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Home , Anna Leese, Danse Macabre (Grimm), Grange Park Opera, James Oldfield, Richard Tauber

Independent

Shining the spotlight on new talent

INDEPENDENT OPERA AT SADLER’S WELLS 2005–2020 Introduction Message from Thursday 15 October 2020, 7.30pm In this period of uncertainty, Independent Opera at Sadler’s It gives me great pleasure to welcome Independent Opera Wells is grateful to be able to present its annual Scholars’ to Wigmore Hall for its fourth showcase event. Now, more Independent Opera Recital at Wigmore Hall. For this final concert in Independent than ever, such opportunities are vital for young singers. Opera’s 15-year history, we are thrilled to bring together We are immensely grateful to Independent Opera for its four talented singers: Glen Cunningham, soprano pioneering work and for its extraordinary commitment Scholars’ Recital Samantha Quillish, bass William Thomas, mezzo-soprano to young artists when they need it most. Tonight’s concert Lauren Young and renowned pianist Christopher Glynn. is a great example of the spirit of Independent Opera and all that it has represented over so many years. I hope Antonín Dvorˇák The four emerging artists you will hear tonight were Glen Cunningham tenor that you all enjoy this concert. Cigánské melodie, Op. 55 selected from Independent Opera’s partner conservatoires: No. 1 Má písenˇ zas mi láskou zní Royal College of Music, Royal Academy of Music, Guildhall John Gilhooly Director No. 4 Když mne stará matka zpívat School of Music & Drama and Royal Conservatoire of Samantha Quillish soprano Moravian Duets, Op. 38 Scotland. The Independent Opera Voice Scholarships were Royal Academy of Music No. 4 Hoˇre awarded to selected students entering their final year of Messages from Independent Opera No. 3 Vˇeneˇcek study. The scholars received support towards their fees, As we gather this evening to hear the performances of these a £5,000 bursary towards their continuing professional William Thomas bass talented singers, we are reminded of the importance of Cinq mélodies populaires grecques development after graduation and mentoring from Guildhall School of Music & Drama live performance, particularly during a time of wrenching Chants populaires Independent Opera’s Creative Director, Natalie Murray challenge for so many. We applaud these singers who have No. 3 Mélodie Italienne Beale, the curator of tonight’s programme, entitled Folk. Lauren Young mezzo-soprano persevered under the most difficult of circumstances to Henri Duparc This year, Independent Opera is delighted to have prepare for tonight’s event. We also applaud John Gilhooly Royal Conservatoire of Scotland Phidylé commissioned a new song cycle for tonight’s recital. and his remarkable team at Wigmore Hall who have opened Le manoir de Rosemonde A Dead Man’s Song by composer Ben Foskett and poet the doors for this recital. This will be a night to remember Christopher Glynn piano Camille Saint-Saëns and celebrate – a night when we can once again enjoy the Keaton Henson is given its world première this evening Danse macabre, Op. 40 by William Thomas and Christopher Glynn. gift of moving performances by Independent Opera scholars from Britain’s leading opera schools. The Woods are Green William Bollinger Co-Founder from The Rake’s Progress Ben Foskett A Dead Man’s Song (Independent Opera Great performances rely on the relationship between the commission, world première) artist and the audience. In recent times we have all seen James MacMillan that bond tested and yet we are finding opportunities, like Scots Song tonight’s performance, to keep that relationship alive. Robert Burns Giving artists the chance to perform for live audiences has Ae fond kiss always been central to our mission at Independent Opera, and we are immensely grateful to you, our audience, for The foggy, foggy dew joining us and supporting our young scholars tonight. Lehár Natalie Murray Beale Creative Director Meine Lippen, sie küssen so heiß from

Johann Strauss II Honorary Patrons Co-Founders Trustees Trinke, Liebchen Dame Anne Evans Judith Bollinger Annita Bennett from Michael Grandage CBE William Bollinger Elisabeth Buchanan Bedˇrich Smetana Nicholas Payne Alessandro Talevi Wilson Kerr Nuže, milý chasníku Alistair Spalding CBE from

Engelbert Humperdinck Presented by Independent Opera at Sadler’s Wells Evening Prayer from Hänsel und Gretel Lauren Young, Natalie Murray Beale Creative Director William Thomas, Chrissy Jay General Manager Glen Cunningham and The Nightingale Samantha Quillish. Grace Cook Administration Manager This concert will be approximately 90 minutes with no interval.

36 Wigmore Street, , W1U 2BP. Director: John Gilhooly The Wigmore Trust. Registered Charity no. 1024838. www.wigmore-hall.org.uk

1 Programme Notes

Independent Opera’s final Scholars’ Recital opens with required at very short notice five Greek songs to be provided two songs and two duets by Dvořák. Cigánské melodies with accompaniments for a lecture he was giving at the Op. 55 was composed in January 1880 to Czech texts by Ecole des Hautes Etudes. A mutual friend, Michel-Dimiti Adolf Heyduk. Dvořák composed the songs especially for Calvocoressi, selected the poems for which Ravel, in a matter the Bohemian tenor Gustav Walter, who gave the first of hours, provided the piano accompaniments. Two of these, performance in Vienna. Because Walter sang only in German ‘Quel galant’ and ‘Chanson des cueilleuses de lentisques’, and would be singing to a German-speaking audience, were published in 1906, while the remaining three, which Dvořák asked Heyduk to translate his poems into German. have since been lost, were jettisoned by the composer Although the manuscript has only the German text, the who considered the accompaniments too short. When work was published in 1881 with the original Czech words Calvocoressi a little later needed three more songs to be (modified in places by Dvořák). The critical edition by Šourek harmonized for a lecture of his own, Ravel obliged once prints both the Czech and German texts, and it is the Czech more, and the resulting amalgam, Cinq mélodies populaires version that will be performed this evening. The theme of the grecques, was eventually premièred by Marguerite Babaïan freedom-loving spirit who loves the open air inspired Dvořák and published in 1907. The songs are: ‘Le réveil de la mariée’, to create what is perhaps his finest cycle of songs, with words Ravel provides shimmering accompaniment to this song in based on folk poetry. Tonight we hear Nos. 1 and 4. which a young Greek peasant awakens his bride by serenading her in front of her house; ‘Là-bas, vers l’église’, In Má píseň zas mi láskou zní the two verses are connected a moving song for fallen war heroes; ‘Quel galant m’est by a lilting dance-measure, which the voice then takes over comparable’, a brash song of a virile peasant who hints that in the coda. The fourth song, Když mne stará matka (known pistols and sabres are not the only things that dangle in English as ‘Songs my mother taught me’), is the most beneath his belt; ‘Chanson des cueilleuses de lentisques’, celebrated of the cycle, and has achieved worldwide with its beautiful melody sung by the women as they work; popularity. There is something archetypically Czech in the and ‘Tout gai’, a setting of nonsense words to a rumbustious way 6/8 time is gently pitted against 2/4, and the song dance that alternates between 2/4 and 3/4 time. reaches its melodic climax in the second verse with a phrase of haunting beauty. When Dvořák visited London in 1884 at the invitation of the Philharmonic Society, there was a “The only love affair I have ever had was performance of ‘Songs my mother taught me’ by Edward with music.” Maurice Ravel Lloyd which, according to Herman Klein, caused the undergoes remarkable modulations and reaches a Near Rajec on the Morava composer ‘to wipe the furtive tears off his cheek’. passionate climax in the final verse, but not before another (Slovakia), Bedrich Havranek (1821-99), oil on canvas 1850. In 1910, Ravel entered the folksong-setting competition of ‘Repose, ô Phidylé’, this time a third higher. The surging In 1875 Brahms was one of the judges of the Austrian State the Maison du Lied in Moscow. Each composer was asked to postlude allows the accompanist to sing wordlessly of Prize, whose task it was to give the award to talented submit seven songs from seven different countries. Ravel those passions that the singer has voiced. composers in need. The winner was Antonín Dvořák, and won four prizes with the pastoral Chanson française, Chanson among the compositions he submitted were the Klänge aus espagnole, Chanson hébraïque and the mock-tragic Mélodie Le manoir de Rosemonde from 1879 is a good example of Mähren (Moravian Duets). Brahms had no idea of the poverty (Chanson) Italienne. These songs, along with three others, Duparc’s mature declamatory style. The song is dominated in which Dvořák’s family lived until he visited him in were collected as Chants populaires. by the rhythmic opening and the ascending bass figure soon after the award had been conferred. He found the that ushers in the voice. The briefest of postludes family in a tiny flat consisting of one room and kitchen, Next we hear two masterpieces by Henri Duparc that date suggests that Duparc was familiar with ‘Ich hab im Traum discovered that Dvořák’s only regular income was earned as from 1882-1883 but were not premièred until six years geweinet’ from Dichterliebe. the poorly paid organist of St Adalbert’s Church, and that later , in January 1889, at the Société Nationale. When without the award he would probably have starved. He also heard Phidylé, he declared that the French Camille Saint-Saëns composed some 150 songs to English, noticed a pile of manuscripts in the flat, including three Mélodie now possessed a masterpiece comparable to Italian, German, Spanish and, of course, French texts. The , several symphonies, chamber music, piano pieces Schubert’s ‘Marguerite au rouet’ (‘Gretchen am Spinnrade’). tune of Danse macabre is familiar to us from Saint-Saëns’s and songs. Brahms persuaded Dvořák to send the Moravian The poem was taken from the Poèmes et poésies of Leconte de tone poem of the same name. This is a mélodie that’s full Duets, which had been published privately in Prague, to Lisle, but Duparc uses only the first three and the last of the of fun: the constant repetition of ‘Zig et zig et zig’ can be his own publisher, Simrock, who was so impressed that he ten verses. The sultry calm of the opening bars reminds us electric, and the conspiratorial ‘psit’ in the final verse is a published them without delay, and thereafter championed unmistakably of the opening of Chausson’s ‘Le colibri’, wonderful way of introducing to the debauchery, many of Dvořák’s works in Germany. We hear Nos. 3 and 4 which had been composed a year earlier – small wonder, including that of copulating couples. The very fast tempo of the Op. 38 set: Věneček and Hoře. then, that ‘Phidylé’ was dedicated to Chausson. After a page requires immaculate diction, and the pianist has his work cut of nature description (soft grass beneath fresh poplars, out playing those challenging octaves. The theme of the Like many of his contemporaries, Ravel was fascinated by banks of mossy springs, flowering meadows, dark copses) song is Death the Leveller; Death scythes down both folksong and had as early as 1895 harmonized 12 Corsican the poet/lover gazes on Phidylé: his pulse quickens, marchioness and cartwright. Note how the piece begins songs to illustrate a lecture by Austin de Croze. A similar and flowing quavers speak of tenderness and erotic desire. with a strident tritone – the celebrated diabolus in musica: opportunity presented itself in 1904, when Pierre Aubry ‘Repose, ô Phidylé!’ The music gradually gains momentum, the interval of the augmented 4th (diminished 5th).

