full of righteous indignation, recognizes her husband even when disguised as Diana, and soon transforms Calisto into a little bear. Jupiter rescues her from this metamorphosis and translates her into the constellation of Ursa Minor, taking her up to heaven on an ample and comfortable couch… La Calisto gives us one exquisitely beautiful number after another, justifying those experts who have pointed to Cavalli’s depth of dramatic characterization.’ The Times (WIlliam Mann) 16

L’ORIONE (1653)

Opera in three acts Performing edition realized by Raymond Leppard Duration 125 minutes 2 hpd - harp - 3 lute - gtr - flue organ - strings Cast: Diana (M-S), Aurora (M-S), Filotero (Bar), Orione (T), Titon (B), Vulcan (B), Venus (S), Amore (S), Apollo (T) - Small roles: Amorettino (S), 2 Nymphs (2S), Eolo (S), Giove (T), Sterope (T), Nettuno (Bar), Bronte (B), Chorus (SS) Libretto: Francesco Melosio (Ital); English translation by Raymond Leppard FP: July 1983, Santa Fe, USA: Sante Fe Opera/Raymond Leppard Vocal score (Ital/Eng), chorus part (Ital/Eng), full score and parts for hire

‘… a charmingly acid study of sexual jealousy that gives the gods feet of clay, hearts of gold and eyes green with envy.’ L’Orione was first performed in Milan in 1653. Its first modern production was given by Santa Fe Opera, New Mexico, in Raymond Leppard’s performing edition, the fourth of his imaginative Cavalli editions which have brought a major 17th century operatic composer into the modern theatre. Orion, though mostly mortal, claims descent from Jove, Mercury and Neptune. Blinded by Dionysus for an amorous misadventure on Chios, he swims to Delos to regain his sight. Here, his propensity for amorous intrigue leads him into trouble, and eventually, by decree of Destiny, he is transformed into the great constellation that bears his name.

‘Cavalli, the composer, shines through the centuries with undiminished lyrical and comic brilliance… This is a charmingly acid study of sexual jealousy that gives the gods feet of clay, hearts of gold and eyes green with envy.’ The Daily Mail

‘The score is remarkably varied with plenty of humorous touches yet capable of rising to sustained expressiveness… Mr Leppard is concerned with recreating the work using contemporary resources. This reconstruction succeeds brilliantly and makes for a wholly delightful evening.’

Cynthia Clarey as Diana, Neil Rosenshein as Orione, Santa Fe Opera, 1983 © Michael Rosenthal

FRANCESCO CAVALLI

L’ORMINDO (1644)

Opera in two acts Edited by Raymond Leppard Duration 135 minutes 2 hpd - harp - 2 lute - theorbo - gtr - flue organ - strings Cast: Ormindo (T); Amida (Bar); Nerillo (M); Sicle (M); Melide (M); Erice (T-travesty role); Erisbe (S); Mirinda (M); Ariadeno (B); Osmano (Bar) Libretto: Giovanni Faustini (Ital). English by Geoffrey Dunn. German by Jani Strasser FP of this version: 16.6.67, Glyndebourne, Sussex, UK: Glyndebourne Festival Opera/Raymond Leppard Vocal score 0-571-500366-6 and libretto 0-571-50117-6 on sale, full score and parts for hire Recording: Howells/Garcianz/Wakefield/Runge/Bork/Cuenod/ Berbie/David/Glyndebourne Festival Opera/LPO/Leppard, Decca

‘…a glowing interpretation …’ L’Ormindo is one of Cavalli’s finest operas, with a particularly bold and effective dramatic structure. It begins as a comedy and ends as a tragedy, the transition being achieved most skillfully by both librettist and composer. Two young officers, Ormindo and Amida, are both in love with Erisbe, the young wife of King Ariadeno of Marocco. When Amida is discovered to be faithless, the light-hearted lovers’ triangle is no longer possible. Ormindo is summoned overseas and Erisbe impulsively agrees to sail with him; they are caught and thrown into prison, where resigned to their fate they drink poison. On seeing their bodies Ariadeno finds his vindictive anger turning to remorse. But a sleeping draught has been exchanged for the poison; the lovers are revived and Ariadeno, overjoyed, relinquishes his queen and his crown to Ormindo.

‘The more attentively one listens, the more rewarding this score becomes. One hangs more upon words and music, upon melody which so faithfully illumines feeling. The vocal ornament is used for communication, not display; there is a purpose in everything Leppard has written. He conducts a glowing interpretation. In short, Ormindo is a revelation, and one of the most exciting things that Glyndebourne has done.’ The Financial Times (Andrew Porter)

JOHN GAY

THE BEGGARS OPERA (1728)

Ballad opera in two acts with a prologue Arranged by Raymond Leppard (1963) Duration 100 minutes 1(=picc).0.0.1 - 1100 - perc(3): SD/2 tamb/TD/chains/BD/ jingles/bell/coconut shells/ch.bars/t.bells/barrels/whip/ claves - 2 gtr - harp - concertina

El Museo Cultural, Santa Fe, 2000 © Chris Corrie

Cast: Peachum (Bar); Filch (T or Bar); Mrs Peachum (M); Polly (S); Macheath (T or Bar); Mat (T or Bar); Jenny (S); Lucy (M); Lockit (T or Bar); Mrs Trapes (S); Boy (Tr) Libretto: John Gay FP of this version: 1963, Royal Shakespeare Company Short score and parts for hire

El Museo Cultural, Santa Fe, 2000 © Chris Corrie

‘True to Gay’s spirit and dazzling as a piece of theatre… Leppard’s touch is light and wonderfully ingenious.’

El Museo Cultural, Santa Fe, 2000 © Chris Corrie

The New Yorker

The Beggar’s Opera – that high-spirited musical play about highwaymen, thieves, whores and two loving young women – has delighted audiences for two and a half centuries. Each generation has adapted the play and arranged the songs to suit its own requirements. For the celebrated Royal Shakespeare Company production in 1963, the musical arrangements were prepared by Raymond Leppard. It was a future of this production that all the musicians were to be on the stage, participating in the action. Using a handful of instrumentalists, Leppard has provided a set of skilful arrangements, telling in their simplicity and which allow the songs to emerge from the spoken dialogue as part of a single dramatic flow.

JONATHAN HARVEY

INQUEST OF LOVE (1991/2)

Opera in two acts Duration 135 minutes 3(II=afl+picc.III=picc).2(II=ca).3(II=Ebcl+asax.III=bcl).2.cbsn 4331 - perc(3): vib/glsp/crot/t.bells/5 susp.cym/2 gong/tam-t/2 tgl/2 timp/4 tom-t/bongos/logdrum/2 SD/mcas/bamboo cluster/ guiro/5 tpl.bl/2 wdbl/claves/sandblocks/guard’s whistle/BD/ cyms/rototom - 2 harp - 3 synth (2 DX7, 1 SY77) - strings Electronics: 1 effects unit, 1 ring modulation unit, stereo tape recorder (pre-recorded tape), mixer and amplification with diffusion into the auditorium Coliseum, London, 1993 © Laurie Lewis

Cast: Abbot (B); Ann (S); John (Bar); Elspeth (S); Philia (M); the Psychopomp (S); Josh (T) Semi-chorus and ‘one-line’ characters: SSATBB, Chorus of monks (B & Bar) Libretto: Jonathan Harvey and David Rudkin (Eng) Commissioned by the English National Opera FP: 5.6.93, Coliseum, London: English National Opera/Mark Elder/ David Pountney Libretto 0-571-51411-1 on sale, full score, vocal score and parts for hire Coliseum, London, 1993 © Laurie Lewis

‘… a stirring and beautiful adventure’

Coliseum, London, 1993 ©

The composer writes: ‘The opera is concerned with the themes of the understanding of suffering and the release from suffering. The central protagonists comprise a triangle of lovers – John; Ann who is betrothed to him; and Ann’s elder sister Elspeth. In Act I John and Ann’s wedding is interrupted by murder. This disruption of love by violence is viewed successively from the standpoint of each of the three main protagonists. Act II shows life after death, where the characters gradually discover the hidden reasons behind this tragic and violent event. The process of discovery acts as a healing force, uniting what was separated and isolated, and enabling love to triumph over death.

