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A Masked Ball Programme invites you to Giuseppe Verdi’s A Masked Ball By arrangement with Chester Music Limited trading as G. Schirmer on behalf of G. Schirmer Inc Friday 27th & Saturday 28th October at 7.30pm Queen Victoria Hall, Oundle (with orchestra) Saturday 4th November 2017 at 7.30pm St Thomas a Becket Church, Ramsey (with piano) Sunday 5th November at 4pm The Key Studio, Peterborough (with piano) www.peterboroughopera.co.uk Follow us on Facebook, Twitter & Instagram 1 A MASKED BALL (Un Ballo in Maschera) Music by Giuseppe Verdi Libretto by Antonio Somma English Version by Peter Paul Fuchs Arrangement for small orchestra by Eric Weatherell Musical Director - Kate Wishart Artistic Director - Mark Ellse Choreographer - Stephanie Tenneson 2 A warm welcome to our latest production, Verdi’s “Un Ballo in Maschera” or “A Masked Ball”. We do hope you will enjoy it as much as we have while rehearsing it! Peterborough Opera was formed in 1969 to bring opera in English to the city, the first production being Mozart’s Magic Flute given in July 1970. The first singers were largely recruited by the Musical Director Clive Fairbairn from local mostly semi-professional performers who were studying with the then cathedral Master of Music Dr Stanley Vann. Since then the flow of productions has included most of the popular operas and some more challenging, not so well-known works. “A Masked Ball” continues this tradition and contains all the essential elements of a good opera – power politics, intrigue, sorcery and treachery, mixed with love, lust and betrayal, whilst meanwhile the populace are blissfully unaware of such undercurrents, until, that is, it is ‘unmasked’! You could be forgiven if you say “nothing has changed in the 21st century”! We are very excited this year to spread our ‘performance wings’ beyond Peterborough, again - this time to Oundle where we have many supporters, members, soloists and linkages with Oundle G&S and Thrapston Opera. Also, as in previous years, we will be taking a performance to Ramsey as well – all this gives a broad local identity, with the aim of being open and diverse in our approach and appeal. The company have enjoyed and grown under the tutelage of Kate Wishart, Musical Director, and Mark Ellse, Producer and we are so grateful for the dedicated time and talent they give so tirelessly. Thank you to all our soloists, chorus, orchestra and stage craft supporters. Looking forward to seeing you at our future performances! Clive Morton Chairman, Peterborough Opera 3 Kate Wishart started her professional life as an orchestral timpanist, joining the Academy of the BBC at age 19. Before deciding to become a doctor she worked with several opera companies including Pheonix Opera, D’Oyly Carte and Kent Opera, then directed by Roger Norrington. She has always loved opera, having first played in the orchestra at the Birmingham School of Music’s annual opera performances from age 14 to 16. Both parents were musicians, and her father wrote several operas, some of which Kate played in. At medical school she took up the baton to conduct the music society, including performances of Ruddigore and Pirates of Penzance, Carmina Burana and Vivaldi’s Gloria. This involved teaching members of the college rugby team the words and the notes! Kate retired from her GP work in 2016, and is now enjoying the many opportunities for music making that retirement has made possible. Mark Ellse developed a love of music from an early age. As a boy treble he sang in many BBC Singing Together broadcasts. He had a choral scholarship at Jesus College, Cambridge while reading for a physics degree. Torn between music and physics, he ended up in teaching, a career in which he has been able to pursue both interests. Mark himself is a singer but his first joy is passing on to others the sheer delight of singing and the sound of the human voice. Though the best of his pupils have won a string of Oxbridge choral scholarships, he has found more rewarding the many greater numbers of children who have picked up his enthusiasm, a whole junior school singing descants at a Christmas service and the sound of the roughest of rugby players bawling out Panis Angelicus in the playground because it's a song that they like singing. 4 Production Manager……………… Shirley Burchell Set design ………………….. …… Mark Ellse, Tony and Jan Haylock, Colin Ray Set building ……………………… Tony Haylock Set painting ……………………… Colin Ray Lighting design ………………….. Mark Ellse Lighting Technician …………… Mark Sharman Key Theatre Staff Costumes ………………………… Violet Truelove Wardrobe, Boston Costume coordinators …………… Carolyn Browse, Shirley Burchell Repetiteur …….…………….