2 3 and Richard Tauber, 1934 in Franz Lehar’s opera ‘Giuditta’ at the Vienna (left); Scottish composer James MacMillan conducting (centre); Benjamin Britten at his desk at home in Aldeburgh, Suffolk, c.1948–50 (right).

“Only music clarifies, reconciles, and consoles... It is a faithful friend, protector, and comforter, and for its sake alone, life in this world is worth living.” Pyotr Ilyich Tchaikovsky

Igor Stravinsky first met W.H. Auden in 1947, started folksongs a type of art song. His method, according to Peter is sung through, was given its first performance on composition of The Rake’s Progress in 1948, and the opera was Pears, for whom he first started to arrange folksongs when 25 September 1870. We hear NuŽe, milý chasnÍku, which is premièred at Teatro la Fenice in 1951. The Woods are Green they gave concerts together in America during World War II, sung as a duet in Act 2, scene 4 by Kecal, the marriage-broker, is sung at the beginning of the opera by Anne Trulove and was to take the tune as though he had written it himself and and Jeník, who wishes to marry Mařenka. She, however, is Tom Rakewell as a duet about the joys of Spring, and they ‘think himself back as to how he would turn it into a song’. under pressure to wed Vašek, her parents’ choice. Kecal are then joined by Anne’s father who voices his fears about The foggy, foggy dew was given its first performance at the attempts to bribe Jeník into renouncing Mařenka. their imminent marriage. Melksham Music Club on 27 September 1945. Abends, will ich schlafen gehn comes from Engelbert James MacMillan has set a number of Scots poems by William Franz Lehár’s Giuditta, his last major work, was premièred at Humperdinck’s Hänsel und Gretel, first performed at Weimar in Soutar, the prolific Scottish poet whose work inspired the on 20 January 1934. With its large 1893. Hänsel and Gretel sing the famous prayer at the end of Benjamin Britten to compose his last cycle, Who are these orchestra comprising triple wood-wind, four horns, three Act 2, as they prepare to spend the night in the forest. When Children? Best known of MacMillan’s settings are ‘Ballad’, ‘The trumpets, three trombones, tuba, harp, celesta, a full body of they have finished and fallen asleep, there is a Dream Children’ and Scots Song, a setting of Soutar’s ‘The Tryst’. string-players and percussion, it was Lehár’s attempt to make Pantomime: ‘Fourteen angels in floating garments’, the stage Ben Foskett: A Dead Man’s Song This wonderfully suggestive song includes a few difficult his name in the world of opera, and although there were 42 directions inform us, ‘pass down the stairs, two by two, at This cycle of songs stems from the traditional form of words for English audiences: ‘Caller lips’ = fresh, cool lips; well-attended performances, it has never become part of the intervals, during which it gradually gets lighter. The angels murder ballads, in which the stories of murders are ‘sinder’d’ = parted, sundered; ‘bane’ = body, limb; ‘waukrife’ = or opera repertoire. Jarmila Novotná, the celebrated place themselves in the order mentioned in the hymn, told, often with justice being meted out at the end. wakeful; ‘smool’d’ = slipped away. The poem dates from 1932. Czech soprano, created the role of Giuditta opposite Richard around the sleeping children, until the circle is completed. Tauber, and caused a sensation with her singing of the Then the seventh pair enter the circle, and place themselves The four songs here are from the perspective of a Robert Burns wrote Ae fond kiss for his beloved Mrs Agnes work’s biggest hit, Meine Lippen, sie küssen so heiß. on each side of the children as “guardian angels”.’ dead man and remain more ambiguous than simple Maclehose, alias Clarinda, shortly after their last meeting in story telling. ‘In This Place’ sets the scene with the December 1791. She appears in the poem as Nancy, and 40 Die Fledermaus, the most popular operetta by the waltz king Nightingale is the fourth of Tchaikovsky’s 12 songs, Op. 60, dead man meditating on his situation underground years later she wrote in her journal on 6 December 1831: ‘This Johann Strauss II, was premièred on 5 April 1874 at the which was composed in 1886 soon after his opera and the life he wanted to live and the place he left day I can never forget. Parted with Burns, in the year 1791, . Although not an immediate triumph, The Sorceress. It is an adaptation by Pushkin of a poem by behind. ‘The Statue’ delves further into his psyche, never more to meet in this world. Oh, may we meet in it had by 1880 been performed in over 170 German-speaking Vuk Stefanovic Karadzic, and Tchaikovsky sets it to one of his voicing worries for the consequences of his life lived. Heaven!’ We hear the arrangement by Alfred Moffat. theatres. Trinke, Liebchen is sung by Alfred and Rosalinde most original melodies. The song of the nightingale awakes As we move to the third song, ‘Synapses’, we see him at the beginning of the Act I finale, as they sit down to in the heart of the young man the need to voice his torment. start to disintegrate into the soil. The text becomes Britten’s approach to folksong differed significantly from that an intimate supper. fractured and his mind starts to disperse into the of the doyen of English folk music collectors, Cecil Sharp. ground. In the last song of unrequited love, of kinds, Whereas Sharp wished to interest children in the songs of Smetana’s The Bartered Bride was composed between 1863 Richard Stokes © 2020. Richard’s new book, ‘The Complete Songs we start to get a glimpse of why he is underground. their ancestors by arranging them to simple and regularly and 1865, and appeared first in a two-act version with spoken of Hugo Wolf’, will be published by Faber next year and launched at barred accompaniments, Britten’s aim was to create from dialogue (1866). The definitive three-act version, which Wigmore Hall in the autumn of 2021. Ben Foskett © 2020