The Observer (Andrew Porter)

‘… a stirring and beautiful adventure. He has written some of the most ardent love music since Messiaen’s, and love music finds its place in the opera. There is also music of pain and despair. Bell sounds, chants, choruses, electronics, swelling harmonies, sharp-focus solo lines fill the theatre with deep, ever-changing ever-stirring music.’

JONATHAN HARVEY

PASSION AND RESURRECTION (1981)

Church opera in 12 scenes Duration 90 minutes 0000 - 1121 - perc(2): timp/t.bells/BD/2 gong/2 tpl.bl/large susp.cym/bronze sheet/vib/crot/tam-t/SD/bongos/rototom 7 vln.vla.2 vlc.2 db - large organ Cast: Principals - Jesus (Bar); Mary Magdalene (S); Second Mary (S); Third Mary (M); Pilate (T); Caiaphas (B); Judas (BBar); Priest (Bar) - Small Roles: 2 Angels (2 Tr); Peter (B); John (T); Good Thief (B); Procula (C); Procula’s Maid (S); Thief (T); Servant Girl (S); Annas (B); Chorus: SATB Libretto: Michael Wadsworth (Benedictine Latin Church Dramas) Commissioned by Martin Neary The FP was filmed for a television documentary first shown on BBC1 on Easter Day 1982 FP: 21.3.81, Winchester Cathedral, UK: Waynfleet Singers/ Cathedral Choir/Music Projects/Sweeney/Burrows/Mottram/ Hardy/Walmsley-Clarke/Hirst/Neary Vocal score 0-571-50616-X on sale, full score and parts for hire Recordings: BBC Singers/Sinfonia 21/Martin Neary: Sargasso SCD28052

‘… effortless musical subtlety and elegance’ This sacred music-drama is designed to involve both professional musicians (singers and instrumentalists) and non-professionals (chorus and audience/congregation). Its text derives from two medieval mystery plays, portraying with vivid directness the events surrounding the arrest of Jesus of Nazareth, his death and resurrection. The musical score reflects this provenance, growing out of plainsong, austere for the Passion and flowering with lyrical declamation for the Resurrection.

‘Passion and Resurrection is a work of stunning simplicity – simplicity not of means but of the end they serve. The drama grows directly out of the communion liturgy… The basis of the score is plainsong; the voice parts, especially in the scenes of Jesus’ arrest, trial and death, are extensions of it, and at three points plainsong hymns are sung by the audience/congregation, while organ and orchestra surround the unison chant with a vast pulsating halo of chord-clusters. Harvey’s involvement of all the participants is no mere nod to the middle ages but is central to the spirit and purpose of the work.’ The Sunday Times (David Cairns)

‘… a cunning blend of simple dramatic imagery and apparently effortless musical subtlety and elegance.’ The Observer (Stephen Walsh)

JONATHAN HARVEY

WAGNER DREAM (2007)

Opera in 9 scenes Duration 105 minutes 1121 - 1111 - perc(2): mar/crot/t.bells/2 Tibetan bells/2 gong/cym/ tam-t/spring coil/vibraslap/guiro/maraca/mark tree/glass chimes/ bamboo cluster/mark tree/susp.cym/SD/4 tom-t/BD/4 wdbl/ 3 bowls/2 high drums/tgl - harp - elec keyboard - 4 vln.2 vla.2 vlc.db - electronics Electronics (2 operators): 8 or 6 channel system/digital mixer

Holland Festival, 2006 © Clärchen & Matthias Baus

Cast: Vairochana (B); Ananda (T); Prakriti (S); Mother of Prakriti (M); Buddha (Bar); Old Brahmin (B); pit chorus (4 singers SATB)/stage chorus (2 singers - TB), Actors: Wagner; Cosima; Betty; Dr. Keppler; Carrie Pringle Libretto: Jean-Claude Carriere (Eng) Commissioned by De Nederlandse Opera and Holland Festival, Amsterdam, Grand Théâtre de la Ville de Luxembourg and IRCAM Paris FP: 28.4.07, Grand Théâtre de Luxembourg, Luxembourg; soloists of The Netherlands Opera/Ictus Ensemble/IRCAM/Martyn Brabbins Libretto, full score, vocal score and parts for hire, electronics available from IRCAM Holland Festival, 2006 © Clärchen & Matthias Baus

‘… A fascinating idea realised with great skill …’ SYNOPSIS One morning after an unusually angry altercation with his wife, Wagner suffers a heart attack and passes away. Buddhism teaches that the state of mind at the moment of death is crucial to one’s future incarnation ‘the most important mind of one’s whole life’. It also teaches that one experiences a sequence of encounters in which choices are offered. Vairochana, a buddha, is Wagner’s ‘guide’ who clarifies the choices and Wagner eventually decides that his failure to compose the noble Die Sieger must be remedied. He therefore ‘creates’ the opera – and it happens. From time to time Wagner intervenes and reacts to this show, which only he can see. The opera Wagner creates in his dying dream features Prakriti, a barmaid in an untouchable's tavern, who falls in love with Ananda, a young monk. Prakriti’s mother encourages her daughter’s desires and Prakriti and Ananda fall increasingly under love’s spell. Prakriti approaches the Buddha and asks him directly if she can be with Ananda, and though sympathetic to her desires, he informs her that this is not permitted. After a heart-rending crisis Prakriti decides to join the Order as a sister and is welcomed by Ananda and Buddha. The crowd celebrates the miraculous moment. Out of his dream, Wagner is reconciled with Cosima and asks for her forgiveness. Under Vairochana’s guidance, Wagner peacefully passes away. © Jonathan Harvey 22

‘A fascinating idea realised with great skill, Wagner Dream joins the lengthening list of opera by British composers that urgently need staging here.’ The Guardian (Andrew Clements)

‘Wagner Dream, Jonathan Harvey’s new opera, embraces so fully his long-held philosophical and Buddhist pre-occupations that it must count as one of this British composer’s most self-defining works.’ The Sunday Telegraph (John Allison)

GUSTAV HOLST

THE WANDERING SCHOLAR (1929–30) OP 50

Chamber opera in one act Edited by Benjamin Britten and Imogen Holst Duration 30 minutes 1.picc.1.ca.2.2 - 2000 - strings 1(=picc).1(=ca).1.1 - 1000 - perc(1): SD/TD/timp/BD/tamb/susp.cym - harp - strings Cast: Louis, a farmer (Bar); Alison, his wife (S); Father Philippe (B); Pierre, a wandering scholar (T) Libretto: Clifford Bax FP: 31.1.34, David Lewis Theatre, Liverpool, UK: University of Liverpool Music Society Study score 0-571- 50391-8 and vocal score 0-571-50012-9 on sale, parts for hire

‘… a witty, compact and attractive work …’

Buxton Opera, 2008 © Mike Hoban

This characterful chamber opera was one of Holst’s last compositions. The libretto is founded on an incident in Helen Waddell’s book, The Wandering Scholars. The scene is set in the kitchen of a French farmhouse on an April afternoon in the thirteenth century; the farmer’s wife is taking advantage of her husband’s absence to flirt with the lusty parish priest. A poor scholar begs for a meal and is rudely turned away at the door; when he later returns with the farmer, he quick-wittedly catches out the guilty pair, enjoys a good meal and goes on his way with the priest’s cloak to keep him warm.

