Archives For My Performance 2017

I am excited to share some wonderful news with you all, last December I was invited by Scottish Opera to participate in a week of exploration and development for a new project they were hoping to produce.  It was very hush, hush and I wasn’t able to share the experience with you at the time so that the concept could be fully developed before announcing their plans.  All I can say is that I had a fabulous week and enjoyed every minute of it.  I returned to London happy that I had been involved and excited for the production team as they had some wonderful ideas, I had no idea what was to happen next.  After a couple of months, I was contacted and asked to be part of production, and tour as one of the cast members this summer and autumn.

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Here is the press release that I was sent which explains a little more:

The long-awaited follow-up to Scottish Opera’s hugely successful BabyO performances, BambinO is a pioneering and unique piece of music theatre for infants aged 6 to 18 months.

A new co-production with Manchester International Festival and Improbable, the show premieres at Manchester International Festival in July, before traveling to Edinburgh as part of Edinburgh Festival Fringe, then to Glasgow for performances in Scottish Opera’s Production Studios.

Written by Scottish Opera’s Composer in Residence Lliam Paterson and directed by Improbable’s critically-acclaimed Phelim McDermott, BambinO will be a celebration of the possibilities of music and the power of the infant imagination.

The show reinvents operatic language and traditions for children at an age when their minds are wide open to new sounds, images, and experiences. Babies are free to explore during the performance and to interact with the singers, musicians and each other.

Programme Bambino

Director, Phelim McDermott, said: ‘It is inspiring to create a new opera for what is possibly the most discerning – and important – audience there is. We all know that babies respond to music and we want to nurture and stimulate that relationship through their very first opera.’

Scottish Opera’s Composer in Residence, Lliam Paterson, continued: ‘BambinO will bring an operatic experience to a little audience with ears open to discovering new sounds. It is so exciting to create a colourful and vibrant work that can engage both babies and adults fully while conveying the drama and passion of opera. The opportunity for me to work with as imaginative a director as Phelim McDermott is fantastic and truly inspiring. He and design team Giuseppe Belli and Emma Belli will bring a beautifully crafted operatic world to a whole new audience!’

Scottish Opera’s Director of Education and Outreach, Jane Davidson, said: ‘Incorporating rich, exuberant colours and images – both musically and visually – we’ve created the perfect miniature opera. Complete with percussion, cello, and tiny pianos, all four performers fashion a magical soundscape that will enthrall and challenge both the babies and the adults who come along with them. This is not a ‘baby’ show in a traditional sense; this is baby baroque as you’ve never seen it before!’

BambinO is commissioned and produced by Scottish Opera, Manchester International Festival and Improbable.  It is supported by Scottish Opera’s New Commissions Circle and Scottish Opera’s Education Angels.

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Cast and Creative Team
Composer           Lliam Paterson
Director              Phelim McDermott
Designers           Giuseppe Belli & Emma Belli
Soprano              Charlotte Hoather
Baritone              Timothy Connor
Cello                     Laura Sergeant
Percussion          Stuart Semple
Stage Manager   David Sneddon

I can’t wait to join everyone on the 8th June when we start rehearsals and I will keep you posted as we progress and the tour gets underway.  It will be great to work with Stuart Semple again who I toured with last year in the Scottish Opera production of “ The Little White Town Of Never Weary”

I must admit that it was quite a buzz to see the production listed on the Scottish Opera website in this season’s events and to have the opportunity to work on this new composition which is to Premiere at the Manchester International Festival on 4th July.

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This week I had the pleasure of performing at the Britten Theatre alongside my friends in a set of Opera Scenes produced by the Royal College of Music, London. The scenes were directed by James Bonasconducted by Christopher Middleton and accompanied on piano by Ian Tindale.

I had a wonderful time performing the role of Aminta alongside the talented Yiwen Su as Elisa. We performed the opening scene from “Il re Pastore” by Mozart. For the performance, I had to wear a period wig, this was a completely new experience for me and I really enjoyed learning about the process and watching Shauna, the talented makeup and hair professional as she managed to hide all my hair under a cap ready for the powdered wig. To help me feel even more like a character from the 18th century, Shauna applied a layer of white foundation to my face which made me look quite pale. This was because in the 18th century both men and women would wear cosmetics to show social status. However, I wasn’t allowed to wear the fashionable bright pink rouge and lip colour as this would have been considered beyond the social ranking of my character for the scene. I found this really interesting and added another layer to my character profile and allowed me to explore how my character Aminta would react to meeting Elisa who in the first scene would have been considered higher than Aminta in social ranking. The performance was so much fun and I can’t wait to get back on a stage soon!