4 5 Biographies

Glen Cunningham Samantha Quillish William Thomas Lauren Young tenor soprano bass mezzo-soprano

Scottish tenor Glen Cunningham is a recent Born in Ascot, soprano Samantha Quillish is a A recent graduate of the Opera Course at the Scottish mezzo-soprano Lauren Young is a graduate of the Royal College of Music’s Opera recent graduate from the Royal Academy of Guildhall School of Music & Drama and recent graduate of the Royal Conservatoire of Studio, where he studied with Russell Smythe. Music’s Opera School, where she studied with recipient of several major awards, British bass Scotland Alexander Gibson Opera School Nuccia Focile and Ingrid Surgenor, supported William Thomas is fast making a name for (RCS), where she studied with Linda Ormiston In the 2020–21 season Glen will make his role by an Independent Opera Voice Scholarship himself as one of today’s most promising OBE. She is a Young Artist at Mascarade Opera debut as Nemorino in L’elisir d’amore with and Fellowship. Samantha previously studied young singers. Studio in Florence for the 2020–21 season. Amsterdams Opera Koor. at the Royal Conservatoire of Scotland with William is the recipient of a number of major Lauren was the winner of the 2020 Clonter Highlights of 2019–20 include Rossini’s Stabat Kathleen McKellar Ferguson where she was awarded a first class bachelors degree in music awards, including the 2019 Veronica Dunne Opera Prize and Joaninha Trust Award. A keen Mater (Inverness Choral Society and Gonzalve International Singing Competition, the 2018 recitalist, she was, with her duo partner José in L’heure espagnole (RCM). Other recent (with honours). During her time at RAM Samantha was awarded a Dip. Ram for an Kathleen Ferrier Award, the Royal Over-Seas Javier Ucendo, a finalist in the Oxford Lieder engagements include Bruckner’s Te Deum League Competition and the 2018 John Young Artist Platform 2020, Leeds Lieder Young (City of Glasgow Chorus with the Orchestra outstanding final recital, the G Embley Memorial Prize and the 2017–18 Clifton Christie Award from Glyndebourne. Artists 2020 and winner of the Elgar-Spedding of Scottish Opera), Bach’s St John Passion Memorial Lieder Prize at RCS. (Collegium Laureatum), and Bach’s Magnificat Prize for Singing. As a Jerwood Young Artist he sang the role of and Haydn’s Creation (Leith Hill Music Festival). Operatic performances include the title role in Nicholas in the British première of Barber’s Operatic experience includes Baba the Turk Tchaikovsky’s Iolanta, Iris in Handel’s , Vanessa at the Glyndebourne Festival. He has (cover) in The Rake’s Progress; Angelina (cover) Previous engagements include Remendado also sung Shepherd in Pelléas et Mélisande for in La Cenerentola (British Youth Opera); Lucretia in (Rotterdam Opera); Don Ottavio Papagena in Mozart’s Die Zauberflöte, Nina in Massenet’s Chérubin and the Owl in Janácˇek’s and made his debut at the in The Rape of Lucretia; La Prieure in Dialogues (cover) in (Garsington Opera); Vienna State Opera as Snug in a new des Carmélites; Zita (cover) in Gianni Schicchi; Ferrando (cover) in Così fan tutte (Opera Cunning Little Vixen. Samantha has performed in opera scene productions as Eurydice in production of A Midsummer Night’s Dream. Sorceress in ; Jade Boucher in Holland Park); Tamino in Die Zauberflöte and Dead Man Walking; Cherubino in Le nozze di Youngest Son in Judith Weir’s The Vanishing Gluck’s Orfeo ed Eurydice, the Countess in Forthcoming engagements include Colline in Mozart’s Le nozze di Figaro and Anne Trulove Figaro (RCS); Erste Mägde in Elektra; Flosshilde Bridegroom (British Youth Opera); Lacouf and La bohème for his debut with the English Das Rheingold (Edinburgh Players Opera Le fils in Poulenc’s Les mamelles de Tirésias in Stravinsky’s The Rake’s Progress. Public National Opera where he is a Harewood Artist; masterclass engagements include working Group) and Chorus in / (Les Azuriales Opera Young Artist Programme); Masetto in Don Giovanni in his debut for the Roméo et Juliette (Grange Park Opera). Francis in the world première of Karen McIver’s sessions under Susan Bullock in London, Seattle Opera and Zweiter Priester/Zweiter The Cabinet of Dr Caligari and Adam in Carolyn Sampson in Glasgow and Ubaldo Geharnischter in Die Zauberflöte in a return Concert experience includes Rossini’s Petite Jonathan Dove’s The Walk from the Garden Fabbri in Novafeltria, Italy. to the Glyndebourne Festival. Messe Solennelle; Durufle’s Requiem; Handel‘s (Scottish Opera Connect). Recent solo engagements have included Dixit Dominus, Israel in Egypt and Samson; Bach’s B Minor Mass, Johannes Passion and Glenn is generously supported by the Countess soprano soloist in Verdi’s Requiem, Mahler’s Symphony No. 2 and Vivaldi’s Gloria, as well Magnificat; Haydn’s Nelson Mass and of Munster Musical Trust, The Robertson Trust, Paukenmesse and Pergolesi’s Stabat Mater. and Sir James Caird Travelling Scholarships as concert performances at Lady Solti’s home, Trust. He is a Basil Coleman Opera Scholar the Italian Cultural Institute and Champs Hill Upcoming engagements include covering at supported by the Charles Jacob Scholarship, with Dame Felicity Lott. Samantha has English National Opera in 2021, her Cadogan a Josephine Baker Trust Scholar and a Help performed twice at Wigmore Hall, as a soloist Hall debut as alto soloist in Handel’s Musicians UK Sybil Tutton Award holder and in a concert of Clara Schumann’s lieder and as and performances at the New Generation a Les Azuriales Young Artist. a finalist in the RAM’s bicentenary competition. Festival 2021 in Florence.