Buxton Opera, 2008 © Mike Hoban

‘… Like Savitri, The Wandering Scholar is swiftfooted and spare of frame. Clifford Bax’s libretto is shapely and amusing, and Holst’s pungent music somehow contrives to give it the flavour of a bawdy epigram.’ The Observer (Edmund Tracey)

‘These melodies retain a certain popular flavour and yet they have real dramatic bite; they are enlivened by vivid turns of phrase, by surprising cross-currents and Holst’s characteristically asymmetrical rhythms to make a witty, compact and attractive work.’ The Musical Times (Robert Henderson)

OLIVER KNUSSEN

HIGGLETY PIGGLETY POP! (1984–90) OP 21

Fantasy opera in one act (9 scenes) Duration 60 minutes 3(III=picc).1.ca.3(III=bcl).2(II=cbsn) - 4030 - perc(4): vib/5 susp.cym/timp/cast/bells/ch.cym/slidewhistle/xyl/2 tgl/tamb/2 tpl.bl/mcas/tam-t/3 ratchet/whip/cyms/anvils/glsp/SD/ sleighbells/siz.cym/football whistle/wind machine/BD/vibraslap (offstage): 7 bells/3 anvils/football whistle/SD - pno - cel - harp strings (6.6.4.4.4)

Glyndebourne Opera, 1985 © Guy Gravett

Cast: Jennie (M); Potted Plant/Baby/Mother Goose (S); Rhoda/ voice of Baby’s Mother (S); cat-Milkman/high voice of Ash Tree (T); Pig-in-Sandwich-Boards (BBar); Lion(BBar) Libretto: Maurice Sendak Commissioned by the BBC for Glyndebourne FP: (incomplete) 5.8.85, Glyndebourne Festival Opera, UK: London Sinfonietta/Oliver Knussen FP: (complete) 3.2.91, Barbican Centre, London: London Symphony Orchestra/Oliver Knussen Libretto 0-571-50829-4 on sale, full score, vocal score and parts for hire Glyndebourne Opera, 1985 © Guy Gravett

‘… full of clever and beautiful things …’ This companion piece to Where the Wild Things Are (see p 25) was commissioned by the BBC for Glyndebourne. Whereas the earlier work recounts the adventures of the boy Max, this second fantasy opera has, as its heroine, the dog Jennie.

‘The adventures of Jennie the Sealyham terrier who abandons the home where she has ‘everything’ and ends up as Leading Lady of the Mother Goose World Theatre, performing alongside a Pig, a Cat and a splendidly sizeable Lion, are traced with parodic wit and the use of mock suspense and neat surprise… The piece is even more accessible to young audiences than its predecessor, with no fewer intimations to adults.’ The Sunday Times (Paul Driver)

‘The piece is full of clever and beautiful things; the early scenes proceed lamost in convulsions of orchestral brilliance within a marvellously clear and animated world whose chief references, sometimes explicit, are to Ravel and Stravinsky. The scene with the pig is deliciously rich in bass gruntings; that with the milkman cat mixes Marx brothers dialogue with a sophisticated recreation of low musical gags.’ The Times (Paul Griffiths)

‘Knussen and Sendak engage in a good deal of intellectual wisecracking which proved to be genuinely amusing. Both the plot (with its subtle exploration of the nature of experience) and the music (with its quotations, pastiches and burlesques) wore their cleverness with pride.’ The Musical Times (Anthony Marks)

‘A miracle of balance, masterly in the ease and flexibility of its dramatic processes, wonderfully characterized, and touching in the emotional discoveries just below its surface.’ The Guardian (Tom Sutcliffe) 24

OLIVER KNUSSEN

WHERE THE WILD THINGS ARE (1979–83) OP 20

Fantasy opera in one act (9 scenes) Duration 40 minutes 3(III=picc).1.ca.3(III=Ebcl).1.cbsn - 4030 - perc(4) - harp - pno (2 players) - strings (12 vln.4 vla.4 vlc.4 db) Cast: Max a small boy (S); Mama (M); Wild Things - Tzippy (M); Wild Thing with Beard (T); Wild Thing with Horns (Bar); Rooster Wild Thing (BBar); Bull Wild Thing (B); Goat Wild Thing (mime) All the Wild Things may be played by dancers on stage with singers (amplified) on stage. The sung roles of Mama and Tzippy may be taken by the same singer. Libretto: Maurice Sendak after his picture book of the same name. Claus Henneberg (Ger) Commissioned by Opèra National, Brussels FP: 28.11.80, Brussels, Belgiium: Brussels National Opera/Ronald Zollman FP: (final version) 9.1.84, National Theatre, London, UK: Glyndebourne Opera/London Sinfonietta/Oliver Knussen Libretto 0-571-50829-4 on sale, full score, vocal score and parts for hire Recording: Saffer/King/Gillett/Hayes/Wilson-Johnson/Richardson, Deutsche Grammophon 469 556-2

‘… Knussen is a wizard with sound’ Commissioned by the Opera National, Brussels, this is a work specifically conceived to be played by an opera company to children (and the young-at-heart of any age) in the fantasy opera tradition of Hansel and Gretel and L’Enfant et les sortilèges. It has enjoyed multiple productions in the UK, USA and Europe and is available on commercial video in a double bill with Higglety Pigglety Pop!

SYNOPSIS Scene one - Max Max, a small boy in a white wolf suit is playing in the hallway outside his room, stalking his toy soldiers, ambushing his teddy bear from his ‘Jungle’ tent cloth strung up across the hall and being thoroughly, happily naughty! Scene two - Mama As he lies on the floor pretending to be dead, he is frightened by the shadow of something making strange nioses. It turns out to be his Mama and her wheezy old vacuum cleaner. She scolds Maz but he continues to be naughty and defy her and is sent to bed without his supper. Scene three - Max’s Room He sulks and begins to think of terrible revenge. A little sail-boat appears and Max climbs in. He is all alone at sea moving through days and nights until, as dawn approaches, a huge sea monster rears up from the water but it sinks slowly down again at Max’s command. An island comes into view with palm trees, a plateau and a large cave.

Scene four - The Wild Things Max moors his boat and then hears distant rumbling noises. Wild Things hurtle out of the cave shouting rude things at Max and making wicked fun of him. Max howls at them and then stares into their yellow eyes, silencing and controlling them. Max takes stock of his surroundings but every time a Wild Thing steals up on him it is frozen back into submission with his magic stare. Scenes five and six - Coronation and Wild Rumpus The forest thickens and the sea disappears. The Wild Things form a procession and then crown Max ‘King of all Wild Things’. The Wild Rumpus begins. Scene seven - Max alone He takes off his crown, sits by himself and dreams of home, his Mama and a hot supper. Then he gets up, tiptoes past the sleeping Wild Things and makes his way to the edge of the island to summon his boat again. Scene eight - Parting The Wild Things wake up, one by one, and rush to the boat after Max muttering and making threatening gestures. The are very angry that he should want to leave them, but the boat pulls away from the shore and Max is once more alone at sea, sailing back through nights and days.

