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Home , Andrew Shore, Barbican Centre, Battersea Arts Centre, Beijing Music Festival, Buxton Festival, Coraline (opera)

2018 BAM Next Wave Festival #BAMNextWave

Brooklyn Academy of Music

Adam E. Max, Katy Clark, BAM Board Chair President

William I. Campbell and Nora Ann Wallace Joseph V. Melillo, BAM Board Vice Chairs Executive Producer Scottish /Opera Ventures

BAM Howard Gilman Opera House Dec 5, 6 & 8 at 7:30pm; Dec 9 at 3pm

Running time: approx. 1 hour 20 minutes, no intermission

Libretto by from his play Greek Adapted by Mark-Anthony Turnage and Jonathan Moore Composed by Mark-Anthony Turnage Conducted by Stuart Stratford Directed by Joe Hill-Gibbins Associate director Daisy Evans Set design by Johannes Schütz Costume design by Alex Lowde Original lighting design by Matthew Richardson Re-light design by David Manion Video design by Dick Straker Movement by Jenny Ogilvie Dramaturgy by Caroline Steinbeis

Season Sponsor: Soloists from The of

Greek is part of Speaking Truth to Power, Co-Presented by BAM and the Onassis Cultural Center New York

Leadership support for opera at BAM provided by: Aashish & Dinyar Devitre The Andrew W. Mellon Foundation Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Chubb is a Lead Sponsor

Support for the Signature Artists Series provided by the Howard Gilman Foundation

Major support for opera at BAM provided by Sarah Billinghurst & Howard Solomon, and The Francena T. Harrison Foundation Trust Greek

Susan Bullock, , Allison Cook, and Alex Otterburn. Photo: Jane Hobson Greek

CAST Eddy Alex Otterburn Eddy’s Mum/Waitress/Sphinx Eddy’s Sister/Waitress later Eddy’s Wife/Sphinx Allison Cook Eddy’s Dad/Café Manager/Chief of Police Andrew Shore

PRODUCTION Assistant conductor Susannah Wapshott Assistant set designer Johanna Meyer Video content programmer Dan Trenchard Répétiteur Lliam Paterson Production manager Andrew Storer Wardrobe supervisor Emma Butchart Make-up and wigs supervisor Laurie Rankin Stage supervisor Stephen Fulton Lighting supervisor Robert Dickson Props supervisor Marian Colquhoun Props chargehand Katie Todd Stage manager Donald Ross Deputy stage manager Kieron Johnson Supertitles operator Gordon Grant Touring manager Amy Dolan for GLF Ltd

Sung in English with English supertitles.

Co-produced by Opera Ventures and Scottish Opera

First performed at the Gasteig, Munich on June 17,1988. First performed in the UK at Leith , on August 25, 1988 as part of the Edinburgh International Festival. First performance of this production at the Festival Theatre, Edinburgh on August 5, 2017 as part of the 71st Edinburgh International Festival.

These performances are given by arrangement with Schott Music Ltd, .

This production was made possible with support from Howard and Sarah Solomon Foundation and Denise Coates Foundation.

With additional support from the KT Wong Foundation and the Boltini Trust.

Scottish Opera receives core funding from the Scottish Government. Greek

SYNOPSIS

ACT I

Eddy, a modern-day , relates his background story. He is from Tufnell Park, north London— a “cess pit.” He dreams of a better and more sophisticated life.

Over breakfast, Eddy’s dad tells him a story. When Eddy was a child, his dad visited a fortune teller. The prophecy, repeated years later by the fortune teller’s son, was shocking. Eddy’s dad would die a violent death, and Eddy would get “a bunk-up with his mum.” Appalled, Eddy leaves .

Time passes. The country is in a state of emergency: political in-fighting, strikes, petrol rationing, uncollected rubbish, an infestation of rats. There is a permanent threat of violence. The Plague is rampant.

Police attack a group of protestors. Eddy gets involved and is beaten by the chief of police. He escapes, and finds himself in a small café.