……. Phil Bass Children’s Chorus Coach ……….. Jane Webster Programme ………………………. Diana Awdry Website ………………………….. John and Ami Walsh Publicity & poster design………… Lyndsey Evans Make-up …………………………. Andrew Spurrell with Caroline Hawkins and Jenny Ray Stage manager …………………… Tony Haylock Properties ………………………… Tony and Jan Haylock Loan of props ……………………. Oundle Gilbert & Sullivan Players Tony and Jan Haylock Backstage helper ………………… Colin Ray Thank you to all front of house volunteers at the different venues and bar staff at Oundle 5 Ricardo, the Prince Tenor Mark Ellse Renato, his Secretary Baritone Martin Muir Amelia, Renato’s wife Soprano Liz Williams Ulrica, a fortune teller Mezzo-soprano Ami Walsh Oscar, a footman Soprano Anna Murgatroyd Edgar, a footman Soprano Lyndsey Evans Samuel, a conspirator Baritone Simon Thompson Tom, a conspirator Bass Glyn Jones Chief Magistrate Tenor Laurence Lewis Sylvano, a sailor Baritone Mike Hammond Amelia’s servant Soprano Julie van Haperen Carolyn Browse, June Davy, Odette Eldred, Lyndsey Evans, Diane Harcourt, Jan Haylock, Nickie Kenning, Anna Murgatroyd, Helen Reece, Audrey Springford, Alex Steel, Julie van Haperen, Ann Williams Vincent Davy, Phil Hammersley, Mike Hammond, Laurence Lewis, Clive Morton, Adrian Wall (also understudy for Ricardo) (courtesy of Oundle Primary School, Oundle performances only) Annabel Butler, Amy Cole, Lily-Belle Grove, Jeanie Lee-Clark, Aneesa Talbot, James Turner, Matthew Whitmore 6 Ballroom Dancers: Silver Swans (courtesy Nicky Morris): Penelope Butler, Sheila Douty, Philippa Earley, Jane Harrison, Sherry Stokes, Janice Swanson Bright Young Things: Nicky Morris, David Stephens (Oundle performances only) Violins Liz Taylor (leader), Roger Loose, Nick Brown, Karen Hubbard, Terry Noble, Liz Addinall Violas Phil Bass, Simon Watkin Cello Simon Hubbard Bass Liz Atkins Harp Ruth Palethorpe Flute/piccolo Deirdre Culloty Oboe/Cor Anglais Simon Cooper Clarinet Steve Osborne Bassoon Wes Gibbon Horn Tim Rausch Trumpet Shaun Moffat Trombone Leon Middleton Timpani Chris Davy 7 Act 1 The action is set in a small mid-European country in the early 1900s. The opera opens in the Prince’s court and we are introduced to the two conspirators, Samuel and Tom. They are in the military and planning to assassinate Ricardo. Oscar, the page, announces Ricardo who invites his people to petition him. Oscar is organising a ball and Ricardo sees the name of his love, Amelia, who is married to his secretary and friend, Renato. As Ricardo thinks of her, Renato appears. He advises Ricardo to be careful as he knows there are plots against him. The Chief Magistrate appears and asks for a sorceress to be exiled. Oscar tells of her popularity and skill, and Ricardo, who is sceptical of such powers, invites all his court to accompany him in disguise to test her out. At Ulrica’s den, the sorceress sings of her relations with Satan, to an admiring audience. Ricardo arrives alone in the middle of this, and hides when he overhears Amelia’s servant asking for a private consultation for her mistress. Once Ulrica has dismissed the crowd, Amelia asks Ulrica for a cure for her heart admitting that she has loving feelings for someone other than her husband. Ulrica tells her she must go to the field where the scaffolds are to pick a herb at midnight. Amelia agrees, and Ricardo vows to go there too. Everyone comes back, and Sylvano asks Ulrica when he might expect a reward for his long service to the Prince. Ricardo surreptitiously puts a promotion and some money in his pocket. Joy all round! Then Ricardo asks for his fortune to be told, and Ulrica tries in vain to get out of telling him that she predicts he will be killed by the next person to shake his hand. Renato arrives and shakes his friend’s hand. Everyone is horrified, but Ricardo laughs at the ridiculous prediction. 8 Act 2 Amelia arrives at the scaffold field and sings of her anguish at being in love with the wrong man. Just after midnight Ricardo appears and persuades her to admit her love for him. After a passionate love duet, Renato appears to warn Ricardo of the approaching assassins. Amelia covers her face, and Ricardo asks Renato to escort her back to town without asking her name or seeing her face. He readily agrees. Ricardo leaves. The conspirators arrive and are shocked to find Renato instead of Ricardo. They want some fun and suggest removing the lady’s veil. Renato, mindful of his promise to Ricardo, tries to stop them but when they threaten him with violence, Amelia removes her veil anyway. Renato is dumbfounded to see her, as are the conspirators, who make fun of the couple for romancing in secret. INTERVAL (20 minutes) Act 3 Renato berates Amelia for her treachery and threatens her with death. He softens however after hearing her beg to see her son for one last time. He saves his anger and vengeance for Ricardo. The conspirators meet with Renato and he joins them. They cast lots for the privilege of killing the Prince, and Renato’s name comes out first. Edgar arrives to invite Renato and Amelia to a masked ball at the palace.
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