‘Knussen is a wizard with sound… The music is extraordinarily pictorial; it has a capacity to light up events in, as it were, the inner eye.’ The Observer (Peter Heyworth) 25

NICHOLAS MAW

SOPHIE’S CHOICE (2001)

opera in four acts Duration 200 minutes 3(II=afl.III=picc).3(III=ca). 3(II=bcl.III=Ebcl).3(III=cbsn) - 5331 - timp - perc(2/3):SD/TD/BD/tam-t/susp.cym/cyms/tgl/wdbl/ whip/bongos/tamb/vib - cel - harp - strings Cast: Narrator (BBar); Sophie Zawitowska (M); Nathan Landau (hBar); Stingo (T); SATB chorus Libretto: Nicholas Maw based on the book by William Styron Commissioned by BBC Radio 3 in association with the Royal Opera House, Covent Garden FP: 7.12.02, UK, Royal Opera House, Covent Garden, London: The Royal Opera/Sir Simon Rattle Libretto 0-571-52126-6, vocal score 0-571-52125-8 on sale, full score, and parts for hire

‘… magnificent music …’

Royal Opera House, Covent Garden, 2003 © Catherine Ashore

‘Sophie’s Choice is masterful and simply one of the most compelling operas I have seen. It already has the air of an oft-performed work, not a newlycommissioned piece. Maw’s sense of dramatic pacing is felt at every moment and he outstrips every other composer working today. His dialogue is easily understood yet remains profound. Nunn’s production

– one of the most expensive mounted by the opera house – is astonishing… Despite its four hours, including a 30-minute interval, the performance is the right length and does not drag at all. The audience, which included Chelsea Clinton and Madonna, gave a tremendous ovation at the curtain, with the most applause going to Maw.’ The Sunday Times (Paul Driver)

‘… the opera has magnificent music, fervently delivered by the Royal Opera House Orchestra under Simon Rattle’s white-hot direction. The first half-hour is deceptively calm; almost Vaughan Williams reborn. Then Maw conjures beguilingly sensuous or exuberantly high-spirited ensembles… But it is the searing orchestral interludes towards the end that really hit the spot. Maw’s “traditional” style – tonal, but laced with killer discords – may once have exasperated the avant-garde. But these days we can only be grateful that someone is writing operatic music worthy of comparison with Britten and Berg… I strongly recommend it. Maw’s opera has a bigness of sonority, passion, ambition and spirituality that sends it soaring above the work of his contemporaries.’ The Times (Richard Morrison)

Royal Opera House, Covent Garden, 2003 © Catherine Ashore

Sophie's Choice is based a novel by William Styron published in 1979. It concerns a young American Southerner, an aspiring writer, who befriends the Jewish Nathan Landau and his beautiful lover Sophie, a Polish (but non-Jewish) survivor of the Nazi concentration camps. Sophie shares a tempestuous relationship with Nathan, and into their lives comes Stingo, a young would-be novelist who observes the destructive relationship while gradually becoming a part of it himself. What we learn of the enigmatic Sophie and her experiences in Poland under the Nazis is to surprose, shock and finally provoke a heart-aching sympathy as the truth of her choice is revealed. Sophie’s Choice is a dramatic psychological exploration of intense tenderness, alongside the cruellest of pain.

MINORU MIKI

AN ACTOR’S REVENGE (1979)

Opera in two acts with prologue and epilogue Duration 135 minutes (outside Japan): 2(I=picc.II=afl+picc).0.1(=bcl).0 -1010 - perc(3): Japanese gong/sho-gon or kin or bell/tam-t/susp.cym/tgl/3 chtpl.bl/6 wdbl/hyoshigi or hardwooden slabs/tsuke-ita or hard wooden board with wooden slat/binzasura or guiro/timp/SD/4 drums/bongo/hard wdbl/rototom/untuned timp - harp - vln.vla.vlc (in Japan) 2(I=nohkan.II=afl+nohkan).0.1(=bcl).0 - 1010 perc(3): Japanese gong/sho-gong or kin/tam-t/susp.cym/rin/ 3 mokugyo/3 mokusho/3 wdbl/hyoshigi(ki)/tsuke-ita/binzasara/ timp/SD/4 drum/2 shime-daiko/o-tsuzumi/ko-tsuzumi/ o-daiko-koto(20 string) - strings Cast: Yukinojo (T); Kikunojo (BBar); Lord Dobe (B); Kawaguchiya (T); Hiromiya (Bar); Lady Namiji (S); the Shogun (T); Haima (Bar); Nagauta singer (T) Chorus: TTBB, SATB (ad lib) Libretto: James Kirkup (English with German and Japanese translations) FP: 5.10.79, Old Vic Theatre, London: English Music Theatre/Steuart Bedford Vocal score 0-571-50695-X, libretto 0-571-50589-9 on sale, full score and parts for hire

‘… Miki is a dramatic composer of real flair.’ An Actor’s Revenge is based on the same story by Otokichi Mikami as the celebrated film by Kon Ichikawa. Set in 18th-century Japan, it tells of how Yukinojo, a famous Kabuki actor, exacts revenge on the corrupt magistrate and his associates who were earlier responsible for the death of his parents, and of the poignant love that gradually develops between him and the magistrate’s daughter. The main action is framed by a prologue and epilogue set in a Buddhist monastery to which Yukinojo has retired and where he relives in memory the events of the past. The conception of the opera is directly influenced by the traditions of the Japanese Kabuki theatre, and Miki’s score, integrating musical ideas that have their origins in both Western and Oriental techniques, makes this an altogether exceptional opera, bridging East and West.

‘James Kirkup’s excellent libretto of child-like directness is epigrammatic rather than rhapsodic in its poetic set-pieces… Minoru Miki’s music centers around the voice parts. There is little ensemble; voices are used in a generally smooth conjunct style which is paralleled in all ages, all cultures… Miki is a dramatic composer of real flair.’

‘A score of an exact, sophisticated and self-effacing skill, not only in its blend of Eastern and Western elements, but in the way in which is slowly and compellingly marshals its power. Precisely reflecting the tradition in which the opera has been conceived, it is music in which every gesture tells, its lean, subtly refined idiom trenchantly accommodating the utmost ferocity and the utmost pathos.’ Daily Telegraph (Robert Henderson)

The Guardian (Hugo Cole)

CLAUDIO MONTEVERDI

L’INCORONAZIONE DI POPPEA (1642)

Opera in two acts with a prologue Performing edition realized by Raymond Leppard Duration 150 minutes 2 tpt - 2 hpd - harp - lute(chitarrone) - gtr - flue organ - reed organ - strings Cast: Principals: Poppea (S); Nerone (T); Ottavia (S); Drusilla (S); Arnalta (contralto); Ottone (BBar); Seneca (B) Small roles: Valetto (T); Damigella (S); Lucano (T); Pallade (S); Liberto (Bar); 2 Soldiers (T & Bar); Littore (B); In Prologue - La Fortuna (S); La Virtu (S); Amore (hS); Chorus: TTB Libretto: Francesco Busenello (Italian). English (The Coronation of Poppea) by Geoffrey Dunn. German (Die Krönung der Poppea) by Reinhold Rudiger and Karl Robert Marz FP of this version: 29.6.62, Glyndebourne, Sussex, UK: Glyndebourne Festival Opera Vocal score (fp) 0-571-50011-0, chorus part 0-571-50550-3, libretto 0-571-50743-3 on sale, full score and parts for hire

‘a miracle of empathy and fertility of imagination …’ L’incoronazione de Poppea was Monteverdi’s last work, written in 1642 when he was seventy-five. The extraordinary beauty of its music, its penetrating emotional power and brilliant dramatic imagination make it one of the world’s greatest operas. This practical performing edition by Raymond Leppard has brought the work to major opera houses throughout the world.

‘My admiration for Raymond Leppard’s edition grows at each hearing… His continuo-based realization alone can allow the freedom of declamation which the work needs – support, varied, colourful and always apt, but never dictating to the vividly dramatic utterance of the singers.’ Financial Times (Andrew Porter)

‘Raymond Leppard’s scholarly but far from academic realization of melody and bass line – all that has survived – is a miracle of empathy and fertility of imagination.’ Daily Telegraph (Peter Stadlen)

CLAUDIO MONTEVERDI

L’ORFEO (1607)

Opera in two acts with a prologue Edited by Raymond Leppard Duration 135 minutes 2 sopranino recorder - 2 cornetti.2 tpt.atrbn.2 ttrbn.2 btrbn 2 hpd - harp - 2 lute(=chitarrone) - gtr - flue organ - reed organ - strings Cast: Orfeo (T); Euridice (S); Messagera (M); Speranza/Shepherdess (contralto); Caronte (B); Plutone/Shepherd (B); Prosperina/Shepherdess (S); Apollo (S); Shepherd/Spirit/Echo (T); Shepherd/Spirit (T); In Prologue: La Musica (S)

Text: Alessandro Striggio (Italian with English and German translations) FP of this edition: 1965, Sadler’s Wells Opera Company, London, UK Full score, vocal score and parts for hire © English Touring Opera 2006

‘… extraordinary beauty’ In February 1607 a court official in Mantua wrote to his brother: ‘Tomorrow will be performed a piece which will be unique, because all the performers speak musically’. The piece was L’Orfeo, described by its creators as a Musical Fable, and recognized now as the first masterpiece of the new genre of opera. Raymond Leppard’s performing edition uses the instruments listed in the original score.