6 7 Vinku mu˚j, vínku mu˚j, co ti mám Budding wreath, budding wreath, Antonín Dvořák (1841–1904) udeˇlat? say, shall I now bind thee? Cigánské melodie (Gypsy Songs), Op. 55 (1880) Mám-li t’a opustit? A lebo t’a Won’t thy sweet blossoms fade, Text: Adolf Heyduk (1835–1923) nechat? once thou art twin’d by me? Má panenko krásná, nestrhaj mu˚a Let my buds, fair maiden, joy the Samantha Quillish z jasna, sun’s caresses! No. 1: Má písenˇ zas mi láskou zní strhaj mnˇa na podzim, When again Autumn’s come, (My song sounds of love) strhaj mnˇa na podzim, až sa já with my buds full in bloom, thou zhotovím! shalt crown thy tresses! Má písenˇ zas mi láskou zní, My song resounds, a psalm of love, když starý den umírá; When day begins to fade, English translations © Ernst du Vinage, published by N. Simrock a chudý mech kdy na šat And when the moss and withered svu˚j grass si tajneˇ perle sbíra. Secretly drink in pearls of dew. Maurice Ravel (1875–1937) Má písenˇ v kraj tak toužneˇ zní, My song resounds full of wanderlust Cinq mélodies populaires grecques (1904) když sveˇtem noha bloudí; In the green of lofty forests, Text: Michel-Dimitri Calvocoressi (1877–1944) jen rodné pusty dálinou Only on the puszta’s wide plains zpeˇv volneˇ z nˇader proudí. Can I sing out happily. Lauren Young Má písenˇ hlucˇneˇ láskou zní, My song is also full of love, No. 1: Le réveil de la mariée (The bride’s awakening) když bourˇe beˇží plání; As storms rage across the heath; Réveille-toi, réveille-toi, perdrix Christopher Glynn Ben Foskett Wake up, wake up, pretty když teˇším se, že bídy When the breast of my friend mignonne, partridge, pianist composer prost heaves, Ouvre au matin tes ailes. Spread your wings to the morning, dlí bratr v umírání. As he breathes his last. Trois grains de beauté, mon cœur Three beauty spots - and my Christopher Glynn is a Grammy award-winning Ben Foskett (born 1977) is a composer and en est brûlé! heart’s ablaze. No. 4: Když mne stará matka zpívat, zpívat... Vois le ruban d’or que je See the golden ribbon I pianist and accompanist, praised for his arranger working across many different genres (Songs my mother taught me) t’apporte, bring you ‘breathtaking sensitivity’ (Gramophone), from classical concert music to ballet, dance, Když mne stará matka zpívat, When my old mother taught me Pour le nouer autour de tes To tie around your ‘irrepressible energy, wit and finesse’ (The theatre, pop, film and television. zpívat ucˇívala, songs to sing, cheveux. tresses. Guardian) and ‘perfect fusion of voice and podivno, že cˇasto, cˇasto Tears would well strangely in her Si tu veux, ma belle, viens nous If you wish, my beauty, let us marier! piano’ (BBC Music Magazine). He is artistic Ben has received commissions and worked slzívala. eyes. marry! for musicians, ensembles and companies such A ted’ také plácˇem sneˇdé líce Now my brown cheeks are wet with Dans nos deux familles, tous sont In our two families all are director of the Ryedale Festival, programming alliés! related. as Christian Gerhaher, London Sinfonietta, mucˇím, tears, around 60 events each year in beautiful and když cigánské deˇti hrát a zpívat When I teach the children how to BBC Proms, BBC Symphony Orchestra, historic venues across North Yorkshire. ucˇím! sing and play! No. 2: Là-bas, vers l’église (Down there by the church) BBC Scottish Symphony Orchestra, BBC Là-bas, vers l’église, Down there by the church, English translations © Richard Stokes, author of The Book of Lieder (Faber, 2005) Chris grew up in Leicester and read music at Concert Orchestra, Hallé Orchestra, Spitfire Vers l’église Ayio Sidéro, By the church of Saint Sideros, L’église, ô Vierge sainte, The church, O Holy Virgin, New College, Oxford, before studying piano Audio, Psappha, BalletBoyz, Thresh, Didy Moravian Duets, Op. 38 (1877) L’église Ayio Costanndino, The church of Saint Constantine, with John Streets in France and Malcolm Veldman/Umanoove, Les Désespérant Idiots, Traditional Folksongs Se sont réunis, Rassemblés en Are gathered together, buried in Martineau at the Royal Academy of Music, the Royal Ballet, English National Ballet, nombre infini, infinite numbers, where he now teaches. His many awards London Children’s Ballet, The Divine Comedy, Samantha Quillish • Lauren Young Du monde, ô Vierge sainte, The bravest people, O Holy Virgin, The bravest people in the world! include the accompaniment prize in the 2001 Travis, Keaton Henson, and on films and No. 4: Horˇe (Anguish) Du monde tous les plus braves! Kathleen Ferrier competition and the 2003 television series such as King Arthur: Legend of Zrálo jabko, zrálo, jak dozrálo, Ere the apple ripen’d, from its spadlo, bough ‘twas shaken, No. 3: Quel galant m’est comparable Gerald Moore Award. A regular artist at the Sword and Poirot. že moje srdenko, do žalosti Oh! Its fall did sorrow in my heart (What gallant can compare with me?) Wigmore Hall, Chris has performed with vpadlo. awaken. Quel galant m’est comparable, What gallant can compare with me? His music has been released by NMC D’entre ceux qu’on voit passer? Among those seen passing by? leading artists and ensembles in major concert Ne tak do žalosti, do velkého Nay, ‘twas more than sorrow, ‘twas recordings and his song cycle Berry Settings Dis, dame Vassiliki? Tell me, Mistress Vassiliki? venues throughout Europe and North America, horˇe, like anguish rapping: Vois, pendus à ma ceinture, See, hanging at my belt, and in Japan, China, Brazil and Russia. He has was recently filmed at Studio Babel with že moje srdenko, nožem krájat’ Worse than keen knives cutting, Pistolets et sabre aigu … Pistols and sharp swaord... Raphaela Papadakis and James Cheung. može. ‘twas like daggers stabbing. made many CD recordings and is regularly Et c’est toi que j’aime! And it’s you I love! Ne tak nožem krájat’ ale pilú Worse than daggers stabbing, ‘tis heard on BBC Radio 3. Future composing projects include an opera rˇezat’, like rough saws sawing, No. 4: Chanson des cueilleuses de lentisques with writer Laure Salama based on the life of An interest in bringing classical song to a wider dyt’ tebe nemožu, mu˚j synecˇku, False love that betrayed me, at my (Song of the lentisk gatherers) Olympe de Gouges. dostat’. heart is gnawing. audience recently led Chris to commission Ô joie de mon âme, O joy of my soul, Jeremy Sams to create new English translations Joie de mon cœur, Joy of my heart, He lives in France. No. 3: Veˇnecˇek (The wreath) Trésor qui m’est si cher; Treasure so dear to me; of Schubert’s song cycles, now being recorded Jidú ženci z rolí, prˇikrývajte Homeward plod the reapers. Set Joie de l’âme et du cœur, Joy of the soul and of the heart, stoly, the tables, lasses: for Signum Records. Future plans include Toi que j’aime ardemment, You whom I love with passion, Keaton Henson stoly jaborové, užicˇky Wooden spoons and dishes, mugs further collaborations with Jeremy Sams Tu es plus beau qu’un You are more beautiful than an klenové. must serve for glasses! poet ange. angel. (Schumann and Wolf songs), CD recordings Kdo mneˇ pro neˇ pu˚jde, ten mu˚j He that brings the platter, be my Ô lorsque tu parais, Oh when you appear, with Nicky Spence, Kathryn Rudge, Roderick milý bude. bonnie laddie! Ange si doux Angel so sweet, Keaton Henson is a musician, artist and Kdo mneˇ pro neˇ pu˚jde, ten mu˚j Gladly I’ll reward him: be his Williams, Claire Booth and The Sixteen, a Devant nos yeux, Before our eyes, composer from England. He doesn’t like to talk milý bude. bonnie lassie. project with Streetwise Opera, leading Comme un bel ange blond, Like a lovely, blond angel masterclasses for the Britten Pears School, a about himself. Šel mneˇ pro neˇ synek, bylo mu Martin brought the platter... ‘Twas Sous le clair soleil, Under the bright sun - not “Nay!” I said him: tour of Wolf’s Italian Songbook, and embarking Martinek, Hélas! tous nos pauvres cœurs Alas, all our poor hearts sigh! www.keatonhenson.com já sem mu slúbila svu˚j zelený Promised him my wreathlet: and soupirent! on a project with Rachel Podger to perform vínek. next month to wed him! and record Beethoven’s Violin Sonatas.

