Elgan Llŷr Thomas Tenor

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Elgan Llŷr Thomas Tenor Welsh tenor Elgan Llŷr Thomas studied National Symphony Orchestra); Orbin in at the Royal Northern College of Music Elgar’s Caractacus (Opera North and the Guildhall School of Music and Orchestra, cond. Martyn Brabbins); Drama, and is a current English National Jenkins’s The Armed Man, Mass for Opera Harewood Artist and a former Peace (Royal Liverpool Philharmonic, Scottish Opera Emerging Artist. cond. Sir Karl Jenkins); Tippett’s A Child of Our Time (Dartington International In the 2020-21 season he sings Fenton Summer Festival, cond. Paul McCreesh); Falstaff for Scottish Opera and Gonzalve a concert with Sir Bryn Terfel at Bangor in Grange Park Opera’s film of L’heure University and a Gala concert with the Espagnole. Recent highlights include Xi’an Symphony Orchestra in China. Nanki-Poo The Mikado and Normanno Lucia di Lammermoor (ENO); Dr His discography includes Orbin in Elgar’s Richardson in the European premiere of Caractacus for Hyperion (Opera North Missy Mazzoli’s Breaking the Waves Orchesta, cond. Martyn Brabbins), an (Scottish Opera); Johnny Inkslinger Paul album of Welsh Songs called Llwybrau’n Bunyan (ENO at Wilton’s Music Hall); Cân and songs by Gareth Glyn on and Prologue/Peter Quint The Turn of Caneuon Gareth Glyn (both for SAIN). the Screw (ENO at Regent’s Park Open “With a voice that's Air Theatre). He is the winner of numerous awards, including the 2015 Stuart Burrows exquisitely modulated and Other operatic engagements include International Voice Award; the 2015 flexible in creating Almaviva Il barbiere di Siviglia (Opéra Kerry-Keane Prize and Audience Prize at national de Bordeaux, Théâtre des the Les Azuriales Opera Young Artists character, this young Champs-Elysées and Mananan Programme and has had considerable International Festival); Ernesto Don success at the National Eisteddfod of tenor confirmed his status Pasquale and Lindoro L’italiana in Algeri Wales. He was also a recipient of a (Mananan International Festival); Tom 2017/18 Opera Awards Foundation as one of the most exciting Rakewell The Rake’s Progress Bursary and was one of the first British male talents to (Klarafestival, Brussels, Aldeburgh recipients of a Study Award from the Festival, and Ojai Festival, California); Bryn Terfel Foundation. have emerged in recent Nemorino L’elisir d’amore and Titorelli/Flogger/Berthold The Trial years.” (Scottish Opera); Brighella Ariadne auf Naxos (Scottish Opera and Opera Valid for use until 1 August 2021 Holland Park); Fenton Falstaff For updated versions please contact Opera [email protected] (Cambridge Philharmonic Society); and Spoletta Tosca (Llangollen International Musical Eisteddfod with the Orchestra of WNO, Sir Bryn Terfel and Kristine Opolais). He has also covered Lensky Eugene Onegin, Binet Vert-Vert and Selimo Maometto Secondo (all for Garsington Opera). Roles while studying included Florindo Le donne curiose and Male Chorus The Rape of Lucretia (GSMD); title role Albert Herring and Lampwick The Adventures of Pinocchio (RNCM); and Johnny Inkslinger Paul Bunyan (Welsh National Youth Opera’s Britten Centenary production). Equally in demand on the concert platform, his recent engagements include Handel’s Messiah (Royal Philharmonic Orchestra at the Royal Albert Hall); Mozart’s Requiem (Danish Rayfield Allied Member of the International Artist 9-12 The Stableyard, Managers’ Association Broomgrove Road London SW9 9TL, UK Rayfield Allied acts as agent only and can www.rayfieldallied.com accept no responsibility as principal E-mail [email protected] Telephone +44 (0) 20 3 176 5500 Facsimile +44 (0) 700 602 4143 .

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MAG IC L A N T Sophie Daneman ~ soprano Beth Higham-Edwards ~ vibraphone E D Alisdair Hogarth ~ piano Anna Huntley ~ mezzo-soprano R A George Jackson ~ conductor Sholto Kynoch ~ piano O N Anna Menzies ~ cello Edward Nieland ~ treble H Sinéad O’Kelly ~ mezzo-soprano Natalie Raybould ~ soprano - T S E Collin Shay ~ countertenor Philip Smith ~ baritone Nicky Spence ~ tenor A Mark Stone ~ baritone Verity Wingate ~ soprano C L N A E R S F L Y R E H C Y B S G N O S FOREWORD Although the thought of singing and acting in front of an audience terrifies me, there is nothing I enjoy more than being alone at my piano and desk, the notes on an empty page yet to be fixed. Fortunately I am rarely overheard as I endlessly repeat words and phrases, trying to find the music in them: the exact pitches and rhythms needed to portray a particular emotion often take me an exasperatingly long time to find. One of the things that I love most about writing songs is that I feel I truly get to know and understand the poetry I am setting. The music, as I write it, allows me to feel as if I am inhabiting the character in the poem, and I often only discover what the poem really says to me when I reach the final bar. This disc features a number of texts either written especially for me (Kei Miller, Tamsin Collison, Andrew Motion, Stuart Murray), or already in existence (Kate Wakeling, Ian McMillan, 4th century Aristotle).
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