 

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On Friday evening I had arranged to go and watch the RAMBERT ballet company perform “Ghost Dances” at Sadler’s Wells Theatre in London. Because I could not get a student ticket my brother Matthew offered to pay half as he knew how much I wanted to go which was lovely of him and appreciated by me 🙂  This performance was really special for me because I analysed Christopher Bruce’s “Ghost Dances” for my Dance A level. Whilst writing my analysis I was only able to watch video recordings of the piece but enjoyed the dance so much that I fell in love with the chilling choreography and the powerful storyline of the dance. So, when Matthew told me that it was to be performed at Sadler’s Wells I did not want to miss out on the chance to see it performed live. I enjoyed the performance thoroughly and the company used the original choreography, music, costumes, and set, so my memory of this beautiful dance was re-enacted live before my own eyes. The company takes the performance on tour very soon and if you get the opportunity to go and watch it I would recommend the show thoroughly!!

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I would also like to share with you all that I will be performing my year end recital on the 7th June in the East Parry room on the 4th floor of the Royal College of Music.  My recital will be at 2:40 pm and if you are in London and able to attend it would be lovely to see you in the audience.

 

Friday Concert 5th May 2017

Anna Cooper, Prajna Indrawati and Me

 

On Friday I had a wonderful opportunity to perform near home in Chester with my talented peers Anna Cooper (Mezzo-Soprano) and Prajna Indrawati (Piano). We have all become great friends over this past year whilst we have been studying at the Royal College of Music in London. It was a delight to work on this recital programme with them both.

The concert took place in the beautiful St. Werburgh’s RC Church. The church had recently invested in a wonderful grand piano, which had a brilliant tone to support the voice. We arrived in the early evening after driving up from London during the afternoon and we immediately began rehearsing and preparing for the concert. We tested the acoustics both for singing and speaking and adapted our performances to reflect this. In the concert, I performed a range of songs from my personal journey through the world of classical music, featuring songs that I felt represented key moments of my training and other personal favourites.

We had an absolute blast and I would love to go back. The audience were very friendly and welcoming, which is always a nice feeling for a performer! It means you can take risks and experiment with ideas that you have so that music is alive with spontaneity and imagination. I was especially pleased to see my parents and my good friends Gill and Terry Howard in the audience who had driven to Chester after work to catch the performance.

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On the 16th May, I will be participating in another set of Opera Scenes at the Royal College of Music under the baton of Christopher Middleton and the direction of James Bonas. We began rehearsals from the 24th April meeting twice a week for 90 minutes. I will be performing the opening scene from “Il Re Pastore” by Mozart as the character Aminta. The opera was first performed on 23 April 1775 in Salzburg, at the Palace of the Archbishop Count Hieronymus von Colloredo when Mozart was just 19.

Aminta is a young and impoverished shepherd boy who is in love with a shepherdess, Elisa. But as in all good operas, nothing is quite that straightforward. Alessandro the mighty King and ruler of Macedonia had just fought and defeated an evil tyrant, Stratone of Sidon.  Alessandro was determined to find the rightful heir to the throne of Sidon and sets out on a mission to bring order back to the city-state.

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You guessed it, Aminta is the rightful heir but initially, wants no part of it.  He is happy living the simple life of a shepherd and plans to marry his true love Elisa at the earliest opportunity. Aminta is convinced by Alessandro to return to Sidon to take up the throne and put aside his love of Elisa for his duty to his people.

Alessandro believes that it would be good for Aminta, and for Sidon, if he marries Tamiri the daughter of the deposed tyrant, Stratone.  But she loves another and Aminta’s heart lies with Elisa.  Elisa and Tamiri plead with Alessandro to change his mind and allow them to marry for love.  Realising how unjust his original proclamation would be he relents and allows Aminta to marry Elisa.  The story ends with Aminta being crowned King of all Sidon.