8 9 No. 5: Tout gai! (So merry!) En passant par où j’ai passé, Passing by where I have passed, underneath a corner of the field Tout gai! gai, Ha, tout gai! So merry, Ah, so merry; Tu verras que, seul et You will see that, solitary and Igor Stravinsky (1882–1971) beside the farmhouse of my kin Belle jambe, tireli, qui danse; Lovely leg, tireli, that dances blessé, wounded, The Woods are Green, from The Rake’s Progress (1948–51) where i once played childish games Lovely leg, the crockery dances, J’ai parcouru ce triste monde, I have traversed this sorry world, Belle jambe, la vaisselle danse, Text: W. H. Auden (1907–1973) & Chester Kallman (1921–1975) i grew up in this place Tra la la. Tra la la la la … Et qu’ainsi je m’en fus mourir And that thus I went off to die above the soil Glen Cunningham • Samantha Quillish • William Thomas English translations © Richard Stokes, author of A French Song Companion (Oxford, 2000) Bien loin, bien loin, sans découvrir Far, far away, without ever finding all breath and warm blood Le bleu manoir de Rosemonde. The blue manor of Rosamonde. Anne all determination The woods are green to breathe and wake Chants populaires (1910) English translation © Richard Stokes Traditional Folksong and bird and beast at play and love others for all things keep now in the mire Glen Cunningham Camille Saint-Saëns (1835–1921) this festival of May. i wonder at the thought No. 3: Mélodie Italienne (Italian Song) Danse macabre (1872) With fragrant odours of small feet, running careless above and with notes of cheer, M’affacio la finestra e vedo I look out the window and see the Text: Henri Cazalis (1840–1909) my head, and static bones the pious earth l’onne waves, with no games left observes the solemn year. Vedo le mi miserie che sò granne I see my misery which is so great. William Thomas to keep my mind from Chiamo l’amore mio nun m’arris I call to my love, no one responds Zig et zig et zig, la mort cri en Tap, tap, tap—Death Tom eternity ponde to me. cadence rhythmically, Now is the season and the sound of earthworms Frappant une tombe avec son Taps a tomb with his when the Cyprian Queen making a home of my skull English translation © 2013 by Laura Prichard, reprinted with permission from LiederNet Archive talon, heel, with genial charm La mort à minuit joue un air de Death at midnight plays a translates our mortal scene, No. 2 The Statue Henri Duparc (1848–1933) danse, gigue, when swains their nymphs will I meet with Zig et zig et zag, sur son violon. Tap, tap, tap, on his violin. in fervent arms enfold all my wrongs and with a kiss restore the Age of Gold. laid before me Phidylé (1872–3) Le vent d’hiver souffle, et la nuit The Winter wind blows, the night is Text: Charles-Marie-René Leconte de Lisle (1818–1894) est sombre, dark, Anne and Tom my life’s jagged teeth Des gémissements sortent des The lime-trees groan How sweet within the budding grove bared and unhidden Glen Cunningham tilleuls; aloud; How sweet beside the pliant stream to be judged for my worth L’herbe est molle au sommeil sous The grass is soft for sleep beneath Les squelettes blancs vont à White skeletons flit across the to walk, to love, les frais peupliers, the cool poplars travers l’ombre gloom, to lie, to dream. will i be carried Aux pentes des sources moussues, On the banks of the mossy springs in the arms of those who’ve ever loved me Courant et sautant sous leurs Running and leaping beneath their Trulove Qui, dans les prés en fleur That flow in flowering meadows to a river grands linceuls, huge shrouds Oh may a father’s prudent fears germant par mille issues, from a thousand sources, Zig et zig et zig, chacun se Tap, tap, tap, everyone’s unfounded prove, where my living self will be washed away Se perdent sous les noirs halliers. And vanish beneath dark thickets. trémousse, astir, and ready vows and loving looks like so much mud and silt Repose, ô Phidylé! Midi sur les Rest, O Phidylé! Noon on the passing to some great ocean of sin On entend claquer les os des You hear the bones of the dancers be all they seem. feuillages leaves danseurs, knock, In youth we fancy Rayonne, et t’invite au sommeil. Is gleaming, inviting you to sleep. will i be escorted Un couple lascif s’asseoit sur la A lustful couple sits down on the we are wise, Par le trèfle et le thym, seules, en By the clover and thyme, alone, in by a being without form mousse moss, but time has shown, alas, plein soleil, the bright sunlight, to a library Comme pour goûter d’anciennes As if to savour past too often and too late, Chantent les abeilles volages. The fickle bees are humming. where every book douceurs. delights. we have not known the hearts is a tome of my actions Un chaud parfum circule au détour A warm fragrance floats about the Zig et zig et zag, la mort continue Tap, tap, tap, Death continues, of others or our own. des sentiers, winding paths, which i am forced to read De racler sans fin son aigre Endlessly scraping his shrill Anne La rouge fleur des blés The red flowers of the cornfield instrument. violin Love tells no lies. or will i be sent s’incline, droop; Un voile est tombé! La danseuse A veil has slipped! The dancer’s head over heels Et les oiseaux, rasant de l’aile la And the birds, skimming the Anne and Tom est nue! naked! into the form of a raven colline, hillside with their wings, Son danseur la serre Her partner clasps her And in love’s eyes Cherchent l’ombre des églantiers. Seek the shade of the eglantine. amoureusement. amorously. we see our future state, or some such pestilent thing ever happy, ever fair: which best befits my nature Mais, quand l’Astre, incliné sur sa But when the sun, low on its La dame est, dit-on, marquise ou They say she’s a baroness or sorrow, hate, disdain, despair, of pecking at the dead courbe éclatante, dazzling curve, baronne. marchioness, rule not there. Verra ses ardeurs s’apaiser, Sees its brilliance wane, Et le vert galant un pauvre And the callow gallant a poor But love alone reigns o’er his own. will my mother and father Que ton plus beau sourire et ton Let your loveliest smile and finest charron— cartwright. walking backwards meilleur baiser kiss Horreur! Et voilà qu’elle Good God! And now she’s giving © 1951 by Hawkes & Son (London) Ltd. unbirth me Me récompensent de l’attente! Reward me to for my waiting! s’abandonne herself, unmake my eyes Comme si le rustre était un As though the bumpkin were a English translation © Richard Stokes, author of A French Song Companion (Oxford, 2000) back to a womb baron! baron! Ben Foskett (b. 1977) before nothing again Le manoir de Rosemonde (The Manor of Rosamonde) Zig et zig et zig, quelle sarabande! Tap, tap, tap, what a saraband! A Dead Man’s Song (2020; world première) Quels cercles de morts se donnant Circles of corpses all holding Text: Keaton Henson (b. 1988) will demons (1879) la main! hands! in winter coats Text: Robert de Bonnières (1850–1905) Zig et zig et zag, on voit dans la Tap, tap, tap, in the throng you can William Thomas roast me un-alive bande see De sa dent soudaine et vorace, With sudden and ravenous tooth, No. 1 In This Place in endless cold evenings Le roi gambader auprès du King and peasant dancing Comme un chien l’Amour m’a Love like a dog has bitten a raw wound of earth holds me to the song of one hundred howls vilain! together! mordu; me. i am stitched within of fellow human sinners En suivant mon sang répandu, By following the blood I’ve shed - Mais psit! tout à coup on quitte la But shh! Suddenly the dance is by burial shroud and rough chord Va, tu pourras suivre ma Come, you’ll be able to follow my ronde, ended, the clay beneath my fingernails will they laugh trace. trail. On se pousse, on fuit, le coq a They jostle and take flight—the understands little at my harrowing cries Prends un cheval de bonne race, Take a horse of fine breeding, chanté… cock has crowed… of my life mock my stoic refrain and reasons Pars et suis mon chemin Set out, and follow my arduous Oh! La belle nuit pour le pauvre Ah! Nocturnal beauty shines on as the sea of fire ardu, course monde! the poor! i am taken roughly from the ones i love makes an amphora of my head Fondrière ou sentier perdu, By quagmire or by hidden path, Et vive la mort et l’égalité! And long live death and equality! i am a smile in the ground for until the unrising sun Si la course ne te harasse. If the chase does not weary you. English translation © Richard Stokes 1997 i am an ornament The song continues on the next page.