‘The boldness in this performance was wholly justified by the extraordinary beauty and interest of the score in Raymond Leppard’s realization. Mr Leppard makes wonderfully imaginative use of harp, flue organ and the lute and chitarrone that lend a distinctive, buoyant yet pensive character to the orchestral palette.’

Daily Telegraph (Martin Cooper)

‘Throughout, Mr Leppard, without resorting to the inapt orchestrations which bedevil most earlier Monteverdi performing-editions, has enhanced the words, and the song, with beautiful, eloquent sounds.’ Financial Times (Andrew Porter)

CLAUDIO MONTEVERDI

IL RITORNO D’ULISSE IN PATRIA (1641)

Opera in two acts with prologue Performing edition realized by Raymond Leppard Duration 165 minutes 0.2.ca.0.2 - 0.0.atrbn.2 trbn.btrbn.0 - 2 hpd - harp - 3 lute - gtr - flue organ - reed organ - strings Cast: Principals: Ulisse (Bar); Penelope (M); Telemachus (T); Euryclea (M); Eumaeus (T); Antinous (B); Amphinomus (T); Pisander (T); Iro (T); Giove (T); Giunone (S); Nettuno (B) © Glyndebourne Festival Opera, 1972

Small roles: Melanto (S); Eurymachus (S); Minerva (s): In Prologue - L’Umana Fragilita (contralto); Il Tempo (B); La Fortuna (S); L’Amore (S); Chorus: SATB Libretto: Giacomo Badoaro (Italian). English (The Return of Ulysses) by Geoffrey Dunn. German (Die Heimkehr des Odysseus) by Horst Goerges and H. Gutheim FP of this edition: July 1972, Glyndebourne: Glyndebourne Festival Opera Full score, vocal score and parts for hire

Ulysses, the second of Monteverdi’s three surviving operas, was composed in 1641 for performance in Venice. The story, taken directly from the Odyssey, has a stark, epic quality. Its focus is directed to the characters themselves, probing the inner aspects of the human drama, against the background conflict of the Olympians who control human destiny.

‘A restored masterpiece of opera, spontaneous, and instantly communicative, deeply emotional and rich both in melodic invention and in all those ingenuities of design and device that we think of as typically Monteverdian. What is most remarkable in the opera is the freedom and natural ease of the vocal writing as it moves from declamation to formal song. Each character comes to life in musical terms, while for their confrontations Monteverdi draws on his madrigal techniques of half a century… all the potent theatrical magic finally yields to the simplest and deepest emotions of humanity and truth.’ The Sunday Times (Desmond Shawe-Taylor)

‘… spontaneous, and instantly communicative…’

WOLFGANG AMADEUS MOZART

THE MAGIC FLUTE (1791)

Opera in two acts KV 620 English translation by Andrew Porter Duration 130 minutes 2(=picc).2.2(=basset hn).2 - 2230 - timp - glsp - strings Cast: Sarastro (B); Tamino (T); Queen of the Night (S); Pamina (S); Papageno (B); Papagena S); Monostatos (T); 3 Ladies (2 S, M); 3 boys (3 S); Spokesman (B); 3 Priests (T, B, spoken role); 2 Men in Armour (T, B); 3 Slaves (spoken roles) Chorus: SATB Translation commissioned by Opera Theater of St Louis FP: 16.3.01, Kent State University, USA: Kent State University Vocal score 0-571-50733-6, chorus part 0-571-50894-4 and libretto 0-571-50842-1 on sale, full score and parts on hire by arrangement with Baerenreiter-Alkor Edition, Kassel

‘Tasteful, literate, eminently singable and remarkably faithful to the spirit of the original …’ Chicago Tribune

Over recent years Andrew Porter has made a major contribution to opera in English by his brilliant singing translations of Mozart and other repertoire operas. His translation of The Magic Flute is universally regarded as the most lucid and ‘musical’ version of the text currently available for English-language performance. It is published in the New Mozart Edition vocal score, without doubt the best and most reliable published edition of the work. Major opera companies in the UK, USA, Canada and Australia have regularly used this translation, and it has also proved immensely successful in student and amateur productions. The full score and orchestral parts are published by Baerenreiter/Alkor Edition. They are available in UK, Australia, New Zealand, South Africa, Hong Kong and Singapore through Faber Music, and in USA and Canada through Schott/EAMDLLC

‘The new translation by Andrew Porter was so textually and musically right, so deftly projected, we were drawn into the play until it played us… Against a strong familiarity with other principal versions, Porter’s new translation passed every rigid test. His text was more natural, more faithful, in many instances more poetic. Above all, it suited the music and the voices. The proof was that the cast spoke and sung it with utter security.’ San Francisco Chronicle

DOMINIC MULDOWNEY Opera Bouffe in 11 scenes 2 singers, male chorus and pre-recorded sound Duration 57 minutes pre-recorded sound Cast: Filippo Tommaso Marinetti (T or Bar); Isadora Duncan (M); Chorus (2 T & 2 Bar) Libretto: David Zane Mairowitz (English) Script, performing score and pre-recorded soundcarrier for hire

‘What began life for radio – composer Dominic Muldowney’s The Voluptuous Tango won a Prix Italia in 1997 – has now been transformed into very effective music theatre. Muldowney’s exploration of a fictional encounter in Paris in 1932 between the Italian futurist and fascist Filippo Marinetti and the dancer Isadora Duncan uses the Habanera from Bizet’s Carmen as its musical starting point, but then gradually expands to take in other tangos as the emotional temperature rises and the confrontation reaches its literal and metaphorical climax. The text by David Zane Marowitz is very funny. Marinetti plies Isadora, who is hunting for a genius to father her

MODEST MUSSORGSKY Opera in one act 4 scenes Orchestration by Oliver Knussen and Colin Matthews Duration 35 minutes 2121 - 2000 - strings Cast: Podkolyosin (B); Stepan (B); Fyolka (M); Kochkaryov (T) Libretto: Nicolai Gogol (Russian). English by Stephen Oliver FP: 12.12.81, Bloomsbury Theatre, London, UK: Nexus Opera/Divertimenti/Lionel Friend Vocal score, full score and parts for hire One of Mussorgsky’s many uncompleted projects was a full-length opera based on Gogol’s play, Marriage. The first act was completed, however, in vocal score and was published posthumously under the supervision of Rimsky-Korsakov. Fortunately, this stands well on its own as a one-act comedy. Over the years there have been various orchestrations, but this version is the first for the reduced forces of a chamber orchestra, and the first to adhere scrupulously to Mussorgsky’s original text.