This performance will be a first for me, as Aminta is a pants role, which means I will have to play a boy. The reason for this is because the role was originally written for a ‘castratto’, a male singer who has the range of a soprano or mezzo-soprano. From the middle of the 16th Century through to 1870 when it became illegal in Italy, young pre-pubescent boys would be castrated so that their larynx would not develop into that of an adult male.  This meant that they retained a childlike quality to their voices with an extended range.  Their bodies without the influence of testosterone developed in a unique way, their joints did not harden the same as an adult male and their bones would grow unusually long.  This often gave them a tremendous lung capacity coupled with a youthful-sounding voice.  As the practice fell out of favour the roles that had originally been written for their voices would then be performed by women.

 

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On the 29th April, I will be returning to Scotland to perform with the Angus Choral Society at Carnoustie Church, Carnoustie at 7:30 pm.  The Musical Director, Norman Beedie asked me to join them for the evening to perform the soprano solos in the “Harmonie Messe” by Haydn.

The other singers joining me to perform the other solo parts of the mass are Thomas Kinch- Tenor, Stephanie Maitland- Mezzo Soprano, and Will Frost – Bass. The organist for the evening will be Graeme Stevenson and the Tayside Symphony Orchestra Winds & Friends will be providing the orchestral accompaniment.

The piece was written in 1802 and was Haydn’s last major work. The title of the mass “Harmonie” comes from German terminology due to the prominence of the wind ensemble in the mass.

I am looking forward to performing alongside the members of the Angus Choral Society and my old friends and colleagues from the Royal Conservatoire of Scotland in what should be a wonderful evening.

If you are in the area on the 29th April why not come along and join us, the tickets cost £10.00 and will be available on the door..

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I would also like to pass on my thanks to all the people who asked about me following the awful attack on Westminster Bridge last Wednesday, 22nd April.  I am safe and well but my thoughts go out to all those that were touched by the day’s events, those that lost a loved one, or who are comforting those who were injured.

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Finally, I would like to wish my Mum a happy Mother’s Day. I couldn’t be with her today due to rehearsal commitments but thankfully with the help of my iPad I managed to FaceTime her and spend a little time with her online.  I can’t wait to see her in a couple of weeks when I will get to travel home for a short break.

Britten Opera Scenes

January 29, 2017 — 51 Comments

On Friday I had the pleasure to share the stage with my wonderful colleagues in a set of Opera Scenes produced by the Royal College of Music. The scenes were all from the works of Benjamin Britten to mark the 30th anniversary of the building of the Benjamin Britten Theatre at the College and included:

The Rape of Lucretia
Albert Herring
Turn Of The Screw
Owen Wingrave
Billy Budd
A Middummer Night’s Dream
Paul Bunyan

The week leading up to the performance was well organised and very slick. Each scene had its own separate rehearsal on Monday to iron out any wrinkles and make any final corrections. Then on Wednesday and Thursday we began running the scenes together to get a sense of timings and a feel for the overall production.

It was brilliant to be able to support and watch my colleagues as we began bringing the show together. We then added curtain calls, lighting and special effects. Then on Friday we came in early to do our make up and hair. After that we finally got to wear our costumes and worked out any last-minute niggles and the timings for the quick changes. Then after these two rehearsals we performed the show at 5:30.

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Carly Owen and Me

I performed as Flora from “Turn Of The Screw”, alongside Ashlyn Tymms as ‘Mrs Grouse’, Carly Owen as ‘The Governess’ and Josephine Goddard as ‘Miss Jessel’. I had a great time preparing for the scene alongside these fantastic singers and I hope we can work together again in the future.

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Eleanor Sanderson-Nash, Carly Owen, Harry Thatcher, Me and Amy Manford

I also took on the part of one of the fairies in “A Midsummer Night’s Dream” with Amy Manford as ‘Tytania’, Feargal Mostyn-Williams as ‘Oberon’, Stephen Mills as ‘Lysander’, Beth Moxon as ‘Hermia’, Eleanor Sanderson-Nash as ‘Helana’, Harry Thatcher as Demetrius, Rory Carver as ‘Puck’. Eleanor Sanderson-Nash, Carly Owen, and Ida Ranzlov were the other Fairies. It was so much fun to be part of such an enthusiastic group of performers and I had an amazing time.

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The Whole Cast

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Timothy Edlin, Eleanor Sanderson-Nash, Carly Owen, Me, and Amy Manford

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Me with Ida Ranzlov

 

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Rory Carver, Me and Amy Manford

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Me and Director, Lorenzo Mariani

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Timothy Edlin and Richard Pinkstone

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Beth Moxon and Me

To end my post tonight I would like to wish you all a happy and prosperous Chinese New Year as we enter the year of the Rooster.

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