A row erupts between Eddy and the waitresses, who are too busy discussing previous sexual encounters to serve him. The café manager arrives. A fight breaks out. Eddy kills him.

One of the waitresses reveals she is the café manager’s wife. What will she do now? Eddy says he will look after her. They fall in love. She feels that he reminds her of someone—perhaps her long-lost son, Tony.

Meanwhile, Eddy’s mum and dad worry about the fortune tellers’ double prophecy—and a secret they have kept from Eddy.

ACT II

Ten years later. Eddy and the café manager’s former wife have married. The café is now a thriving business. The couple are happy. Eddy’s mum and dad visit the café. They warn Eddy that the Plague still haunts the country, its cause unknown. Death is all around.

Eddy’s mum tells of a sphinx beyond the city that is killing those who cannot solve its riddles. Eddy resolves to take on the sphinx. But when he gets there he discovers there are, in fact, two. They extol the dominance of women over men. But Eddy knows the answer to their riddle and kills them. He returns home triumphant.

However, Eddy’s mum and dad have a shock in store for him. They are not his parents. Eddy is Tony. His wife is his mother. He has killed his father. In despair, Eddy realizes that he is the cause of the Plague. He blinds himself, and his body is carried away. But, in the end, love just might conquer all. Who’s Who

MARK-ANTHONY TURNAGE’s (adaptation centenary of the outbreak of the First World War. and music) first opera,Greek , established the His new opera Coraline was premiered by the composer’s reputation as an artist who dared Royal Opera at London’s in to forge his own path between and March this year. Much of Turnage’s music is tradition, by means of a unique blend of jazz recorded on Decca, Chandos, EMI, Black Box, and classical styles. Three Screaming Popes, and the London Philharmonic Orchestra label, Kai, Momentum, and Drowned Out emerged while Scorched, on Deutsche Grammophon, during his time as Composer in Association in was nominated for a Grammy Award. Turnage Birmingham with (a post supported is Research Fellow in Composition at the by the Radcliffe Trust), followed by Blood on Royal College of Music, and is published by the Floor, his score written for the distinguished Boosey & Hawkes. jazz musicians John Scofield and Peter Erskine, and Martin Robertson. His second full-length STEVEN BERKOFF () studied drama and opera, The Silver Tassie, won both the South mime in London and Paris. He then entered a Bank Show and the Olivier Awards for opera in series of repertory companies before forming 2001. His third opera, , played to the London Theatre Group in 1968. His plays sold-out houses at in 2011 and and adaptations have been performed in many has received new productions in and countries and in many languages. Among the New York (BAM, 2013), as well as a revival stage adaptations he has created, directed, at Covent Garden in Autumn 2014. Turnage and toured are Kafka’s Metamorphosis and has been resident composer with the Chicago , Agamemnon after , and Orchestra, BBC Symphony Orchestra, Poe’s The Fall of the House of Usher. He has and London Philharmonic Orchestra, and in directed and toured productions of Shakespeare’s 2013 began an association with the London (also playing the title role), Richard II, Symphony Orchestra for which he wrote a major , and , as well as ’s new work, Speranza. The relationship continued . His original stage plays include East, with Remembering, his highly acclaimed score West, : Scenes from a Crucifixion, The which the LSO and Simon Rattle premiered and Secret Love Life of Ophelia, Decadence, Harry’s recorded in January 2017. Turnage has recently Christmas, Massage, Acapulco, and written several ballet scores for both Sadler’s Beach Scumbags. He has performed his solo Wells—Undance—and — shows—One Man, Shakespeare’s Villains, and Trespass and Strapless. A piano for for Ground Zero—in venues all over Marc-André Hamelin and a drumkit concerto, the world. He has acted in the filmsA Clockwork Erskine, featuring jazz drummer Peter Erskine, Orange, , (as General premiered in 2013. The year 2014 saw the Orlov), Beverly Hills Cop, Rambo, Under the premiere at London’s Wigmore Hall of his second Cherry Moon, Absolute Beginners, and The , Contusion, written for the Belcea Krays. He directed and co-starred with Joan Quartet, and more recently a 40th anniversary Collins in the film version of his playDecadence . commission for the Emerson Quartet produced He has published a variety of books on the Shroud, which has already received multiple theater, including the production journals I am performances. Other recent works include Hamlet, Meditations on Metamorphosis, and Frieze, conducted by Vasily Petrenko at the BBC Coriolanus in Deutschland. stevenberkoff.com Proms, and Passchendaele, commemorating the Who’s Who

