Brio - Scottish Opera's Supporter's Magazine, Issue 30 by Scottish Opera

Brio SCOTTISHOPERA.ORG.UK

ISSUE 30 / SPRING 2019

Rigoletto Controlled fury in Verdi’s unflinching drama

KÁTYA KABANOVÁ

ANTHROPOCENE

ORFEO & EURIDICE

Soprano Laura Wilde becomes Janáček’s tragic heroine

Director Matthew Richardson on the new icy thriller

Mirrors and movement in Gluck’s tale of undying love

WELCOME

HEADLINES

Happy New Year! It’s been a packed Autumn for Scottish Opera. We’ve been provoking and entertaining New York audiences to rave reviews with Mark-Anthony Turnage’s Greek at Brooklyn Academy of Music; our revival of Matthew Richardson’s 2011 production of Rigoletto proved how remarkably prescient it was, and it’s had audiences across Scotland pondering the current debate on equality; we made our debut at the Lammermuir Festival with Britten’s The Burning Fiery Furnace; and our playlist-inspired Opera Highlights toured to 17 venues the length and breadth of the nation. We were also delighted to unveil Look and Look Again, a new sculpture by Scottish visual artist Fraser Taylor created to commemorate the Theatre Royal Glasgow’s 150th anniversary. In this issue of Brio, we look forward to our equally hectic schedule across the Spring and Summer. The brand new Anthropocene, by Stuart MacRae and Louise Welsh, opens later this month, and travels to London’s Hackney Empire following performances in Glasgow and Edinburgh. Director Matthew Richardson spills a few of the beans on the work – without giving away all its surprises, of course. Our new production of Janáček’s Kátya Kabanová opens in March, and director Stephen Lawless reveals the thinking behind his industrial-themed, Glasnost-era staging, while American soprano Laura Wilde discusses what it’s like to get into the mind of a Janáček heroine. We also celebrate the work of the Scottish Opera Young Company – formerly known as Connect. For SOYC’s forthcoming Orfeo & Euridice, director Caroline Clegg explains how movement and mirrors are central to her staging, while Jonathon Swinard – a familiar figure to Scottish Opera audiences, as Emerging Artist repetiteur in 2012/13 and in several subsequent roles – reveals his plans as Young Company Artistic Director. I hope to see you at our enormously varied performances over the coming months, and whatever you choose to see, I wish you very happy and thought-provoking opera-going.

ISSUE 30 / SPRING 2019 CONTENTS

VISUAL DELIGHT FOR THEATRE ROYAL

3 Headlines

A new sculpture by renowned Scottish artist Fraser Taylor was unveiled on 28 November at the Theatre Royal Glasgow, to mark the conclusion of the venue’s 150th anniversary celebrations. Named Look and Look Again, the seven-piece sculpture is on public display in the Theatre Royal’s balcony bar. It was inspired by drawings Fraser made while observing the theatre’s auditorium, foyer and dramatic spiral staircase, as well as watching Scottish Opera rehearsals and performances. Look and Look Again was commissioned by Scottish Opera and Ambassador Theatre Group, and made in the workshops at Scottish Opera’s Edington Street Production Studios. Scottish Opera’s Community Choir, conducted by Katy Lavinia Cooper, performed in front of invited guests at the unveiling, and Scottish Opera General Director Alex Reedijk and Nick Potter, Group International Business Director for Ambassador Theatre Group, gave speeches. Internationally acclaimed visual artist Fraser Taylor was raised in Glasgow, and studied at the Glasgow School of Art and London’s Royal College of Art.

4 Feature Kátya Kabanová 6–7 Our Performances Anthropocene Opera Highlights Silvano National Opera Studio 8 –10 Outreach & Education Orfeo & Euridice Scottish Opera Young Company 1719! Memory Spinners 11 News

Play a Supporting Role

12 – 14 What the Media Said... Rigoletto Greek The Burning Fiery Furnace Edgar Opera Highlights

Play your own crucial part in bringing Sir Thomas Allen’s bewitching production of The Magic Flute back to stages across Scotland, as well as Belfast and London, in May. Choose your own favourite character, prop or musical section to support – Tamino, the Queen of the Night’s dress and Papageno’s famous aria ‘I am the birdcatcher’ are all still available. Or simply donate to support the production more broadly.

15 Performance Diary Alex Reedijk General Director

EYES ON THE PRIZE

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IMAGE CREDITS: Julie Broadfoot, Richard Campbell, Donald Cooper/English National Opera, Ken Dundas, James Glossop, Simon Higlett, Jane Hobson, Julie Howden, Sally Jubb, Angelo Redd, HelenMusselwhite/ Jonathan Beer. Editor: David Kettle Print: J Thomson Colour Printers This magazine is printed on an FSC® certified paper. © Scottish Opera 2019

(left-right) James Haworth, Theatre Director, Theatre Royal Glasgow, artist Fraser Taylor, and Scottish Opera General Director Alex Reedijk

Recognition for Scottish Opera’s achievements has come in the form of a clutch of recent awards and nominations. Lighting Designer Fabiana Piccioli won the Robert Juliat Award for Opera at the 2018 Knight of Illumination Awards in September for her sumptuous lighting of Eugene Onegin last season (above). Also in September, Music Director Stuart Stratford was shortlisted for the Achievement in Opera Award at the UK Theatre Awards, in recognition of his programming at Scottish Opera. In October, the Company’s landmark promenade performance of Pagliacci at ‘Paisley Opera House’ was nominated for the Excellence in Tourism Award at the Renfrewshire Chamber of Commerce’s ROCCO Awards.

