n e Issue 61, Spring 2019 w s www.newchamberopera.co.uk

FORTHCOMING DATES & TICKET INFORMATION

Calendar Listing Those events marked with an asterisk * are University events

Calendar including Lunctime recitals TICKET DETAILS May 10 - Harpsichord recital: Anhad Arora Lunchtime Recitals 17 - Francesca Power, soprano 1.15pm 24 - Ben Watkins, baritone 31 - Priya Radhakrishnan, soprano New College Ante-chapel £2/£1 concessions on the door *Mozart: Exsultate Jubilate & Mass in C minor Conducted by Joseph Beesley 12 June 2019 Mozart: New College Chapel Exsultate Jubilate & Mass in C minor June 12 June 2019 7 - Lucy Gibbs, mezzo-soprano 8.00pm 14 - Laura Coppinger, soprano New College Chapel Tickets £12-£6 concessions on the door and from http://www.ticketsource.co.uk The Summer Opera /newchamberopera Handel Il pastor fido (1712) 3 (Preview), 6, 9, 10, 12, 13 July 2019 Summer Opera Wednesday 3 (Preview) The Warden’s Garden, New College & Tuesday 9 New Tickets on sale via New Chamber Opera - New Chamber Opera Ensemble http://www.ticketsource.co.uk/ The Band of Instruments - Phoenix - Cutting Edge newchamberopera

Singing Patron James Bowman **** Saturday 6 & Friday 12 Director of Productions Michael Burden Director, the Summer Opera Steven Devine New College Development Office Director, The Band of Instruments Roger Hamilton . Director, Opera Studio Anhad Arora (01865) 279 337 Repetiteurs Anhad Arora, Joseph Beesley . Administrator Francesa Power . Company Secretary Clare Atkinson Tuesday 9 Comptroller Graham Midgley . Wardrobe Diana Lintott, Fiona Hodges OXPIP (01865) 778 034 Recitals Francesa Power Wednesday 10 Friends of the Botanic Garden New Chamber Opera . 4 Mansfield Road . Oxford OX1 3TA (07472) 365 001 . . Tel: 01865 281 966 Fax: 01865 279 590 Email: [email protected] Saturday 13 Web pages: http://www.newchamberopera.co.uk Friends of WNO (01844) 237 551 Company No 3402769 . Charity No 1095069 n The New Chamber Opera e Newsletter w Issue 61, Spring 2019 s www.newchamberopera.com

TheThe SummerSummer OperaOpera

Handel Il pastor fido 3 (Preview), 6, 9, 10, 12, 13 July 2019 The Warden’s Garden, New College

Conductor - Steven Devine; Director - Michael Burden In a new English translation by Simon Rees

et in Arcadia, the background to been a brilliant success, and the audience the plot of Handel’s pastoral opera Amaryllis, a shepherdess, in love with was taken aback at this short and SIl pastor fido is that Diana, virgin Mirtillo understated work. It achieved only a few huntress goddess, has become displeased Barbara Cole Walton performances; it was, however, twice with Arcadia. She has let it be known that revived in 1734 first with added only through the marriage of a couple Dorinda, a shepherdess, in love with choruses, and then with added dances. In descended from heavenly ancestors, one Silvio this form, it was more popular, achieving of whom will be ‘a faithful shepherd,’ Indyana Schneider a total of some 14 performances. The two will her wrath be appeased; Silvio and versions represent two phases of Amaryllis are designated the ‘happy Eurilla, a shepherdess, in love with Handel’s opera career; the first, his early couple,’ to everyone’s consternation. The Mirtillo years in the capital when both he and three shepherdesses spend the opera Gwendoline Martin Italian opera were still finding their feet pursuing the objects of their desire. in the city, and the second, his years as an Amaryllis is in love with Mirtillo (who Mirtillo, a shepherd, in love with opera promoter, when he faced loves her in return) but is destined for Amarilli competition from the Opera of the Silvio. Eurilla is also in love with Kate Semmens Nobility, competition which ultimately Mirtillo (who does not return her love), damaged the staging of Italian opera in and tries to undermine Amaryllis. Silvio, a hunter, in love with hunting, London. Il pastor fido has been Dorinda in is love with Silvio (who does and eventually, with Dorinda performed in modern times on numerous not return her love until he almost kills Mark Chambers occasions, with the 1734 version first her with a spear while hunting). performed in 1948 at Göttingen, and the The opera was Handel’s second Tirenio, a High Priest of Diana 1712 version in 1971 at the Unicorn one for London; the first, , had Patrick Keefe Theatre, in Abingdon.