10 3 11 will i sleep now No. 4 A Memory Robert Burns (1759–1796) Meine Lippen, sie küssen so heiß My lips, they give so fiery a kiss, the same undreaming sleep a reason for visiting town Meine Glieder sind schmiegsam My limbs, they are supple of too much wine polly, my heartbeat arr. Alfred Moffat (1863–1950) und weiß(weich), and white, In den Sternen da steht es It is written for me in the and a long day the most innocent eyes Ae fond kiss (1791) geschrieben: stars: in the sun dark black were they Du sollst küssen, du sollst lieben! Thou shalt kiss! Thou shalt love! wringing your hands with rings of pale gold Glen Cunningham if you got close enough to see Meine Füße sie schweben dahin, My feet, they glide and float, Ae fond kiss, and then we sever! or perhaps meine Augen sie locken und My eyes, they lure and glow, the weight of expectations Ae farewell, and then forever! this is it glüh’n placed upon me Deep in heart-wrung tears I’ll pledge thee, a decomposing statue und ich tanz’ wie im Rausch den And I dance as if entranced, ‘cause made her a distant shoreline Warring sighs and groans I’ll wage thee. in a wooden box ich weiß, I know! that i felt i would never reach damping in the ground Had we never lov’d sae kindly, meine Lippen sie küssen so heiß! My lips give so fiery a kiss! with a hull so full of breaches just the sound of soil Had we never lov’d sae blindly, In meinen Adern drin, In my veins displacing over time Never met, or never parted, my polly da rollt das Blut der Tänzerin runs a dancer’s blood, the thud of distant dancing We had ne’er been broken-hearted. transcendence Denn meine schöne Mutter war Because my beautiful mother the scratching there was one quiet evening Fare-thee-weel, thou first and fairest! Des Tanzes Knigin im gold’nen Was the Queen of dance in the of beetles at my ribcage we shared alone Fare-thee-weel, thou best and dearest! Alcazar. gilded Alcazar. and life scythe handed Thine be ilka joy and treasure, carrying on Sie war so wunderschön, She was so very beautiful, in the dark Peace, enjoyment, love and pleasure. as though i never was ich hab’ sie oft im Traum geseh’n. I often saw her in my dreams. and never intended to be and, upon seeing her dance past me Ae fond kiss, and then we sever! Schlug sie das Tamburin, zu If she beat the tamburine, to her in the barns of the evening Ae farewell, alas, forever! wildem Tanz, beguiling dance No. 3 Synapses a nightjar under candlelight Deep in heart-wrung tears I’ll pledge thee, dann sah man alle Augen glühn! All eyes were glowing admiringly! Warring sighs and groans I’ll wage thee. or perhaps the village eyes, rough hands around her beating wings Sie ist in mir aufs neu erwacht, She reawakened in me, or perhaps no show-horse was she ich hab’ das gleiche Los. mine is the same lot. my polly of late Benjamin Britten (1913–1976) Ich tanz’ wie sie um Mitternacht I dance like her at midnight candle flame but a working mare Und fühl das eine bloß: And from deep within I feel: The foggy, foggy dew (1945) this is it a hardy steed Meine Lippen, sie küssen so heiß! My lips, they give so fiery a kiss! with a mane of spun bronze Traditional Folksong fathers stern gaze Meine Glieder sind schmiegsam My limbs, they are supple and red as the hills soft clay stern gaze William Thomas und weiß / weich, white, When I was a bachelor, I lived all alone and worked by the weaver’s trade In den Sternen da steht es It is written for me in the beetles at my ribcage my polly incandescent And the only only thing that I did that was wrong, was to woo a fair young maid. geschrieben: stars: and life held my flailing arms I wooed her in the wintertime and in the summer too Du sollst küssen, du sollst lieben! Thou shalt kiss! Thou shalt love! my brother in her weakening hands And the only only thing that I did that was wrong, Meine Füße sie schweben dahin, My feet, they glide and float, like a bird clings firm to its cage bars was to keep her from the foggy foggy dew. meine Augen sie locken und glüh’n My eyes, they lure and glow, holding a toy wooden boat and i slept One night she come to my bedside as I lay fast asleep und ich tanz’ wie im Rausch, denn And I dance as if entranced, ‘cause a toy wooden boat She laid her head upon my bed and she began to weep ich weiß, I know! carrying on James MacMillan (b.1959) She sighed, she cried, she damn near died, she said, ‘What shall I do?’ meine Lippen sie küssen so heiß! My lips give so fiery a kiss! So I rolled her into bed and I covered up her head, summer grasses English translation © 2006 by Linda Godry, reprinted with permission from LiederNet Archive Scots Song (1991) Just to keep her from the foggy foggy dew. gnawing sounds Text: William Soutar (1898–1943) Now I am a bachelor and I live with my son and we work at the weaver’s trade Johann Strauss II (1825–1899) the ocean as a young man Lauren Young And every single time that I look into his eyes, he reminds me of the fair young maid. all around me He reminds me of the wintertime and of the summer too Trinke, Liebchen (Drink, my darling), from O luely, luely, cam she in And of the many many times that I held her in my arms, Die Fledermaus (1874) the thud of And luely she lay doun Just to keep her from the foggy foggy dew. I kent her by her caller lips Text: Richard Genée (1823–1895) anyone there And her breists sae sma’ and roun’, © 1947 by Boosey & Co Ltd. distant dancing Her breists sae sma’ and roun’. Glen Cunningham • Samantha Quillish Alfred Alfred the village laughter A’ thru’ the nicht we spak nae word Franz Lehár (1870–1948) Trinke, Liebchen, trinke schnell, Drink, my darling, come what may, Nor sinder’d bane frae bane: the pillage after Meine Lippen, sie küssen so heiß (My lips’ fiery kiss), Trinken macht die Augen hell. Wine will chase the clouds away. A’ thru’ the nicht I heard her hert from Giuditta (1933) Sind die schönen Aüglein klar, When your lovely eyes are clear, human Gang sound in’ wi’ ma ain, Text: Paul Knepler (1879–1967) Siehst du alles licht und wahr.; All your doubts will disappear; morning kitchen sounds Gang sound in’ wi’ ma ain. Siehst, wie heisse Lieb’ ein Traum, You will see true love’s a dream, in ground It was about wauk rife hour Samantha Quillish Der uns äffet sehr, Making fools of us, Whan cocks begin tae craw down Ich weiß es selber nicht, I don’t understand myself, Siehst wie ew’ge Treue Schaum; Faithfulness, a foolish scheme; That she smool’d saftly thru the mirk warum man gleich von Liebe spricht, why they keep talking of love, So was gibt’s nicht mehr! Why make such a fuss?! below you Afore the day wud daw, wenn man in meiner Nähe ist, if they come near me, Flieht auch manche Illusion, All illusion proves in vain, Afore the day wud daw. low in meine Augen schaut und meine if they look into my eyes and kiss Die dir einst dein Herz Love’s young dream becomes Hände küsst. my hand. finger bones Sae luely, luely cam she in erfreut, regret, And luely was she gaen, Ich weiß es selber nicht I don’t understand myself, Gibt der Wein dir Tröstung schon Have some wine to ease the pain, bones And wi’ her a’ ma simmer days warum man von dem Zauber spricht, Why they talk of magic, Durch Vergessenheit! Help you to forget! and life Like they had never been, dem keiner widersteht, wenn er you fight in vain, if you Glücklich ist, wer vergisst, Time has flown, we’re alone, Like they had never been. finger bones mich sieht see me Was doch nicht zu ändern ist Think of all the joys we’ve known. © 1991 by Boosey & Hawkes Music Publishers Ltd. wenn er an mir vorüber geht. if you pass me by. carrying on Kling, kling, sing, sing, sing Kling, kling, sing, sing, sing Doch wenn das rote Licht erglüht But if the red light is on candle flame Trink mit mir, sing mit mir, Drink with me, sing with me. Zur mitternächt’gen Stund In the middle of the night Lalala, lalala... Lalala, lalala... without me Und alle lauschen meinem Lied, And everybody listens to my song, dann wird mir klar der Grund. Then it is plain to see: The song continues on the next page.