For more details, contact Grace Lyon on 0141 242 0594 or supportus@scottishopera.org.uk, or visit scottishopera.org.uk.

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FEATURE

KÁTYA KABANOVÁ

Dark passions

Industrial grime, torpor and transcendence: director Stephen Lawless reveals plans for his new late Soviet era production of Janáček’s Kátya Kabanová

tephen Lawless has a deep love of Janáček. ‘There’s nobody else like him. The emotional and psychological extremes of his music are just extraordinary.’ He’s talking specifically about Kátya Kabanová, which he directs for the first time in a new production that opens in March. ‘I’ve been involved in Janáček productions in the past, but this is actually the first I’m directing myself, which I’m thrilled about. It’s absolutely the one I wanted to do.’ Kátya Kabanová is a powerful, passionate opera indeed, one that revolves around a miserable marriage, an overbearing matriarch, and a forbidden love affair – a tryst that ultimately leads the title character to question her own existence. And, as so often with Janáček, it places a woman firmly in its central role, peering deeply into the psychological depths of her character.

‘If you asked me what is the special thing about his operas, I’d say it’s compassion’ How resonant does Stephen find the composer’s depictions of women in our current climate? ‘At the moment it couldn’t be more appropriate,’ he explains. ‘If you asked me what is the special thing about his operas, I’d say it’s compassion. Of course a lot of opera is about compassion for the underdog, but Janáček takes it to new heights. It’s usually compassion for women – 4 / SPRING 2019 scottishopera.org.uk

From the House of the Dead aside – and there’s something visceral about his music that hits you right in the gut. Which is the joy of directing it, of course.’ Janáček’s opera is based on the turbulent 1859 play The Storm by Russian writer Aleksandr Ostrovsky. But Stephen and designer Leslie Travers are locating their production far closer to our own times. ‘We didn’t want to set it right now,’ Stephen explains, ‘because we wanted a certain perspective on it. So we moved it to the end of the Soviet era, just before Glasnost and Perestroika have begun to kick in.’ Why that setting? ‘You get the feeling that Ostrovsky’s play is happening in a place where there’s nothing to do. I’d seen a Russian film called Leviathan, which is about life in a far-flung backwater, and it seemed to capture exactly that feeling of remoteness we were after – an emotionally numbing landscape, one that’s industrial and polluted.’ It’s a setting that stands in stark contrast to the superheated emotions of the opera’s music and characters, of course. What plans do he and his designer have for the production’s look and setting? ‘It’s going to have a very industrial feel. We have bridges across the stage – in one sense they’re literal, carrying people on a journey, but they can also move up and down, suggesting a sense of transcendence, of escape. So Kátya’s final act, in my book, is not something that’s necessarily morally reprehensible, or a cop-out – it’s more about transcendence.’ Among Stephen’s fine cast are, in the title role, American soprano Laura Wilde making her Scottish Opera debut, following acclaim as Jenůfa at English National Opera in 2016. She’s joined by America tenor Ric Furman as her forbidden lover Boris, and Hanna Hipp (Cherubino in The Marriage of Figaro,

2016) as the family’s foster daughter Varvara. Following huge success with Scottish Opera’s own Jenůfa in 2015, Music Director Stuart Stratford returns to the podium to continue his Janáček explorations. One conundrum that directors face with Kátya Kabanová is how to convey the overbearing character of Kabanicha. She’s sometimes seen as simply the mother-in-law from hell, but Stephen approaches her rather differently. ‘I didn’t want a dogmatic, lumpen portrayal. I want to know why she does what she does – someone who’s not simply a battleaxe, but who has a certain warped sensuality. Fundamentally, I think she’s jealous of her daughter-in-law, which leads her to behave as she does – and that’s why it’s so wonderful we have Patricia Bardon for a more personal, psychological approach to the role.’ Kátya Kabanová: See page 15 for full performance listings. Kátya Kabanová is a new co-production with Theater Magdeburg. Supported by the Alexander Gibson Circle.