Mailing Lists. Each hard copy and electronic mailing returns out of date addresses; it would be helpful if members of both mailing lists could keep their address up to date. Anyone who would like Mailing List to join the electronic mailing list - used for reminders of forthcoming events - please let us know. n e Issue 61, Spring 2019 w s www.newchamberopera.co.uk

On conducting Handel’s Xerxes

Various scenes from rehearsals (clockwise from top left): general scene in Studio 7 of the The Clore Music Studios; Anhad conducting; Chris (as Ariodates) with the Bridge across the Hellespont; costumes in waiting; rehearsal view from the street.

nhad Arora writes on directing last term’s show... It was at whilst Liz and I worked on musical matters with the singers the after-party of our Michaelmas production of in the room opposite; all the while in the grand salle down AHaydn’s The Apothecary that Michael first pitched the below Michael was working on action, and movement. This idea of performing Xerxes. Naturally, given my giddy post- had to be so, as we had only three weeks to rehearse the concert state, I responded with a resounding: ‘Yes!’. 6 months production. In fact, I would go so far as to speculate that if after Michael’s decisive suggestion, I can claim - without it weren’t for the use of the Clore as a rehearsal space, I recourse to hyperbole - that rehearsing, learning, and doubt whether Xerxes would have happened at all. performing Xerxes was one of the most stimulating musical erxes does not boast a bad tune, which, I think, is experiences I’ve had. Parading buffoonery, sumptuousness, quite extraordinary given the length of the opera. rage, parody, comedy, and miniature tragedy in not-so-equal XEach character possesses their own unique musical measure, Xerxes has it all. style, which, although making for good listening, makes it he production inaugurated NCO’s use of the soon-to- extremely difficult to rehearse. Xerxes (the character) has be-opened Clore Music Studios. The building boasts a not only the most famous, but the most rewarding . The Thost of state-of-the-art rehearsal spaces that are he sings at the end of the first half (‘I go in hope) never perfectly suited to opera: the rooms are soundproofed; the failed to put a smile on my face. It even inspired a jubilant spaces are large enough to allow for movement and gesture; tear from one of the violinists. My own tears were reserved and, most importantly, the climate is certainly more generous for ’s top B flat aria in Act II (‘You advise me to than New College Chapel during the winter months. The forget him’); the collective, orchestral tears at the end of the design of the Clore enabled us to rehearse the opera final performance were charged with a mixture of sadness, ‘conveyor-belt’ style. On one particular occasion when Liz relief and post-concert giddiness. Curiously, Michael didn’t Kenny - the Faculty of Music’s Director of Performance - make a pitch at the Xerxes after-party; after three weeks of came to work with the singers, three rooms served three intense delight, pleasure and pain, we had earned our glasses different functions: Joe Beesley was note-bashing upstairs, of champagne.

Please note that tickets for all events can be obtained from: http://www.ticketsource.co.uk/newchamberopera n Issue 61, Spring 2019 e w www.newchamberopera.co.uk s

New Chamber Opera Studio

Summer Oratorio Performance

Mozart Exsultate Jubilate Soprano: Emily Gibson & Mass in C Minor Soprano: Georgie Malcolm Mezzo-soprano: Stephanie Franklin : Charlie Hodgkiss : Chris Murphy

Conductor: Joseph Beesley

12 June 2019 8.00pm New College Chapel

he two works of Mozart on the he Mass in C Minor, K.427, was programme count among the composed in Vienna in 1782 and Tmost beloved in the composer’s T1783 shortly after he left Salzburg. output. Exsultate Jubilate was The minor key with its often chromatic composed by Mozart for the and tonally ambiguous writing, creates an Venanzio Rauzzini, who was the primo inherent struggle that has to do with uomo in Mozart’s opera Lucio in finding light and peace through a work Milan. Mozart composed the motet for that can at times seem dense. This peace Rauzzini, whose technical excellence is ultimately reached in the final he admired, and its first performance ‘Hosanna’ which ends in a brilliant C took place on 17 January 1773, while major. The work is scored for two Rauzzini was still singing in Mozart's sopranos, tenor, bass, and double chorus. opera at night. Mozart made some The first performance took place back in revisions around 1780, and today, the Salzburg on Sunday 26 October 1783, motet is usually sung by a female with Mozart’s then (and yet to be soprano. Exsultate jubilate; Fulget Venanzio Rauzzini apporved of) fiancée, Constanze, singing amica dies; Tu virginum corona; and Et incarnatus est at the premiere. Alleluja.

Please note that tickets for all events can be obtained from: http://www.ticketsource.co.uk/newchamberopera