12 13 Rosalinde Rosalinde bez peneˇz je ženidlo jenom hnízdo it’s a risk, a mistake you cannot Ach was tut man hier? Ah, what can I do? zlosti. make. Marriage won’t be funny, Engelbert Humperdinck (1854–1921) Odkud jsi, poveˇz mi, dám ti dobré if you don’t marry money. Alfred und Rosalinde Alfred and Rosalinde Evening Prayer, from Hänsel und Gretel (1891–2) rady, Tell me, where is your home? Glücklich ist, wer vergisst, Time has flown, we’re alone, Text: Adelheid Wette (1858–1916), after the Brothers znám se ve všem všady. I’ll be your adviser, Was doch nicht zu ändern ist. Think of all the joys we’ve known. you need someone wiser. Samantha Quillish • Lauren Young Rosalinde Rosalinde JenÍk JenÍk Gretel und Hänsel Gretel and Hänsel Er geht nicht von hinnen He is not departing Z daleka, pane, jsem z daleka, až z Far away, far away, Abends will ich schlafen I want to go to sleep in the Schläft hier wohl noch ein; And yethe can’t stay; moravských hranic. I was born in England gehn, evening, Was soll ich beginnen? Ah, what am I starting? vierzehn Engel um mich stehn: fourteen angels stand around me: Kecal Kecal Alfred Alfred zwei zu meinen Häupten, two at my head, Tam se oženˇ, tam se oženˇ, Go back there then, Stoss an! Drink up! zwei zu meinen Füssen, two at my feet, zdejší panny zdejší panny you’ll find richer, prettier women zwei zu meiner Rechten, two to my right, Rosalinde Rosalinde nestojí, nestojí už za nic. there and more; zwei zu meiner Linken, two to my left, Nein, nein, nein... No, no, no... here the girls are too poor. zweie, die mich decken, two who cover me, Alfred Alfred JenÍk JenÍk zweie, die mich wecken… two who wake me ... Trinke, Liebchen, trinke schnell, Drink, my dearest, come and drink, Možná, že ty ostatní, ale má Maybe what you say is true, Gretel Gretel Trinken macht die Augen hell! It will clear your head to think! Marˇenka but Marˇenka means much more … zweie, die mich weisen ... two who point me Mach doch nur kein bös’ Gesicht, Do not let it get you down, ta je pravý diamant, nejkrasší to me than riches, zu Himmels Paradeisen! to heavenly paradise! Sei hübsch lustig, grolle nicht! Lovely girls should never frown! krásenka. yes, I am faithful to her. Brachst du einmal auch die Treu’, Though your love may not be true, Hänsel Hänsel Kecal Kecal Das sei dir verziehn; That I can forgive; … zweie, die zum Himmel weisen! ... two, who point to heaven! Každý jen tu svou má za jedinou, Ask him any day, every man will say: Schwöre wieder mir auf’s neu Promise me your love anew, má za jedinou, ‘my wife is perfect’. Und ich glaub’ es kühn! And I will believe. English translation © Richard Stokes každý jen tu svou má za jedinou, but you know he’s lying Glücklich macht uns Illusion, Love’s a dream that flies away, má za jedinou, through his teeth; Ist auch kurz die ganze Freud; Still, illusion has it’s charms; všecky krásy svˇeta, všecky krásy when she deceives him, Pyotr Ilyich Tchaikovsky (1840–1893) Sei getröst, ich glaub’ dir schon Live for love one joyous day svˇeta, it’s beyond belief. Und bin glücklich heut. Come into my arms! Solovushko (The Nightingale) (1886) všecky krásy svˇeta v ní vidí, He can bolt the home Rosalinde Rosalinde všecky krásy svˇeta, všecky krásy but the bird has flown, Glen Cunningham • Samantha Quillish Ach! Ah! svˇeta, left him all alone. Lauren Young • William Thomas Alfred und Rosalinde Alfred and Rosalinde všecky krásy svˇeta v ní vidí, But a clever man, before he’s wed; Uletal solovushko daljoko, Glücklich ist, wer vergisst, We’re alone, time has flown, až pˇrijdou ˇcasy, až pˇrijdou ˇcasy, thinks a step ahead, then he makes The little nightingale flew far away, vo chuzhuju tjopluju storonku. Was doch nicht zu ändern ist. Think of all the joys we’ve known. kde ho ošidí, a plan. Into a warm foreign little country. až pˇrijdou ˇcasy, až pˇrijdou ˇcasy, If there’s money in it, he’ll propose; Vy proshchajte, ljudi dobrye, na Farewell, kind people, for a long English translation © Richard Stokes kde ho ošidí, but if not he says goodbye and dolgo, while, kde ho ošidí. goes.. uletet’ pora moja nastala! My time begins to fly away! Bedrˇich Smetana (1824–1884) JenÍk JenÍk Na dolgo proshchajus’ s vami, People, for a long time I will be Co tím míníte rˇíci? Já vám But I don’t understand you, ljudi! parted from you! Nuže, milý chasníku (Let me tell you what I think), nerozumím. what do you mean to say? Uletet’ pora moja nastala! My time begins to fly away! from The Bartered Bride (1863–5) Kecal Kecal I spasibo vam za vashu ljubov’, za And thank you for your love, for Text: Karel Sabina (1813–1877) Že o lepší neveˇsteˇ pro tebe, I have found a girl for you to marry lasku, the affection, chto menja, solovushku, ne That didn’t drive me, a little Glen Cunningham • William Thomas hochu, vím. right away! Znám jednu dívku, ta má I know a girl and she’s in the gnali, nightingale, away, Kecal Kecal dukáty! money. pesni pet’ mne, solov’ju, ne That didn’t hinder me, the Nuže, milý chasníku, Let me tell you what I think, meshali, nightingale, in singing songs, JenÍk JenÍk doprˇej pak slovícˇku. I might be a help to you. malykh detok moikh ne That didn’t run ahead of my small Zná jednu dívku, ta má He knows a girl and she’s in the zabizhali! little children! JenÍk JenÍk dukáty! money. Radeˇji bych posedeˇl tam prˇi svém I would rather sit and drink I ostalsja b ja teper’ s vami, I would even now remain with you, Kecal Kecal pivícˇku. like most other men do. da likha beda vashi But for the misfortunate evil of A chalupu dostane od táty! When she marries she will get a morozy; your frosts; Kecal Kecal dowry Znáš-li pak mne osobneˇ? Do you know who I might be? ne ljublju zimy vashej beloj, I do not love your white winter, JenÍk JenÍk ne ljublju ja bujnogo vetra! I do not love the wild wind! JenÍk JenÍk A chalupu dostane od When she marries she will get a A uzh kak vesna krasna But even as the beautiful spring Nemám cˇest, panácˇku, ne! No I haven’t got a clue, táty! dowry A vy též neznáte mne? any more than you know me! vernjotsja, returns, Kecal Kecal s nej i ja vernus’ k vam s novoj With her, I also return to you with a Kecal Kecal No, to by bylo neˇco ku zdaru! So you’re a very lucky man! pesnej, new song, But I have heard this and that, Slyšel sem, že’s hodný hoch, ja vernus’ k vam s novoj pesnej! I will return to you with a new song! chasník pracovitý, you seem a decent man, JenÍk JenÍk ale v lásce, v lásce prý’s chlapík as for women… Zná jednu dívku, ta má dukáty! So I’m a very lucky man! English translation © 2009 by Erin Franklin, reprinted with permission from LiederNet Archive

šlakovitý. every single girl here is your fan. English translation by Amanda Holden © 2006 Máš-li pak též peníze? Do you have lots of money? JenÍk JenÍk Vždytˇ se mnohý ožení bez krejcaru I just stick to other joys, v kapse. wealth is not in my plans; Švarné dívky hledí spíš na švarné girls just look for handsome boys zas chlapce. and catch one if they can! Kecal Kecal Mneˇ veˇrˇ, já jsem rozumný a mám Listen, I have been around zkušenosti, and this is what I’ve found;

14 15 15 years of Independent Opera

Independent Opera at Sadler’s Wells was launched in the UK in 2005. At the time it was a unique charitable venture, with a clear mission to champion and empower exceptional talent in the field of opera. Since then, Independent Opera has operated as a serious contributor towards the support and development of outstanding emerging opera directors and artists and has built a reputation for its innovative productions at the Lilian Baylis Studio at Sadler’s Wells. This year marks the 15th anniversary of Independent Opera. We had hoped to be able to celebrate this significant milestone in our history with friends, colleagues and alumni altogether in person. However, due to the Covid-19 pandemic, that was not to be. Instead we’d like to take a moment to share with you a handful of highlights from our archives, and reflect on the journey we have taken, the partnerships forged and the network of artists we fondly refer to as ‘The IO Family’.