A JOYFUL, FAITHFUL SPIRIT American soprano Laura Wilde explains the challenges and rewards of singing Kátya This is going to be your debut singing Kátya Kabanová. What are the challenges of the role? I’m coming to the role completely fresh, and I’m very excited to have the chance to sing it. At this stage, many of the challenges are simply the learning process – both Janáček’s vocal writing and the Czech language are complicated to memorise! But once the initial work is done, it’s equally freeing and enjoyable to sing. Janáček has several lead female roles across his operas. What insights do you feel he has into women as central characters? He’s a master of storytelling, and he also writes brilliantly fleshed-out characters, each with a unique relationship to the others in the story. Janáček’s women are intelligent, passionate, flawed and incredibly real. Each of them has some sort of great sorrow thrust upon them, and must decide how to move forward and reconcile the life they want and the life they’re actually living. It’s a huge gift to have such interesting women to embody. You recently sang Jenůfa at English National Opera. How do Jenůfa and Kátya compare, do you think? Jenůfa is a remarkable role, but she and Kátya are clearly different women. Jenůfa is pushed forward by love and ultimately, love inspires her to survive. Conversely, Kátya is deeply motivated by duty and expectation. When the opera opens, we already find Kátya beaten down and her joyful, faithful spirit crushed. Boris offers her escape and a chance of genuine love. How do you respond to Kátya’s predicament? Her situation breaks my heart. Before she was married, she was a vivacious, imaginative girl who found deep joy and freedom in her faith in God. Now, she’s broken and empty. I find the conflict between her desperate need for love and affection, and her deeply held beliefs about monogamy and her wifely duties fascinating. What are your own earliest musical memories? What made you want to pursue music as a career? My first musical love was the trumpet – I started playing in the fifth grade, and I quickly knew I wanted to pursue it as a career. But at the end of high school, I attended Interlochen Arts Camp, and it was there I discovered classical singing. I’m happy I spent so many years with the trumpet because it taught me musicianship, a serious work ethic in the practice room, and the joys of being part of an ensemble. But ultimately, I’m grateful I decided to become a singer – I love every aspect of the craft and this crazy career!

Laura Wilde as Jenůfa, with Nicky Spence at English National Opera

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OUR PERFORMANCES

ANTHROPOCENE

OPERA HIGHLIGHTS

Director Matthew Richardson offers a few clues about the surprises in store for audiences at Stuart MacRae and Louise Welsh’s new, Arctic-set opera

Frivolities, folly and flirtation are the order of the day in director Sara Brodie’s Scotland-wide Spring tour of well-loved and rarely heard opera excerpts

irector Matthew Richardson (above) is reluctant – understandably – to give too much away about the plot of Anthropocene, the brand new opera by composer Stuart MacRae and librettist Louise Welsh to be unveiled in January. ‘It takes place on a research ship in the Arctic, which an Elon Musk-type entrepreneur is financing, to excavate ice cores and discover the origins of life,’ Matthew explains. ‘But the ship gets trapped in a sudden freeze, and its communications no longer function. Then the scientists discover something buried in the ice that shocks and surprises them all – and which influences everything that happens after that. That’s as much as I can say, really...’

‘The characters’ moral compasses collapse just as much as the ship’s actual compasses do’ 6 / SPRING 2019 scottishopera.org.uk

Nobody wants to spoil the surprises in store for audiences when Anthropocene receives its world premiere performances. But beyond the thriller-like twists of Anthropocene’s plot – and there are plenty of those – Matthew feels the opera deals with weightier questions. ‘The scientists, captain and crew on the ship become a microcosm of our larger society, and when fuel and food are running low, the norms of how people behave start to fall apart. Their moral compasses collapse just as much as the ship’s actual compasses do.’ One of Anthropocene’s central themes, he feels, is sacrifice. ‘Right at the start,’ explains Matthew, ‘the husband of the lead scientist is off the ship collecting ice samples when the temperature suddenly drops, threatening to trap the ship. But the scientist won’t allow the vessel to leave because that would mean abandoning her husband and two others on the ice – even though, as a result, everyone is trapped. So the idea of sacrifice is there from the outset.’ And it’s that theme that connects the opera with the issue suggested by its title: climate change. Scientists are now increasingly in agreement that we are currently living in the Anthropocene geological epoch – a term first popularised in 2000 and now widely accepted – in which the biggest impact on our planet comes from humankind itself. ‘It’s not anyone’s intention for this to be a climate change opera,’ explains Matthew. ‘Instead, climate change provides the context for the opera’s plot.’ But the question of individuals sacrificing aspects of their lives they hold dear –

either willingly or unwillingly – for the greater good is clearly central to that issue. Anthropocene’s setting – a ship frozen into the vast expanses of Arctic ice – is an undeniable challenge to bring to the stage. How is Matthew planning to stage the work? ‘Well, the set is largely white – which won’t be a surprise!’ he laughs. ‘Actually it’s all going to be set on the ship, which represents a kind of cradle that protects this little microcosm, and provides them with what they need.’ It’s Matthew’s third new opera collaboration with Stuart and Louise, following Ghost Patrol in 2012 and The Devil Inside in 2016. How does he find working with them? ‘Each time the three of us collaborate, we bring what we learnt from our previous projects, and we also learn more. Of course there’s a sense of risk with any new piece. But to undertake that journey with familiar people, and people who all understand one another – that’s the real benefit of having developed alongside each other.’ Anthropocene: See page 15 for full performance listings. Anthropocene is supported by the John S Cohen Foundation, RVW Trust and Scottish Opera’s New Commissions Circle.