JONATHAN MOORE (adaptation) is a London- West (Scottish Opera, ); based award-winning British/Irish actor, Brünnhilde, (Royal published playwright, librettist, and director. He Opera House, Deutsche Oper , Staatsoper has worked in Britain and internationally (Royal , La Fenice Venice, Frankfurt, Melbourne, Shakespeare , English National Opera, Tokyo, Lisbon, Toronto); title role, (, West End, Shakespeare’s Opera House, Milan, Metropolitan Globe at the invitation of , Royal Opera New York, , Prague, Washington, Opera House, Scottish Opera, , Dresden, Stuttgart, Frankfurt, Toulouse, Toronto, BBC TV and radio, Almeida, Donmar, La Fenice Hong Kong); Isolde, (Opera Venice, and many more). He directed (and North, Frankfurt, Verona, Rouen); Emilia Marty, co-adapted the libretto for) the world premiere The Makropulos Case (Frankfurt); Elizabeth of Greek by Mark-Anthony Turnage (Munich I, (); Mrs. Lovett, Biennale, Edinburgh International Festival, and (Houston); Kostelnicka, Jenůfa ENO) for which he received Best Director and (Grange Park Opera); and Mother/Witch, Hänsel Best Libretto awards at Munich Biennale and und Gretel (Opera North). She received the Royal an Olivier Award nomination. He co-directed Philharmonic Singer’s Award in 2009 and was the BBC Film version with Peter Maniura (Royal appointed CBE in 2014. Philharmonic Society Award and a Midem Award at Cannes). In the summer of 2018 he directed ALLISON COOK’s (Wife/Doreen/Waitress 1/ a successful revival for a 30th anniversary Sphinx 2) recent operatic engagements include production for the Arcola Grimeborn Festival in the title role in Salome (English National London. He co-starred in his own play Treatment Opera); Duchess of Argyll, for the BBC TV film version opposite Gabriel by Thomas Adès ( Opera, La Byrne. His play Inigo, about Ignatius of Loyola Monnaie , Teatr Wielki Warsaw); Judith, and the Jesuits, has been published in English Bluebeard’s Castle (Teatr Wielki, Teatro Nacional and Spanish and performed globally. Last year de São Carlos Lisbon); Miss Jessel, The Turn he co-wrote/directed Invention of Morel (music of the Screw (La Scala Milan), Schoenberg’s by ) at Chicago Opera Theater. Erwartung (Bergen International Festival), and He directed the world premiere of Savage Winter Saariaho’s Emilie (Salzburg Landestheater). by Douglas J Cuomo at Pittsburgh Opera earlier She has given the world premiere performances this year, which had a run in the 2018 Next of the Marquise de Merteuil in Francesconi’s Wave Festival. He has directed premieres of Quartett at La Scala, Gran Teatre del by Henze, Schnittke, Turnage, Müller- Barcelona, Teatro Colón Buenos Aires, Wiener Wieland, MacMillan, Nyman, and Berkeley, Festwochen, Cité de la Musique Paris, and among many others. jonathanmooreuk.com the Holland and Strasbourg festivals. She also sang in the world premiere of Gerald Barry’s SUSAN BULLOCK, (Mum/Waitress 2/Sphinx 1) Alice’s Adventures Under Ground (Los Angeles , was born in Cheshire and studied Philharmonic Orchestra and Britten Sinfonia) and at London University, the Royal Academy of in Mark-Anthony Turnage’s Anna Nicole (Royal Music, and the . Operatic Opera House, Covent Garden). engagements include: Minnie, La fanciulla del Who’s Who