VOLUPTUOUS TANGO next child, with recipes from his Futurist Cookbook. Their conversation switchbacks from mussels to Mussolini, but the dancer is repelled, and after the gastronomic foreplay Marinetti resorts to the Futurist Manifesto of Love-Making with equally unsuccessful results. There’s a lot of speech, but Muldowney also gives both of them set-piece songs, numbers which hover between Eisler and Sondheim. The staging uses the electronic soundtrack realized by Ian Dearden, with its collages of tangos and street noises, which formed the basis for the radio version but the voices – Marinetti, Duncan and a male chorus of four, who represent Marinetti’s unspoken thoughts – are live; Di Trevis’ production also added a pair of dancers who act out the manoeuvrings between the ill-matched couple. It was brilliantly realized – Richard Morris as a transcendentally arrogant Marinetti, Jenna Russell as Isadora, with Nicholas Johnson and Isabel Baquero as the pokerfaced dancers – and a lot of fun too; Muldowney and Trevis have transformed The Voluptuous Tango in a theatre piece that will wear very well.’ The Guardian (Andrew Clements)

MARRIAGE (1868) SYNOPSIS The idle bachelor Podkolyosin attempts to find a wife. He currently leads a chaotic life, with his poor servant, Stepan, constantly at his beck and call. A marriage broker, Fyokla Ivanovna, arrives to give Podkolyosin details of a girl she has chosen for him. However, he is more interested in her dowry. Fyokla suggests that he can’t afford to be fussy with his poor looks and greying hair! Unexpectedly Kochkaryov, Podkolyosin’s best friend, turns up and is angry to see the marriage broker. He complains that she has married him off to a troublesome, bossy woman. He sends her away, and decides to take over the match-making duties himself. He paints an idealistic and hassle-free picture of married life for his friend.

‘Colin Matthews and Oliver Knussen have brightly distinguished and coloured Mussorgsky’s various boldnesses without altering a note of the original or obscuring a word of Stephen Oliver’s skilful translation. The piece demonstrably stands up and would make a neat double bill with Stravinsky’s Pushkin comedy, Mavra, or better still, Walton’s Chekov setting, The Bear. The Sunday Times (Bayan Northcott)

HENRY PURCELL KING ARTHUR (1691) Opera in one act with prologue and epilogue Performing edition realized by Philip Ledger Duration 120 minutes 2201 - 0200 - timp - strings Cast: Merlin (B); Arthur (Bar); Emmeline (S); Oswald (T); Guillamar (BBar); Philidel (S); Grimbald (BBar) Small roles: Aurelius (T); Matilda (contralto); Cupid (S); Shepherd (T); 2 Shepherdesses (2 S); 2 Syrens (2 S); Sylvan (T); 3 Drunken Soldiers (2 T, Bar); Conon (spoken role); Britannia (silent role); Chorus: SATB Libretto: John Dryden adapted by Colin Graham. German (König Arthur) by Karl Robert Marz FP: October 1970, Norwich: English Opera Group Chorus score 0-571-50250-8 on sale, full score, vocal score and parts for hire King Arthur was first performed, with great success, in 1691 at the Dorset Gardens Theatre in London. It could never have been called an opera: in Dryden’s original it was a splendid but unwieldy play with a great deal of

music, very little of which was actually integrated in the drama. It was revived in one adaptation or another until the middle of the nineteenth century, when it became a museum piece: a national treasure for its music certainly, but outside the scope of the professional stage. This performing version preserves the framework of Dryden’s original play, with all its wit and fantasy, while pruning and reordering the text, and integrating music and drama more closely. It is the first adaptation devised for performance in the contemporary theatre, so that modern audiences may enjoy Purcell’s remarkable score in the theatrical context for which he intended it.

JEAN-PHILIPPE RAMEAU

DARDANUS (1739)

Tragédie en Musique in five acts Performing edition by Raymond Leppard Duration 150 minutes 2(=picc).4.0.4 - 2000 - 2 hpd - flue organ - strings Cast: Teucer (BBar); Iphise (S); Anténor (BBar); Isménor (B); Dardanus (T); Venus (S) Small roles: 3 Attendants upon Venus (S, contralto, B); Phrigienne (S); Songe (B) chorus: SATB Libretto: Le Clerc de la Bruère (French). German by Claus Henneberg FP of this version: October 1980, L’Opera de Paris, France Chorus part (French) 0-571-50809-X on sale, full score and parts for hire Dardanus was the third – and arguably the greatest – of all Rameau’s six Tragédies en musique. It was first performed in 1739 and substantially rewritten for its second revival in 1744. This performing edition is based on the 1744 version while incorporating from the earlier version elements of exceptional dramatic quality.

SYNOPSIS The plot revolves around the love of Dardanus and

Iphise, daughter of Teucer, king of the Phrygians. Teucer is at war with Dardanus and has enlisted the help of a neighbouring king, Anténor, promising him the hand of Iphise as the reward for success. Dardanus is captured after he and Iphise have declared their love. Helped by Venus, he escapes from prison and saves both the Phrygians and his rival from a monster sent by Neptune. Anténor acknowledges his lesser claim to Iphise, and Venus descends from the heavens to bless the pair and proclaim love’s power. 33

TORSTEN RASCH

ROTTER (2007)

Opera in two acts Duration 160 minutes 3(II=alto fl, III=picc).3(III=ca).3(III=Ebcl).bcl(=cbcl).3(III=cbsn) - 4331 - timp - perc(2) - accordion - harmonium - cel - harp strings

Köln Oper production 2008, © Klaus Lefebvre

Cast: Rotter (BBar); Fleischer/Kunde/Maschke/Polizist(T); Lackner(T); Stridde/Tetzner/2nd Arbeiter (Bar); Ehm/Kutz/3rd Arbeiter (B); Rotmaler/Der Vorsitzende (B); Elisabeth (M); Frau Rotter (contralto); Fräulein Berthold (colS); Grabow/Kloppenburg/1st Arbeiter (T); Das Radio (S); Die alten kinder/Arbeiter/Die Mitglieder der ökonomischen kommission; SATB chorus Libretto: Katharina Thalbach & Christoph Schwandt, after Thomas Brasch (Ger) Commissioned by Oper Köln FP: 23.2.08, Cologne Opera House, Cologne, Germany: Cologne Opera/Hermann Bäumer Full score, vocal score and parts for hire Köln Oper production 2008, © Klaus Lefebvre

… never afraid to hark back to tonal expressiveness …’ Rotter displays Germany’s recent monstrous past as background landscape to a feverish vision of a man who is both culprit and victim. He can only function when protected by the community and crumbles when required to be an individual…

‘Lackner is a sensualist and opportunist, whereas Rotter is concerned only with is political career, no matter which way the wind blows. He is a kindred spirit of Heinrich Mann’s ‘Man of Straw’. Rotter who grew up in the Weimar Republic in straitened circumstances, serves the Nazis just as he served

Weimar socialism. Although he survives an attack of schizophrenia that nearly cleanses him, he cannot escape his nature and battles on… Brasch had the story of a particular man in mind, yet the general background of German history is critical. The scene with the sexually willing Elisabeth, in which Thalbach imparted outlines of Hitler to the repressed Rotter, was one of the many allusions and associations. Momme Röhrbein’s unit set, a railway station, a symbol of coming and going, was filled by Thalbach with many powerful images… the visual power of her work is seductive. Torsten Rasch, a native of Dresden and composer of the cycle Mein Herz Brennt, devoted himself to film music during the many years he spent in Japan, and the genre’s influence can also be felt here. He is never afraid to hark back to tonal expressiveness, and his music is often attractive and easy to listen to.’ Opera Magazine (Thomas Lluys)

PETER SCULTHORPE

THE RITES OF PASSAGE (1972/73)

Theatre work for soloists, chorus, orchestra and dancers Duration 105 minutes Instrumentation and singers: Rites: perc(4): - pno (with opt tape echo), SATB chorus, dancers Chorales: 2 tuba - perc(3): - pno(with opt tape echo) - 6 vlc.4 db, SATB chorus Libretto: Aboriginal, from Southern Aranda Poems Text: Aboriginal, from Southern Aranda Poems Commissioned by the Australian Opera FP: 27.9.74, Opera House, Sydney/Jaap Flier: Australian Opera Chorus/Geoffrey Arnold/Australian Dance Theatre/Elizabethan Trust Sydney Orchestra/John Hopkins Score and parts for hire

‘… a lasting masterpiece.’ Rites of Passage is a return to the idea of drama as ritual. The title refers to Arnold van Gennep’s Les Rites de Passage, an anthropological work concerned with the ceremonies which occur at the time of transition from one status to another, e.g at childbirth, puberty, marriage and death. The rites and chorales both have a parallel life-affirming message; the text of the chorales is a hymn of praise to imperitans amor, the love that orders and unites the universe, while the rites are concerned with the progression from dying in one stage of one’s existence to being reborn in another. The instrumental timbres are carefully chosen to complement the ritualistic nature of the work. A dark, richly sonorous texture is punctuated by the clear and brilliant injections from the higher pitched percussion. The musical material in the different chorales is closely related, and motivic connections between the rites and chorales help to create a strong sense of unity in this profound and ultimately optimistic work.