ollowing the huge success of the nationwide tour last Autumn (read audiences’ excited reactions to the production on page 14), Opera Highlights is back in February and March – in an entirely new show, with a new cast, new director and new musical selections. New Zealand-born director Sara Brodie has worked in theatre, dance and opera internationally, and promises ‘an evening of frivolities, folly and flirtation, as our singers take you to the depths of the underworld, Paris at dawn, a Viennese masked ball and a tryst by the Thames’. Among the characters audiences will meet, she explains, are ‘much-loved heroes, rogues and wily heroines, including Don José, Orfeo, the Earl of Essex, Don Giovanni, Dr Dapertutto, Zerlina, Rosalinde and Blanche Dubois’. The musical selection, hand-picked by Head of Music Derek Clark, includes favourite excerpts from Carmen, Così fan tutte, Tannhäuser and Die Fledermaus, alongside lesser-known arias and ensembles from rarities including Ricci’s La prigione d’Edimburgo, Britten’s Gloriana and Bernstein’s Candide. The 18-venue tour takes in the full length and breadth of Scotland, travelling from Dunblane to Barra, from Durness to Aboyne, and many stop-offs in between. Bringing Sara’s eclectic cast of characters to vivid life is a fine quartet of singers: The Robertson Trust 2018/19 Scottish Opera Emerging Artist soprano

Lucy Anderson is joined by mezzosoprano Heather Ireson, tenor Tom Smith and baritone Harry Thatcher, with Elizabeth Rowe at the piano.

OPERA IN CONCERT: SILVANO Following Puccini’s Edgar, in October, the season’s second Opera in Concert immerses us in the passionate maritime dramas of Mascagni’s Silvano. On the podium is Music Director Stuart Stratford, himself a committed champion of Mascagni’s captivating works: his Silvano follows L’amico Fritz in concert in 2016, as well as Iris at Opera Holland Park the same year. The glittering cast includes acclaimed soprano Emma Bell as the captivating Matilde, and Alexey Dolgov in the title role. There are two chances to catch this rare gem in April, at Edinburgh’s Usher Hall and Glasgow’s City Halls. Silvano: See page 15 for full performance listings.

Opera Highlights: See page 15 for full performance listings. Opera Highlights is supported by the Friends of Scottish Opera, JTH Charitable Trust and Scottish Opera Endowment Trust.

NATIONAL OPERA STUDIO Scottish Opera’s National Opera Studio showcases have long offered the opportunity to hear the opera stars of tomorrow. For this year’s special concert, Scottish Opera and the National Opera Studio have come together in a week-long residency for the young artists, culminating in a performance that takes place for the first time at the King’s Theatre, Edinburgh. Among the evening’s eclectic repertoire is music from Fidelio, Peter Grimes, Rodelinda, The Marriage of Figaro, Cosí fan tutte and The Barber of Seville. National Opera Studio: See page 15 for full performance listings. National Opera Studio is supported by Scottish Opera Endowment Trust.

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OUTREACH & EDUCATION

ORFEO & EURIDICE

SCOTTISH OPERA YOUNG COMPANY

Mirrors and movement are the twin inspirations behind Caroline Clegg’s new production of Gluck’s opera of undying love for the Scottish Opera Young Company

irector Caroline Clegg is excited to be bringing Gluck’s Orfeo & Euridice to the stage with the Scottish Opera Young Company. ‘It’s such a beautiful piece. And it’s rooted in deep love, loss and the desperation to restore love – really fundamental things that we all experience.’ The moving 1762 opera opens with Orfeo grieving, she explains. ‘He and Euridice have just been married, and on their wedding day, she’s killed.’ Orfeo is heartbroken and, aided by the spirit Amore, sets off on a perilous journey into the underworld to win back his beloved. His sole condition, of course, is that he cannot look at Euridice until they are back in the human world. It’s an iconic tale from Greek mythology, and one that’s inspired opera composers from Monteverdi (and earlier) right through to Birtwistle in our own times. Gluck’s account, however, sets out to restore what’s been described as a ‘noble simplicity’ to opera, stressing dramatic impetus and streamlining the plot to just its powerful essentials. How is Caroline approaching the work? ‘I’ve had many discussions with our designer, Finlay McLay,’ she explains, ‘and our starting point is the idea of reflections and mirrors. In ancient Egypt, for example, a mirror was thought to show the reflection of your soul, and I remember as a child that mirrors were always covered when somebody had died.’ Her Orfeo will step through a shattered mirror into another world, she says. ‘He goes on a journey mentally and physically, but it starts with himself and his own reflection, his own life.’ 8 / SPRING 2019 scottishopera.org.uk

‘Edgar has all the elements you’d expect from a Puccini opera’

The production brings together two professional singers in the title roles – countertenor Daniel Keating-Roberts and soprano Jessica Leary – alongside the Young Company singers. ‘It’s going to be very much an ensemble piece,’ explains Caroline, ‘and the Young Company will be on stage a lot more than in a traditional production. They’ll be transforming between roles, from mourners to characters in the underworld, for example. Our Amore is going to be sung by three Young Company singers, to give more of them a chance as soloists, and also to show three different personality traits in a single character. In the ensemble, each young person will play a particular character, and they’ll be physicalising their roles as well as vocalising them.’ Indeed, Caroline is planning plenty of movement for her production. ‘I’m a choreographer and former dancer as well as a director, so the work will be quite physical. I’m also introducing a solo dancer to embody the spirit of Euridice. Using a contemporary style of movement gives the young people an opportunity to challenge themselves, to step out of their comfort zones, adopt new skills and be part of a cohesive whole.’ Support for the Scottish Opera Young Company through Scottish Opera’s Education Angels has grown. Caroline herself has a long and distinguished career in theatre and opera, having worked with the Royal Northern College of Music, Welsh and English National Operas and Opera North, among other companies. Orfeo & Euridice is her

