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ARTS | OPERA
“The Saddleback structure at Belcombe Court has a natural parabolic state so it just chucks sound out – it’s perfect for the times and quite spectacular”, says Michael
The opera’s back
“This is our contribution to the big return”, says Michael Volpe, the executive director at Iford Arts, referring to the forthcoming summer season at Belcombe Court. Emma Clegg finds out about the productions ahead and his plans for the future
T
he opera season at Iford Arts this year has been described by artistic director Oliver Gooch as a ‘shot in the arm’, a defiant, creative response to the challenges facing us all. Another shot in the arm has been the appointment in January this year of Michael Volpe, the former chief of Opera Holland Park (OHP), as interim executive director. The season will be played out in August and September, in the main part under Iford Arts’ new Saddlespan structure in Belcombe Court, courtesy of owners Paul and Caroline Weiland, allowing 200 seats with shelter and around another 200 open to the elements. What more thrilling location to listen to Prokovfiev’s Peter and the Wolf, one of the greatest musical works for children? And the famous double-bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, sung in Italian, filled with violent jealousy, passionate love and everything in between? “The Mezzo Cavalleria and Pagliacci concert running from 28–30 August is always one of the great nights in the theatre,” says Michael. “It’s music that everybody knows and loves and if it’s a warm, sultry night, which we hope it will be in August, it gives an even greater atmosphere to what we’re doing. And hopefully people will see it as a great excuse to come along and experience two pieces of opera which are bite-sized punches of drama, as we call them in the business ‘stab and sob’. They are very visceral. And we have got an incredible cast of singers. This is a great experience waiting for people.” The concert evenings begin with a concert presentation of the most loved parts of Mascagni’s Cavallera Rusticana, called MezzoCav and finishes with Leoncavallo’s masterpiece Pagliacci, telling the fatal 22 TheBATHMagazine
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story of a troupe of actors. “Creating a visceral experience is at the heart and soul of the Pagliacci production,” says Michael. “The singers we have – Elin Pritchard and Peter Auty – are terrific. Elin is one of the most exciting sopranos around at the moment. And international British soprano Susan Bullock will blow everyone away in the MezzoCav concert half of the MezzoCav and Pag production. It’s a great night of gorgeous music and the verismo madness that we all love. It’s about as instinctive as we could make it.” The Pagliacci opera on the afternoon of 30 August is different in that it’s a staged performance rather than a concert, and it gives Iford Arts’ New Generation Artists – a bespoke training programme that gives invaluable opportunities to young directors, conductors, designers, singers, musicians, technical staff and stage managers – their very own cover of the stage opera Pagliacci, giving them the chance to work with prestigious director Christopher Luscombe. The ticket prices for this are refreshingly accessible, £29 for under the canopy and £18–22 for uncovered seating. There are also two performances of Prokofiev’s Peter and the Wolf on 22 August, to be narrated by an actor of note (to be announced), with £9 seats for 5–18 year olds, giving them a perfect introduction to the orchestra in an unforgettable setting. “Peter and the Wolf stands on its own two feet as a piece of music. People say ‘Oh I know this’, without realising that they know it, picking up on particular motifs. A narrator that really brings it to life adds immeasurably to that whole thing, especially for kids. And it’s a bit like a Pixar movie – for kids but it’s just as much for adults.” Michael’s connection with opera has its roots in his own