STUART STRATFORD (conductor) studied 2016, is the recipient of the Sky Arts Futures conducting at the Fund, and a winner of Best Opera Production at with , and with Ilya Musin at the St the OffWestEnd Awards. Petersburg Conservatoire. He joined Scottish Opera in 2015 as the company’s sixth music JOE HILL-GIBBINS (director) is a British theater director, joining a distinguished succession and opera director. His previous productions that originated with the company’s founder, have included A Midsummer ’s Dream, Sir Alexander Gibson. For Scottish Opera, he , The Changeling, The has conducted productions of Jenůfa, , Glass Menagerie, A Respectable Wedding, Pelléas et Mélisande, La bohème, Greek, and The Beauty Queen of Leenane ( Flight, Eugene Onegin, and the groundbreaking London); Absolute Hell, Edward II (National in a tent in Paisley. He introduced the Theatre); Richard II, Little Revolution (Almeida popular Sunday Series of lesser-known Operas Theatre London); Mary Page Marlowe (Theater in Concert, which has featured such titles as Basel); Powder Her Face (English National L’amico Fritz, Le villi, Iolanta, Francesca da Opera); The Village Bike, The Girlfriend Rimini, Aleko, and Edgar. The 2018/19 season Experience ( London). sees him conduct Anthropocene, a new opera by Stuart MacRae and Louise Welsh, and a ALEX LOWDE (costume designer) studied new production of Kátya Kabanová, both for drama at the University of Hull before training Scottish Opera, as well as conducting the revival in the Motley Theatre Design Course in London. of the classic production of Lucia Design engagements include: The Adventures of di Lammermoor for English National Opera. Mr. Broucek (Scottish Opera); Victory Condition In the UK he has worked with Opera North, (Residenz Theater Munich); The Fall of the , Opera , Master Builder (West Yorkshire Playhouse English National Opera, the Festival, and ); Persuasion (Royal Exchange Theatre Birmingham Opera, with repertoire ranging from Manchester); (Headlong/WYP); Flood Giovanni d’Arco to . He is known for (HKYAF); random/generations (); his expertise in Russian and Czech music, and (Lyric Theatre Belfast); Dutchman, his passion for bringing opera to new audiences /One for the Road, Tobias and outside of a traditional theater setting. the Angel (Young Vic London); Linda (Royal Court Theatre London); Froken Julie (Aarhus); DAISY EVANS (associate director) is a theater Game ( London); ’Tis Pity She’s and opera director working internationally. Her a Whore (Shakespeare’s Globe London); Krapp’s most recent work includes Sounds and Sorcery: Last Tape (Sheffield );Enjoy (WYP); The Celebrating Disney Fantasia (Vault/Disney), La Body of an American ( London); traviata (Longborough Festival Opera), Vixen Edward II (Royal National Theatre); Takin’ Over (English National Opera/Silent Opera at the the Asylum, (Royal Vaults London, Beijing Music Festival), and Lyceum Theatre Edinburgh); Innocence (Scottish King Arthur ( at Dance Theatre); A Clockwork Orange (Theatre the Barbican London). Theater credits include Royal Stratford East); While You Lie (Traverse Orpheus and Eurydice, Our Country’s Theatre Edinburgh); August Osage County, The (The King’s Players), Bacchae, Glass Menagerie, , She Town, A (Waistcoat Theatre). She is the artistic director Doll’s House, , (Dundee of Silent Opera and is supported by English Rep); (Wexford); The Lion’s Face, The National Opera. She was nominated for Best Nose (ROH2/The Opera Group); Le nozze di Young Director at the International Opera Awards Figaro (Sadler’s Wells London). Who’s Who