‘It’s such a beautiful piece. And it’s rooted in deep love, loss and the desperation to restore love’ debut production with Scottish Opera, but she’s long wanted to work with the Company. ‘I’ve known about Scottish Opera’s Education department for a long time. It has integrity, passion and a history of always pushing boundaries. It’s indeed a privilege to be working with them. I feel very passionate about working with young people. Not only does it keep my work visceral, but it’s also the heart and soul of the joy of storytelling – on all levels.’

Artistic Director Jonathon Swinard reveals his big ambitions for Scottish Opera’s youth division You’ve already worked quite extensively with Scottish Opera – what roles have you held previously? I was Emerging Artist Repetiteur in 2012/13 – I heard about the role while I was still on the repetiteur course at London’s Guildhall School of Music and Drama. Then I came back to the Company as Guest Chorus Master for La bohème in 2017, and as Musical Director for Opera Highlights that same year. I’ve now resettled in Glasgow, and I’m enjoying a new phase as Artistic Director of the Young Company.

What does your new Young Company Artistic Director role involve? The Young Company programme is delivered over ten immersive weekends, building up to a full production – which this year is Gluck’s Orfeo & Euridice. My main activity is leading those weekends and conducting the final production, but there’s a broader artistic planning role too – we’re now discussing what repertoire we’ll be doing in two years’ time. Scottish Opera Young Company has changed its name from Connect – but what other changes have there been? From September 2019 we add an entirely new strand to our work – the Scottish Opera Young Company Gateway, for younger participants, which will run on Sunday afternoons spread across the year. This new training company will be open to all 14- to 17-year-olds without the need to audition. We’re also extending the age range of the Young Company upwards to 25. Many young, classically trained singers keep developing in their 20s, and I felt the previous age cap of 22 was actually too early. So we’re welcoming slightly more experienced singers, and we will hopefully be able to offer them more solo opportunities with the Young Company.

What opportunities are there for behind-the-scenes work? The Young Company isn’t just about singers – our SOYC Stage Management strand is equally important. Many of our young stage managers have their first practical experience with us, then go on to apply successfully for undergraduate courses. What are your ambitions for the Young Company in the future? I was really proud of the 14 Young Company members who sang in Puccini’s Edgar back in October. I’d like to continue this closer integration with the main Company, and one day I’d love to see one of Scottish Opera’s Emerging Artists coming from our Young Company. I’m also excited to announce that in 2020 the Young Company’s production will be Sondheim’s Merrily We Roll Along, a wonderful show about the hopes, aspirations and ambitions of three young artists and their friends – so a perfect fit for our new Young Company. Applications for the Scottish Opera Young Company are now open. For more information, visit scottishopera.org.uk Scottish Opera Young Company and Orfeo & Euridice are supported by John Mather Trust, Gordon Fraser Chariable Trust, Edith Rudinger Gray Charitable Trust for Opera Studies, The Carntyne Trust, The W.A. Cargill Fund, The Russell Trust, The William Syson Charitable Foundation, Sir Iain Stewart Foundation, The Thistle Trust, James Wood Bequest Fund and Scottish Opera’s Education Angels.

Orfeo & Euridice: See page 15 for full performance listings.

Scottish Opera Connect’s 2015 production of Dr Ferret’s Bad Medicine Roadshow

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OUTREACH & EDUCATION

1719! The Jacobite risings form one of the most dramatic episodes in Scottish history, with Jacobite Scots locked in a struggle to restore the House of Stuart to the British throne. This Spring and Summer, thousands of primary pupils across Scotland get the chance to explore this defining period – through opera. 1719! – composed by David Munro, revised and re-orchestrated by Alan Penman, and with words by Allan

NEWS

For more information on 1719!, contact Audrey Blake on 0141 332 9559 or email audrey.blake@scottishopera.org.uk 1719! tour supported by The Cruden Foundation, The Forteviot Charitable Trust, Miss K.M. Harbinson’s Charitable Trust, Isabella Memorial Trust, New Park Educational Trust, Hayward Sanderson Trust, The Stevenston Charitable Trust, Alma & Leslie Wolfson Charitable Trust and Scottish Opera’s Education Angels.

EDUCATION IN BRIEF

BambinO in Oman Lliam Paterson’s captivating BambinO for babies aged 6 to 18 months travels to the Royal Opera House Muscat, Oman, for seven performances from 31 March to 6 April, alongside a programme of professional development for Omani music and language teachers.