‘The real success of Rites of Passage is that it puts back into one work all the elements of great theatre over the past 25 centuries. Ritual, dance, chant, speech and songs are all purposefully integrated into the work’s conception and structure. It is a noble and somewhat overwhelming work – overwhelming simply because it is so unlike any other opera we have ever seen. It harks back to both Greek drama and the earliest of Christian religious drama.’ The National Times (Kevin Kemp)

‘There have been many attempts to write an Australian opera. None has succeeded as Sculthorpe has… It comes across with a strong immediacy of emotional conviction. Beneath that, you can sense a depth and density of thought and experience which suggests a lasting masterpiece.’ The Bulletin (Brian Hoad) 35

HUMPHREY SEARLE

HAMLET (1965–68) OP 48

Opera in three acts Duration 155 minutes 2(=picc).2.2(I=asax.II=bcl).2(II=cbsn) - 4.2.(2).3.1 - timp perc(4): timp/TD/SD/BD/cyms/4 tam-t/xyl/glsp/vib/whip/ bell - pno(=cel) - org - cimbalom - harp - strings Cast (principals): Hamlet (Bar); Claudius (T); Laertes (T); Polonius (B-Bar); Gertrude (M-S); Horatio (Bar); Marcellus (B); Ophelius (S); Ghost/Player King (B)

Cast (small roles): Rosencranz (T); Guildenstern (B); First Player/Lucianus (T); Player Queen (S); Cornelius (T); Voltimand (Bar); Fortinbras (T or Bar); Osric (T); Captain (Bar); Gentleman (Bar); Sailor (Bar); Gravedigger (B); Priest (B); Chorus (TTBB) (off-stage) Libretto: Humphrey Searle after Shakespeare (Eng) FP: 5.3.68, Hamburg State Opera House, Germany: Hamburg State Opera Full score, vocal score and parts for hire

‘Searle is dynamic, flamboyant, fanciful…’

‘Searle’s musical setting employs his by now familiar post-Schoenberg romantic idiom: it seems intrinsically apt for a play which appeals to the romantic as well as the post-Freudian in modern times. In pace and timbre and response to situation, Searle is dynamic, flamboyant, fanciful, though careful about word audibility.’ The Times (William Mann)

‘Searle’s opera is an important and highly successful interpretation of Shakespeare in modern musical language, meeting the demands of the stage for clarity and intelligibility. The instrumentation is very subtle, providing the listener with dark colours as well as sounds of glass-like transparency. The vocal writing is predominantly of an arioso style, passionate in expression, and broadening into near folk-song for Ophelia’s mad scene.’ Kieler Nachrichten

Hamlet was Humphrey Searle’s 3rd opera. The work follows the action of the Shakespearian play very closely and uses Shakespeare’s own text throughout, including all the great soliloquies. The composer has expressed the drama through music which is always apt, often romantic in feeling, and the set pieces, the Ghost scene, Ophelia’s Mad Scene, the Duel and the Funeral March, are vividly realised.

RALPH VAUGHAN WILLIAMS

HUGH THE DROVER (1910/14)

Romantic ballad opera in two acts Subtitle: Love in the Stocks 2(I=picc).2.2.2 - 4231 - timp - perc(2): SD/BD/cyms/tgl/bells - harp strings On stage: Cornet(=tpt).BD.picc.2 SD(tabor).bugle Off stage: horn(s).tuba or trbn (ad lib) Hugh the Drover (T); Mary (S); Aunt Jane (C); The Turnkey (T); The Constable (B); John the Butcher (BBar); A Sergeant (hBar); A Showman (hBar); A Ballad Seller (T); SATB Chorus (including various minor roles); non-singing characters Libretto: Harold Child (Eng) FP: 14.7.24, His Majesty’s Theatre, London, UK: British National Opera Company/Malcolm Sargent

‘…for sheer tunefulness it is hard to resist …

The Independent (Stephen Johnson)

SYNOPSIS Act I - Setting: The outskirts of the town A fair is taking place; the people of the town have turned out; vendors hawk their wares. A showman presents an effigy of Napoleon Bonaparte and rouses the crowd to a fever-pitch of patriotic zeal. Mary, the daughter of the local constable, appears with her aunt. Her father wants to marry her to John the butcher, a crass, overbearing man whom she does not love. When John roughly takes Mary’s arm to walk through the fairgrounds with her, she resists. He threatens her in turn, but when a troop of morris men passes through, the crowd follows along and John is pulled along with them, leaving Mary alone with her aunt. As Mary sings of her dreams of freedom, a young man appears and tells her of his life on the open road. He is Hugh the Drover, a driver of animals, who makes his living by providing horses for the army. Mary is fascinated by his words, and Hugh tells her that he was fated to love her. The two declare their love for each other and embrace. The crowd returns and the showman organizes a prizefight, inviting all the men to challenge John the butcher. Hugh agrees to box, but only if the prize is Mary herself. He beats John in the match, only to have John spitefully accuse him of being a French spy. The crowd turns against Hugh and he is led off to the stocks. Act II - Setting: The town square It is early morning. A troop of soldiers has been sent for, to take Hugh into custody. Meanwhile, he remains a prisoner in the stocks. Mary stealthily comes to rescue him, having stolen the key to the stocks from her father. She frees him, but before they can escape, they hear John and his comrades approaching. Each refuses to leave without the other, and they both get into the stocks (which are

large enough to hold two), draping Hugh’s cloak over their bodies. When they are exposed, Mary’s father disowns her and John refuses to marry her. The soldiers arrive, and their sergeant recognizes Hugh as an old friend who once saved his life. Instead of arresting him, they acclaim him as a loyal Briton – but take John the butcher for a soldier and march off with him. Hugh and Mary reaffirm their love. Hugh asks Mary to join him, and she at first is hesitant, as is Aunt Jane to lose her. However, Mary finally says 'yes', and she and Hugh bid the town farewell to begin their life together.

JOHN WOOLRICH IN THE HOUSE OF CROSSED DESIRES (1995–96) chamber opera in two acts for four female voices and ensemble Duration 90 minutes cl(=Ebcl+bcl+ssax) - trbn - perc(2): SD/BD/BD+ped/dozen more tin cans/hi-hat/susp.cym/2 tpl.bl/wdbl/pair of coconuts/claves/ whip/4 ant.cym/4 whistles/3 sets of chains/4 handbells/tuned gongs/tam-t/crot/guero/vibraslap/log drum/waterphone/mark tree/3 scaffold bars/1 scaffold foot/flexatone - pno(=cel+chamber organ) - db Music Theatre Wales, July 1996 © Henrietta Butler

Libretto: Marina Warner (Eng) Commissioned jointly by the Cheltenham International Festival of Music and Music Theatre Wales with funds provided by the Arts Council of Wales FP: 6.7.96, Cheltenham Festival, Everyman Theatre, Cheltenham, UK: Music Theatre of Wales/Michael Rafferty Libretto 0-571-51713-7 on sale, full score and parts for hire