DAVID MANION (re-light designer) was born ALEX OTTERBURN, (Eddy) , has in Oxfordshire, England. He became head of recent operatic engagements including Eddy, lighting at the New Theatre Oxford in 1999, Greek (Edinburgh International Festival, Scottish before moving to Glyndebourne in 2003. As Opera); Harlequin, Ariadne auf Naxos (Scottish associate lighting designer, he has worked on Opera, Opera Holland Park); Cascada, The Merry many Glyndebourne productions, including Widow (Opera North); and Pallante, , La Cenerentola, The Turn of the Screw, (Grange Festival). Forthcoming engagements Die Entführung aus dem Serail, Saul, Hamlet, include Chip, (Hyogo Performing and . He was also lighting Arts Center Japan), and Squibby, Jack the designer for Glyndebourne’s production of Ripper by , as well as Pluto, Orpheus Macbeth, and for Vladimir Jurowski’s farewell in the Underworld, and Morales, as concert at the opera house. Elsewhere, he has an English National Opera Harewood Artist. worked on The Turn of the Screw (Tenerife Opera Otterburn has received an Independent Opera House and ), and Saul and Hamlet Fellowship Award. (Adelaide Festival). MATTHEW RICHARDSON (lighting designer) JENNY OGILVIE () is an was born in England. He trained and worked actress, director, and movement specialist. She in theater in New Zealand before returning to studied modern languages at the University the UK. Opera lighting design engagements of Oxford and acting at Webber Douglas include: Pelléas et Mélisande, From the Academy, and trained in movement studies at House of the Dead, Fidelio, Madam Butterfly the Royal Central School of Speech and Drama. (English National Opera); Falstaff, Tamerlano Recent credits in theater and opera include, as (Royal Opera House); , Eugene Onegin, director: The Burning Fiery Furnace (Scottish The Queen of Spades (Glyndebourne); , Opera); Dr. Angelus ( Macbeth (La Scala Milan); , A London). As associate director: Absolute Hell Midsummer Night’s Dream ( (National Theatre). As movement director or New York); , Juliette, , choreographer: Midsummer (National Theatre (Opéra National de Paris); War and of Scotland); Love and Information (Sheffield Peace ( St Petersburg); Les Crucible); The Turn of the Screw (Open Air troyens (Munich); Jenůfa, The Cunning Little Theatre Regent’s Park, English National Opera); Vixen (Amsterdam); and Aufstieg und Fall der La traviata (Longborough Festival Opera); Stadt Mahagonny, Rigoletto (Maggio Musicale B (Royal Court Theatre London); Britten’s A Florence). He has also lit numerous theatre Midsummer Night’s Dream ( productions, including for the Royal Shakespeare Opera); A Midsummer Night’s Dream (Young Company, Royal National Theatre, Royal Court Vic London); (Buxton Theatre and Young Vic in London. As director, Festival Opera); The Seven Deadly Sins (Welsh Scottish Opera productions are The Devil National Opera, Cardiff University); Three Sisters Inside (world premiere), Ghost Patrol (world ( London); P’yongyang, premiere), Rigoletto, Five:15 2010, The Tales of Somersaults, The Soft of Her Palm (Finborough Hoffmann, Jenůfa. Theatre London); Knock Yourself Out (Courtyard Theatre London). Who’s Who