Return to China In its fourth visit to China, the Scottish Opera Education department led a team of teaching artists to give professional development training to 60 teachers in Beijing and Kunming in September. And in October, the Education team returned for four performances of the 30-minute opera Warriors! The Emperor’s Incredible Army (above) by composer Alan Penman and librettist Ross Stenhouse, directing and performing alongside 800 ten- and 11-year olds. 10 / SPRING 2019 scottishopera.org.uk

OBITUARIES

Dunn – travels to more than 100 schools across Glasgow, Edinburgh, Perth and Kinross and the Highlands from January to March, then heads off again from April to Aberdeen, the Borders, the Western Isles, Shetland and Dumfries and Galloway. Using teaching materials produced by Scottish Opera’s Education and Outreach department, pupils learn words and songs in their classrooms, then work with a team from the Company on a performance for classmates, friends and family. Director of Outreach and Education Jane Davidson MBE says: ‘It’s an amazing way to learn about one of the most dramatic and exciting periods in Scottish history – and it features more battles than Braveheart!’

From the Mud to the Stars Singers from the Scottish Opera Young Company delivered a rousing salute to the Royal Air Force as part of its RAF100 celebrations at the Glasgow Royal Concert Hall on 3 October, the culmination of the Education department’s 12-month Great War commemoration From the Mud to the Stars. And following contributions from primary and secondary pupils, University Air Squadron students and RAF veterans, the Education team has put together music, art, design and literacy activities to help young people explore the RAF’s centenary – check scottishopera.org.uk for details.

Arthur Davies (1941-2018) Tenor Arthur Davies, who died on 8 August 2018, made his debut with Scottish Opera in 1980 as the Fox in The Cunning Little Vixen, going on to sing David in The Mastersingers of Nuremberg under Sir Alexander Gibson in 1983. In 1990 he performed two major roles with the Company – Pinkerton and Cavaradossi – and he sang Don José in Carmen the following season. Born in Wrexham, Davies studied at Manchester’s Royal Northern College of Music, and also sang extensively with Welsh National Opera, The Royal Opera and English National Opera.

Welcome to our 2018/19 Emerging Artists: (from left) soprano Sofia Troncoso, Composer in Residence Samuel Bordoli, repetiteur Erika Gundesen, mezzo-soprano Bethan Langford, baritone Alexey Gusev, the Elizabeth Salvesen Costume Trainee Marie Hansen, and soprano Lucy Anderson, the Robertson Trust Emerging Artist.

Memory Spinners

ALL OVER THE WORLD

Airdrie’s Memory Spinners group presented a relaxed performance inspired by Lehár’s The Merry Widow to friends and family on 5 October, followed by the Glasgow group at Scottish Opera’s Production Studios on 23 November, and the Edinburgh group at the City Arts Centre on 4 December. Memory Spinners is specially conceived for people living with dementia and their carers, and supported by a range of funders including Scottish Opera’s Education Angels. It brings together music, storytelling, movement and visual art in informal groups that allow participants to relax and get to know each other – as well as getting creative and having fun.

Scottish Opera productions travelled far and wide in the closing months of 2018 – and continue their international voyages over the next few months too. Joe Hill-Gibbins’ striking production of Greek (below), unveiled at the Edinburgh International Festival in 2017, startled audiences and critics at New York’s Brooklyn Academy of Music across four performances in December. Sir David McVicar’s sumptuous La traviata, first seen at Scottish Opera in 2008, has been wrenching hearts across Wales and England with performances from co-producer Welsh National Opera. Sir David’s equally opulent Der Rosenkavalier, originally staged by Scottish Opera in 1998, travels to Oslo for nine performances from Den Norske Opera, from 16 March to 13 April 2019. First seen in Scotland in 2017, Renaud Doucet and André Barbe’s reimagining of La bohème in 1920s Paris flies across the Atlantic for five performances by Vancouver Opera, at the Queen Elizabeth Theatre from 14 to 21 February 2019. Also on the West Coast, San Francisco Opera hosts Harry Fehr’s 2011 production of Handel’s Orlando for five performances from 9 to 27 June 2019.

For more information on Memory Spinners, contact Audrey Blake on 0141 332 9559 or email audrey. blake@scottishopera.org.uk Memory Spinners is supported by Esmee Fairbairn Foundation, Garfield Weston Foundation, Wellbeing for Longer in Glasgow Fund, Eda, Lady Jardine Charitable Trust, Springboard Charitable Trust, MEB Charitable Trust, Alma & Leslie Wolfson Charitable Trust, Scottish Opera’s Education Angels, CultureNL and Capital Theatres.