‘… brisk, and quick to change from humour to poignancy’ In a distant city famous for witchcraft, behind the front of a barber’s shop, Cosmo, a powerful old alchemist and wizard, pursues his arcane knowledge. His mysterious house has many floors and chambers, and he lives there with his ward, Corallina, whom he intends to marry as soon as she is old enough. Meanwhile, he keeps her disguised as a boy, so nobody else will notice her and take her from him. Corallina loves her uncle-guardian, who has cared for her since she was orphaned, but she also chafes against her captivity. One day, Luca, a likely lad and a student of medicine, calls by the barber’s shop and sense and adventure. When he stays behind and peeps, he sees the mystery of the house of the crossed desires. But when the magical transformations begin, they draw the young people into a series of terrible ordeals. In the House of Crossed Desires is inspired by the comic, metaphysical romance The Golden Ass, written by Lucius Apuleius in the second century, and a founding text of the fairy tale. Marina Warner has interwoven this Hellenistic story with masks and characters and motifs from the tradition of the Commedia dell’arte. Cosmo is inspired by the stock figure of Pantaleone the old man in love, Luca and Corallina by Harlequin and Columbine, Sloper by the figure Mezzetin, who serves his master, but never reliably, Greasy Joan follows in the footsteps of many a terrible bawd, or Ruffiana. The libretto plays with mistaken identities, mismatched lovers, lost children, poisonings, spells, improbabilities and happy endings in full, rueful commitment to the contrivances of art as the weapon of last resort. 38

SYNOPSIS

‘Warner’s libretto is well paced, funny and touching; it neatly finds new ways to tell old truths about love and bewilderment. Woolrich’s music, too, is brisk, and quick to change from humour to poignancy…’ Times Literary Supplement (Paul Griffiths), 12 July 1996

MUSICAL THEATRE

Alice in Wonderland, West Yorkshire Playhouse, 2006,ÂŠ Keith Pattison

MUSICAL THEATRE Cast: Alice (M-S); Jane (nsr); White Rabbit (Bar); Duck/Lory/Eaglet/Dodo/Crab/Crab's child/Magpie/ Canary (ensemble roles); Hedgehog/Lizard/Guinea Pig/Squirrel (non-singing roles); Caterpillar (BBar); Pigeon (nsr); Fish (T); Frog (Bar); Cook (B); Duchess (C); Cheshire Cat (high voice); March Hare (Bar); Mad Hatter (Bar); Dormouse (T); 3 Card Gardeners (T, Bar, B); Queen of Hearts (high S); King of Hearts (T); Executioner (B); Knave of Hearts (nsr);Gryphon (Bar);Mock Turtle (B-Bar) FP: 28.11.05, West Yorkshire Playhouse, Leeds, UK: West Yorkshire Playhouse/Dir. Ian Brown Alice in Wonderland, West Yorkshire Playhouse, 2006,© Keith Pattison

JOHN DANKWORTH SWEENEY AGONISTES (1965) Melodrama in one act for voices and jazz ensemble Duration 25 minutes clarinet(=bcl+tsax) - tpt - drum kit - perc(1): mar/glsp/phone bell/xyl/timp/mcas - pno - db Cast: Dusty, Doris; Sweeney, Klipstein, Krumpaker, Wauchope, Horsfall FP: June 1965, Homage to TS Eliot, Globe Theatre, London, UK

Score and parts for hire

THE MERMAID (1983/2003) Musical based on the fairytale by Hans Christian Andersen Duration 120 minutes optional obbligato (vln/fl/cl/asax) - perc: drumkit/ thundersheet/tam-t/bell tree/tgl/ad lib Latin perc (optional: timp/BD) - gtr - pno/synth - bass (string or electric). Obbligato parts: versions available for C instruments, Bb instruments and a single transposed part for vln, fl, cl and asax Text: Hiawyn Oram (Eng) Vocal score 0-571-52100-2 on sale or hire, vocal

Full score, vocal score and parts for hire

CARL DAVIS ALICE IN WONDERLAND (2005) Musical Duration 116 minutes fl(=picc).bsn - tpt in C - timp - perc: vibes/xyl/ susp.cym/finger.cym/tgl/tamb/guiro/tom-t/mark chimes/flexatone/swanee whistle/2 tpl.bl/tamt/SD/BD - pno (=cel) - synth - vc 40

Text: TS Eliot (Eng)

HOWARD GOODALL

Shakespeare

All musical performance materials available from the composer; rights licensed by Faber Music Hire Dept

GIRLFRIENDS (1986)

CATWALK (1994)

ob.cl.ssax.asax - tpt - pno - keyboard - vlc.db

Musical show

Girlfriends was originally commissioned and premiered by the Oldham Coliseum in May 1986

Commissioned and first performed by the Arts Educational School Tring Park

Howard wrote the music and lyrics based on the book he had written in collaboration with Richard Curtis and John Retallack

FP: 1994, Arts Educational School, Tring Park, Hertfordshire, UK: Members of the Arts

FP: May, 1986, Oldham Coleseum Theatre, UK: (cast included) Maria Friedman/Jenna Russell/Carla Mendonca

THE KISSING-DANCE (1999) Musical in Two Acts tpt - pno - keyboard - accordion - vln.vlc.db Text: Charles Hart (lyricist) FP: 1998, Brighton Festival, UK: National Youth Music Theatrett

SILAS MARNER (1993) Musical show Educational School

DAYS OF HOPE (1991)

Text: Howard Goodall (adaptation of George Eliot's novel, Silas Marner)

Musical theatre

Silas Marner was commissioned for the Salisbury Festival in 1993

2 guitars - pno - db

FP: 14.8.90, The Newman Rooms, Oxford, UK: Tim Hardy/Nicola Scott/Phyllida Hancock/Kiran Hocking/Nicholas Caunter/William Relton/dir. by John Retallack

THE DREAMING (2001) Musical show cl(=ssax).recorder - perc - 2 keyboards - db

Girlfriends: Fontys Hogeschool (Academy) Dutch premiere, June 2008

Text: Charles Hart FP: August 2001, Northcott Theatre, Exeter, UK: National Youth Music Theatre Choreography by Leah Hausman, with Suzy Bolt, Based on A Midsummer Night's Dream by William

Birmingham, UK: City of Birmingham Touring Opera/Simon Halsey/dir. Graham Vick

A WINTER’S TALE (2005) Musical show cornet - perc - accordion - acoustic gtr - harp - steel pans (tenor + cello) - pno - opt keyboard (if no steel pans) - vln.vlc.db Commissioned by the Sage Gateshead Text: Book by William Shakespeare, Howard Goodall and Nick Stimson FP: 7.12.05, The Sage Gateshead, Gateshead, UK: dir. Nick Stimson 41

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INDEX BY WORK NAME An Actor’s Revenge, p 27

L’Orione, p 17

The Beggars Opera, p 19

L’Ormindo, p 18

The Burning Fiery Furnace, p 9

Owen Wingrave, p 12

Curlew River, p 9

Owen Wingrave (reduction), p 13

La Calisto, p 16

Passion and Resurrection, p 21

Dardanus, p 33

Paul Bunyan, p 14

Death in Venice, p 10

Powder Her Face, p 5

L’Egisto, p 15

The Prodigal Son, p 9

The Golden Vanity, p 11

The Rites of Passage, p 35

Hamlet, p 36

Il Ritorno D’Ulisse in Patria, p 30

Higglety Pigglety Pop!, p 24

The Rose Garden, p 8

Hugh the Drover, p 37

Rotter, p 34

In the House of Crossed Desires, p 38

Sophie’s Choice, p 26

L’Incoronazione di Poppea, p 28

The Tempest, p 6

Inquest of Love, p 20

Voluptuous Tango, p 32

Into the Little Hill, p 7

Wagner Dream, p 22

King Arthur, p 33

The Wandering Scholar, p 23

The Little Mermaid, p 8

Where the Wild Things Are, p 25

The Magic Flute, p 31 Marriage, p 32 L’Orfeo, p 29

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