JOHANNES SCHÜTZ (set designer) studied Bergen; Bottom, A Midsummer Night’s Dream in theater design with Wilfried Minks at the Boston; title role, (Santa Fe); title Hamburg Academy of Visual Arts. He has role, (Opera North); Il viaggio a Reims a longstanding association with the director and L’heure espagnole (Royal Opera House); Jürgen Gosch, and since 2007 has worked Dulcamara (Metropolitan Opera, NY). closely with the writer and director Roland Schimmelpfennig, notably on Der goldene CAROLINE STEINBEIS (dramaturg) is a Drache at the Burgtheater in Vienna. He won freelance director. She was born in Munich the Nestroy Theatre Prize for his designs for and lives in London. She studied at the London Thomas Vinterberg’s Das Begräbnis at the University of Royal Holloway and completed her Burgtheater. His set design credits also include MA at the Central School of Speech and Drama. Schimmelpfennig’s Die vier Himmelsrichtungen Steinbeis won the JMK Award for Outstanding and Matthias Hartmann’s production of Racine’s Directors in 2009 and was invited to present Phèdre at the ; Luc Bondy’s her work at the Radikal Jung Festival in Munich productions of Pinter’s The Homecoming and in 2011. She was international associate for Marivaux’s Les fausses confidencesat the Odéon the Royal Court Theatre in London from 2011 in Paris; and Joe Hill-Gibbins’ production of A to 2013 and is currently associate director at Midsummer Night’s Dream at the Young Vic in Sheffield Theatres. Recent directing credits London. Since 1990 he has also worked as a include: Edward II (Cambridge ); theater and opera director. He teaches set design The Tempest (Royal & Derngate Northampton); at the Düsseldorf Academy of Art. The Crucible (Manchester Theatre Royal); We Want You to Watch (National Theatre); The ANDREW SHORE (Dad/Café Manager/Chief of Broken Heart (Shakespeare’s Globe London); Police) was born in Oldham and studied at the Show 6 (Lyric ); Take, Love, Run Royal Northern College of Music, Manchester (Molodiy Theatre Kiev); Talkshow, Mint, A Time and the London Opera Centre. He is particularly to Reap (Royal Court); Brilliant Adventures noted for his interpretation of Alberich (Der (Royal Exchange Manchester); Earthquakes in Ring des Nibelungen), which he has sung London (UK tour for Headlong Theatre); Charged at Bayreuth. Operatic engagements include (Soho); The Cost of Things (Public Theater New title role Falstaff (Glyndebourne, Opera North, York); Sports et Divertissements (La Carrier English National Opera, Chicago Lyric Opera, du Normandoux Poitier); Mad Forest, Photo and Berlin Komische Oper); Beckmesser in Story ( Arts Centre); and Mile End The Mastersingers of Nuremberg, Melitone in (Southwark Playhouse and UK tour). The Force of , Major-General in , Kolenatý in The DICK STRAKER (video designer) has completed Makropulos Case, Dulcamara in L’elisir d’amore, hundreds of productions as a projection and Faninal in , Bartolo in The video designer and consultant. In 1992 Barber of Seville, Mr. Punch in Punch and Judy he founded the projection, animation, and by Birtwistle, and the title role in Jakob Lenz video graphics company Mesmer, through by Rihm (ENO); the baritone roles in Death in which he has produced projection designs for Venice for ENO and in Amsterdam; Frank in Die fashion shows, commercial and architectural Fledermaus for ENO and in Chicago; Bartolo in projection events, and theater productions. Le nozze di Figaro at Edinburgh International He has worked for the Royal National Theatre Festival, BBC Proms, and Glyndebourne; Bartolo (as video consultant from 1999 to 2006), in Il barbiere di Siviglia (Welsh National Opera); Royal Opera House, and creative consultancy Alberich in Buenos Aires, Barcelona, and Gainsbury & Whiting (including four fashion Frankfurt; Pooh-Bah, in Chicago and shows for Alexander McQueen and the Savage for Scottish Opera; Tsar Dodon, Le coq d’or in Beauty exhibitions). Alex Otterburn. Photo: Jane Hobson Photo: Yannick Grandmont Orchestra Gareth Brady SOPRANO/ALTO/BARITONE SAXOPHONE Lawrence Gill† CLARINET/ Nicholas Ross * FLAT CLARINET/E CLARINET/ Kirstie Logan Amy Turner *† / Ewan Robertson //PICCOLO Peter Fry * Aline Gow Sarah Harrington Marie Connell Lev Atlas*† Soloists fromTheOrchestraofScottishOpera Scotland † VisitingTutor of totheRoyal Conservatoire * SectionPrincipal All themusiciansalsoplayhandpercussion Susannah Wapshott CELESTE Lliam Paterson PIANO/FENDER RHODES Saida deLyon * HARP Ruari Donaldson*† Jay Allen* PERCUSSION Alan Pash Simon Bird† David Pryce Sue Baxendale*† FRENCH HORNS Who’s Who