Archie Gilchrist (1929-2018) Glasgow-born businessman Archie Gilchrist, who died on 4 August 2018, was one of Scottish Opera’s founding board members when the Company was established in 1962. A lifelong supporter of the arts, he was also vice chairman of the Royal Scottish National Orchestra from 1989 to 1994, a member of the BBC’s Broadcasting Council for Scotland, and a committee member of Drake Music Scotland. Gordon Sandison (1949-2018) Baritone Gordon Sandison, who died in November, made his debut with Scottish Opera in The Trojans at the 1972 Edinburgh International Festival, and sang regularly with the Company throughout the 1970s, 80s and 90s, in roles including Malatesta, Figaro, Papageno, Schaunard, Harlekin, Demetrius, Don Giovanni, Don Alfonso and Falstaff. He also performed extensively at the Royal Opera House Covent Garden, Glyndebourne and English National Opera, as well as internationally. Born in Aberdeen, Sandison studied at Glasgow’s College of Dramatic Art and Royal Scottish Academy of Music. Sally Silver (1967-2018) South African-born soprano Sally Silver, who died in November, made her UK debut with Scottish Opera in 2007 singing the title role in Lucia di Lammermoor, continuing the second half of one performance in a wheelchair after tearing a calf muscle before the interval. She sang Mum in the 2011 staging of Greek (co-produced by Scottish Opera and Music Theatre Wales), as well as Elvira in I puritani and Angelica in Orlando. She also performed in France, the Netherlands, Germany and Denmark, and sang the Duchess in Thomas Adès’s Powder Her Face extensively. Derek Watson (1948-2018) Born in Edinburgh, the musician, writer, actor and lecturer Derek Watson, who died on 17 September 2018, founded the Scottish branch of the London Wagner Society in 1984, transforming the organisation into the Wagner Society of Scotland in 1996. He wrote volumes on Wagner, Bruckner and Liszt for the Master Musicians series, as well as contributing to the New Grove Dictionary and Oxford Companion to Music. For more than 30 years, he introduced Scottish Opera’s season operas at Study Days and Friends’ Branch meetings.

scottishopera.org.uk SPRING 2019 / 11

WHAT THE MEDIA SAID...

RIGOLETTO

GREEK AT BROOKLYN ACADEMY OF MUSIC

‘A clever and thoroughly transparent staging which serves the plot while providing a chilling condemnation of the attitudes it portrays’

‘Looking like a stunned, pasty Eminem, Alex Otterburn plays Eddy with quiet charisma and a doughy, swiftly changeable face’

‘Stuart Stratford conducted soloists from The Orchestra of Scottish Opera in a precise and energetic performance’

Thom Dibdin, The Stage

Zachary Woolfe, New York Times (Critic’s Pick)

‘Seven years on from Matthew Richardson’s production of Verdi’s melodrama of lust and seduction, its revival looks precisely targeted to address the way the toxicity of male power has been revealed in the news’

‘Tenor Alex Otterburn was a bumptious, aggressive Eddy; Susan Bullock, Allison Cook and Andrew Shore played all the other characters with properly broad strokes’

‘Susan Bullock is a hoot, and has great fun as half of the hissing, spitting sphinx’

Keith Bruce, The Herald

‘Director Joe Hill-Gibbins brings antic energy to all the action, even if the tragedy of what is really going on will melt your heart’

Heidi Waleson, Wall Street Journal

‘Conductor Rumon Gamba crafted an atmosphere of controlled fury as the inevitable tragedy unfolded, with razor-like tension in the music of the curse, countered by gorgeous soft strings in the duets’

Steven Pisano, Feast of Music

Anne E Johnson, Classical Voice North America

Clive Paget, Limelight **** ½

‘The sleek, in-your-face new production, directed by Joe Hill-Gibbins, is smashing. He’s also coaxed some beautifully etched performances from his fearless cast of four’ Adrian Dimanlig, Interludes blog (Highly recommended)

‘Alex Otterburn’s was one of those tour-de-force performances that leave you breathless’ Rick Perdian, Seen and Heard International

Simon Thompson, The Times

‘Tonight’s performance proves that it is still very much a piece for our times, portraying, as it does, a world where the poor and the innocent suffer, and the rich and powerful receive no comeuppance for their crimes’ Max Scratchmann, The Wee Review

The Wee Review

The Stage

12 / SPRING 2019 scottishopera.org.uk

The Herald

The Times

Bachtrack

The Wee Review

The Stage

The Herald

The Times

Bachtrack

scottishopera.org.uk SPRING 2019 / 13

WHAT THE MEDIA SAID...

PERFORMANCE DIARY

THE BURNING FIERY FURNACE AT THE LAMMERMUIR FESTIVAL

SCOTTISH OPERA JAN – APR 2019

‘Vocally, this was a powerful performance, with strong singing from an excellent cast. Tenor Ben Johnson was light-voiced and agile as Nebuchadnezzar, while David Stout was sonorous and authoritative in the dual roles of Abbot and Astrologer’

‘Jenny Ogilvie presented the whole score as if it was part of some lost liturgy… the sequence of ritualistic scenes and tableaux suited the work perfectly’

Rowena Smith, The Guardian

Keith Bruce, The Herald

The Herald

The Guardian

The Times

The Scotsman

The Wee Review

EDGAR

The Wee Review

ScotsGay

OPERA HIGHLIGHTS WHAT THE AUDIENCE SAID...

‘A refined and enjoyable performance… confident playing from the orchestra’ Andrew Clark, Opera

‘Tenor Peter Auty was in superb voice’ Keith Bruce, The Herald

The Herald 14 / SPRING 2019 scottishopera.org.uk

‘Excellent evening’s entertainment by six talented performers. A delight.’ Audience member in Stornoway ‘Superb performance. It was my first visit to live opera, and I’m looking forward to attending other productions.’ Audience member in Portree

ScotsGay

Jan Thu 10 1.10pm Emerging Artists Recital Thu 24 7.15pm Anthropocene Sat 26 7.15pm Anthropocene (AD) Thu 31 7.15pm Anthropocene Feb National Opera Studio Fri 1 6pm Sat 2 7.15pm Anthropocene (AD) Tue 5 7.30pm Opera Highlights Thu 7 7.30pm Anthropocene Thu 7 7.30pm Opera Highlights Sat 9 7.30pm Anthropocene Sat 9 7.30pm Opera Highlights Tue 12 7.30pm Opera Highlights Thu 14 7.30pm Opera Highlights Sat 16 7.30pm Opera Highlights Tue 19 7.30pm Opera Highlights Thu 21 7.30pm Opera Highlights Sat 23 7.30pm Opera Highlights Tue 26 7.30pm Opera Highlights Thu 28 7.30pm Opera Highlights Mar Fri 1 7.30pm The Orchestra of Scottish Opera Sat 2 7.30pm Opera Highlights Tue 5 7.30pm Opera Highlights Thu 7 7.30pm Opera Highlights Sat 9 7.30pm Opera Highlights Tue 12 7.15pm Kátya Kabanová Tue 12 7.30pm Opera Highlights Wed 13 6pm Kátya Kabanová Unwrapped Thu 14 7.15pm Kátya Kabanová Thu 14 7.30pm Opera Highlights Sat 16 7.15pm Kátya Kabanová (AD) Sat 16 7.30pm Opera Highlights Tue 19 7.30pm The Orchestra of Scottish Opera Thu 21 7.15pm Kátya Kabanová Fri 22 6pm Kátya Kabanová Unwrapped Sat 23 7.15pm Kátya Kabanová (AD) Sun 31– Sat 6 Apr BambinO Apr Sat 6 7pm Orfeo & Euridice Sun 7 2pm Orfeo & Euridice Sun 14 3pm Opera in Concert: Silvano Tue 16 7.30pm Opera in Concert: Silvano AD Audio-described performance

University of Glasgow Theatre Royal Glasgow Theatre Royal Glasgow King’s Theatre, Edinburgh King’s Theatre, Edinburgh King’s Theatre, Edinburgh Village Theatre, East Kilbride Hackney Empire, London Strathmiglo Village Hall Hackney Empire, London Cumbernauld Theatre Craignish Village Hall, Ardfern Northbay Hall, Barra Liniclate School, Benbecula Tarbert Village Hall, Harris Gairloch Community Hall Ardross Community Hall Volunteer Hall, Duns Blairgowrie Town Hall Ayr Town Hall Maybole Town Hall Durness Village Hall Boat of Garten Community Hall Deeside Theatre, Aboyne Theatre Royal Glasgow Whiting Bay Village Hall, Arran Theatre Royal Glasgow Theatre Royal Glasgow Victoria Hall, Dunblane Theatre Royal Glasgow The Spires, Paisley Music Hall, Aberdeen Festival Theatre, Edinburgh Festival Theatre, Edinburgh Festival Theatre, Edinburgh ROH Muscat, Oman Beacon Arts Centre, Greenock Beacon Arts Centre, Greenock City Halls, Glasgow Usher Hall, Edinburgh

HOW TO BOOK University of Glasgow Concert Hall University Avenue, Glasgow G12 8QQ Box Office 0141 330 4092 gla.ac.uk/events/music Theatre Royal Glasgow 282 Hope Street, Glasgow G2 3QA Box Office 0844 871 7647 atgtickets.com King’s Theatre, Edinburgh 2 Leven Street, Edinburgh EH3 9LQ Box Office 0131 529 6000 capitaltheatres.com Hackney Empire, London 291 Mare Street, London E8 1EJ Box Office 020 8985 2424 hackneyempire.co.uk Festival Theatre Edinburgh 13–29 Nicolson Street, Edinburgh EH8 9FT Box Office 0131 529 6000 capitaltheatres.com Opera Highlights Please visit scottishopera.org.uk for booking details for each venue Ayr Town Hall New Bridge Street, Ayr KA7 1JX Box Office 01292 617638 whatsonayrshire.com Music Hall, Aberdeen Union Street, Aberdeen AB10 1QS Box Office 01224 641122 aberdeenperformingarts.com Beacon Arts Centre, Greenock Custom House Quay, Greenock PA15 1HJ Box Office 01475 723723 beaconartscentre.co.uk City Halls, Glasgow Candleriggs, Glasgow G1 1NQ Box Office 0141 353 8000 glasgowconcerthalls.com Usher Hall, Edinburgh Lothian Road, Edinburgh EH1 2EA Box Office 0131 228 1155 usherhall.co.uk

scottishopera.org.uk SPRING 2019 / 15

Janáček

Kátya Kabanová A heart torn between duty and desire

THEATRE ROYAL

GLASGOW 12 • 14 • 16 MAR

FESTIVAL THEATRE

EDINBURGH 21 & 23 MAR

A new co-production with Theater Magdeburg | Sung in Czech with English supertitles Supported by The Alexander Gibson Circle

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