OPERA VENTURES VICE-PRESIDENTS Dame Elish Angiolini DBE QC Opera Ventures is a transformational new Colin J S McClatchie CBE FRSE charity founded by John Berry CBE to develop GENERAL DIRECTOR major new opera and mixed-media projects in Alex Reedijk FRC partnership with arts organizations worldwide. MUSIC DIRECTOR Stuart Stratford Creating and staging new productions of MUSIC ADVISOR contemporary opera is one of the biggest Sir CBE challenges in the performing arts today, especially in an environment where reduced BOARD OF DIRECTORS public funding has forced opera houses and Peter Lawson Chair festivals to do less and take fewer risks. John McCormick Vice-Chair Professor Dorothy Miell Vice-Chair Opera Ventures is a new charity set up Alison Brimelow CBE specifically to respond to this challenge Jessica Burns with its own combination of artistic vision, Tony Burton OBE producing expertise, and a focused of Liz Cameron philanthropists. The charity will create powerful Roberta Doyle new productions which can be shared by several Andrew Lockyer partners, harnessing and coordinating existing Stuart Patrick infrastructures (, theaters, rehearsal Alex Reedijk FRC rooms, and administration) of internationally Jenny Slack recognized organizations such as the Edinburgh International Festival, Scottish Opera, and Scottish Opera is Scotland’s national opera Brooklyn Academy of Music. company and the largest performing arts organization in Scotland. It was founded by ARTISTIC DIRECTOR Alexander Gibson in 1962 and was inaugurated John Berry CBE with a production of Madama Butterflyat the EXECUTIVE DIRECTOR AND PRODUCER King’s Theatre in . In 1974 Scottish Loretta Tomasi OBE Opera purchased the Theatre Royal Glasgow, TRUSTEES which reopened in 1975 as Scotland’s first Sally Groves MBE Chair national opera house. The Orchestra of Scottish Sarah Billinghurst Opera was founded in 1980. Peter Espenhahn Nicholas Prettejohn Notable achievements include the world ARTISTIC ADVISORY BOARD premiere of James MacMillan’s Inés de Castro Sarah Billinghurst at the 1996 Edinburgh International Festival; Sir Jonathan Mills complete Ring cycles at the 2003 Edinburgh International Festival, which won the 2004 Show Award for Best Opera SCOTTISH OPERA Production; and the Achievement in Opera Award at the 2017 UK Theatre Awards for Sir FOUNDER David McVicar’s production of Debussy’s Pelléas Sir Alexander Gibson and Mélisande. PATRON HRH The Duchess of Gloucester GCVO Recent commissions include Five: 15 Operas PRESIDENT Made in Scotland (2008–10), The Lady from Lady Veronica Gibson , Clemency, and the double bill of In the Locked Room and Ghost Patrol (premiered Who’s Who Photo: Susan Bullock, Andrew Shore, and Allison Cook. Jane Hobson

at the 2012 Edinburgh International Festival), Scottish Opera is committed to bringing the and 2016’s The Devil Inside, with which widest possible range of opera, performed to Scottish Opera made its debut appearance in the highest possible standards, to the maximum North America, in Toronto. Ghost Patrol won a audience throughout Scotland and the UK; South Bank Sky Arts Award, and In the Locked each year it performs in Glasgow, Edinburgh, Room and Ghost Patrol were nominated for an Aberdeen, and Inverness and dozens of other Olivier Award. theaters, village halls, and community centers. It also operates an extensive program of outreach Earlier this year the company made its US debut and education work which involves over 8,000 with BambinO at the Metropolitan Opera in primary school children every year, as well as New York. many other activities including adult learning and Unwrapped taster sessions.

Scottish Opera’s income is derived from public subsidy, box office, and private and commercial support.