A dip into the archives cannot begin without For our 10th anniversary we moved to expand director Alessandro Talevi. As co-founder of IO, our work with directors and launched the alongside William and Judith Bollinger, Director Fellowship competition. Two talented Alessandro lay the foundations for the opera directors were awarded fellowships: Max productions at Sadler’s Wells and our Hoehn (2015) and Polly Graham (2016). Each programme of scholarships and fellowships for was provided with the resources and platform directors, singers, conductors, producers, to stage a chamber production at the Lilian designers and choreographers. Awarded the Baylis Studio in Sadler’s Wells. The fellowship Artistic Director Fellowship in 2007, Alessandro created a vehicle to guide and mentor these directed four productions for Independent young directors through the production process Opera in partnership with Sadler’s Wells, in an environment that welcomed their artistic including a new chamber-scale version of voice and creative ambitions and allowed them Debussy’s Pelléas et Mélisande, which received to work alongside high-calibre talent and an RPS Award nomination in 2009. extremely experienced production team. “Staging Biedermann and “This was opera as it should ‘Orlando’ 2006, William Towers (above); ‘Pelléas et Mélisande’ the Arsonists was the most be but seldom is – innovative 2008, Frédéric Bourreau (left). yet respectful, ambitious creatively fulfilling process yet pragmatic, and above all I have had as a director. The committed to the development opportunity to implement my vision for the production was Max Hoehn’s ‘Biedermann and of talent in all departments” the Arsonists’ 2015, Johnny Opera Today not only immensely satisfying Herford, Adam Sullivan and Bradley Travis (top); and challenging, but also a Polly Graham’s ‘Simplicius Simplicissimus’ 2016, Adrian platform for the most exciting Thompson and Stephanie Corley collaborations with artists at (middle); Polly Graham in rehearsal (bottom). the top of their game.” Max Hoehn

16 17 Over the years, as well as expanding our support to directors, we have also responded to the ever-changing environment for young singers. We have been able to nurture the finest talents in recent generations thanks to partnerships with the UK’s leading music conservatoires: Royal Academy of Music, Royal College of Music, Royal Conservatoire of Scotland and Guildhall School of Music & Drama. Our programme of voice scholarships and fellowships has supported over 110 artists with financial grants, 1-to-1 mentoring, professional development events and performance opportunities.

Our alumni include talents such as Matthew Rose (2007), Natalya Romaniw (2010), Soraya Mafi (2014), Duncan Rock (2009), Luis Gomes (2012), Catriona Morison (2013) and Gaëlle Arquez (2009). A full list of recipients can be ‘A Sheen of Dew on Flowers’ Last year, we ventured deeper into this new It would be difficult to close this note without at Barbican Hall 2019, territory, with the commissioning of Joby acknowledging the global events of the last 8 found on the inside back cover. Tobias Greenhalgh and Kelley Talbot’s cantata A Sheen of Dew on Flowers. months and the impact it continues to have on Our Scholars’ Recitals at Wigmore Hall have O’Connor (above); Joby Talbot (composer), Kelley O’Connor, Inspired by Queen Victoria’s diamond-and- those we have supported and worked with been an annual fixture in the calendar since Tobias Greenhalgh and Natalie sapphire coronet, the work explored the over the past 15 years. The future for the arts 2017, providing our youngest singers with Murray Beale (right). themes of love and loss, with sacred texts in the UK is uncertain, and many individuals, the wonderful opportunity to be heard in a by women written across three millennia. organisations and venues have a difficult road world-leading concert venue. A large ensemble piece for orchestra, choir and ahead. The resources which we allocated IO’s relationship with the Wigmore Hall dates two soloists, the commission presented a towards our closure activities have been back over 10 years to its first Wigmore Hall/IO chance to collaborate with the Britten Sinfonia diverted towards our alumni and we have been Voice Fellowship. Recipients were selected and received its public première in April 2019 able to assist with emergency financial support from among the participants of the biennial at the Barbican Hall. to those in greatest need. We have also taken this time to enhance and tailor our Wigmore Hall International Song Competition And so, towards our final chapter... Our development events for young artists, bringing formerly supported by the Kohn Foundation co-founders Bill and Judy Bollinger and Board these online and connecting more frequently. (1997–2017). In 2019 Independent Opera of Trustees took the decision at the end of It has been deeply inspiring to observe the furthered its commitment by sponsoring the 2019 to close Independent Opera after 15 very full competition. resilience and strength of all of our artists. 2017 Scholars’ Recital, happy and successful years. Since 2005, IO has Now more than ever, we are incredibly proud The scholars’ recitals also inspired a new step Samantha Clarke (top); supported over 130 individuals in the fields of to have been a part of their journey. for Independent Opera. We recognised that the 2019 Scholars’ Recital, directing, singing, design, choreography and Simon Lepper, Nia Coleman, production, a total investment of over £850,000. To all of those who have helped to shape and recitals could go further to showcase Joel Williams, Filipe Manu and contemporary composers and works for piano Kyu Choi (bottom). build Independent Opera, from designers and and voice. From 2018–2020, three new works stage managers, industry mentors and were commissioned for our young artists, from panellists, editors and publishers, our trustees composers Eriks¯ Ešenvalds, Elena Langer and and honorary patrons, artists and collaborators, Ben Foskett, each bringing their own style and “To all of those who have helped and of course to you, our audiences, thank you narrative to the Wigmore stage. for your continued support. Independent to shape and build Independent Opera may be small, but thanks to the Opera... thank you for your encouragement, creativity and ambition of everyone we have encountered, the seeds of continued support” our work have scattered widely and taken root Independent Opera in the landscape of UK opera.

18 19 Independent Opera Artists 2005–2020 Acknowledgments A D J Katherine Manley Q T Recital Curator Voice Fellowship, 2007 Natalie Murray Beale Rebecca Afonwy-Jones Eirlys Myfanwy Davies Chrissy Jay Filipe Manu Samantha Quillish Alessandro Talevi Voice Scholarship, 2009 Voice Scholarship, 2014 Producer Fellowship, 2010 Voice Scholarship & Voice Scholarship & Artistic Director Fellowship, Programme Editor Christopher Ainslie Leslie Davis Gareth Brynmor John Fellowship, 2018-20 Fellowship, 2019-21 2007-11 Inge Kjemtrup Voice Fellowship, 2007 & Voice Fellowship, 2010 Voice Fellowship, 2013 Rhiain Taylor Laurence Meikle Programme Design Sponsored Artist, 2007 R Voice Scholarship, 2017 Michel de Souza Ben Johnson Voice Scholarship, 2009 Silk Pearce Katherine Aitken Voice Fellowship, 2010 Voice Scholarship, 2008 Jade Moffat Gyula Rab Koji Terada Voice Scholarship, 2015 Anna Devin Emyr Wyn Jones Voice Scholarship, 2016 Voice Scholarship & Voice Fellowship, 2011 Main Programme Note Louise Alder Voice Scholarship & Voice Fellowship, 2015 Michael Mofidian Fellowship, 2014-16 William Thomas Richard Stokes Voice Fellowship, 2013 Fellowship, 2008-10 Anna Rajah Voice Scholarship & Frederick Jones Voice Scholarship & Photography Rosie Aldridge Charlotte Drummond Voice Fellowship, 2019 Fellowship, 2017-19 Voice Scholarship & Fellowship, 2019-21 Benjamin Ealovega Voice Fellowship, 2011 Voice Scholarship, 2016 Magdalena Molendowska Fellowship, 2013-15 Andrea Tweedale Gaëlle Arquez Oliver Dunn K Voice Fellowship, 2013 Vena Ramphal Voice Scholarship, 2011 & Special thanks to… Voice Fellowship, 2013 Wigmore Hall Voice Voice Fellowship, 2011 Marvic Monreal Choreographer Fellowship, 2007 John Gilhooly Fellowship, 2009 Peter Kellner Grace Durham Wigmore Hall Voice Voice Fellowship, 2018 Ida Ränzlöv V Lada Valesova Galina Averina Voice Scholarship, 2015 Fellowship, 2017 Laura Montakhab Voice Scholarship & National Opera Studio Voice Scholarship, 2015 Voice Scholarship, 2010 Fellowship, 2017-19 Nathan Vale Boosey & Hawkes F Laura Kelly Voice Scholarship, 2010 Catriona Morison Meeta Raval Voice Fellowship, 2008 & Staff at Wigmore Hall B Voice Scholarship, 2008 & Voice Scholarship, 2010 The Warehouse Andrew Foster-Williams Louise Kemény Voice Fellowship, 2013 2009 & BBC Singer of the Tom Verney October Gallery Monica Bancos Pelleas Voice Fellowship, Voice Scholarship & Clara Mouriz World Support, 2011 Voice Scholarship & 2008 Fellowship, 2013-15 Voice Fellowship, 2008 Voice Scholarship & Hannah Lonergan & Alchemy for Kieran Rayner Fellowship, 2013-15 the Eye Fellowship, 2009-11 Sipho Fubesi Hyung tae Kim & Wigmore Hall Voice Fellowship, 2009 Voice Fellowship, 2018 Dame Felicity Lott Claire Barnett-Jones Voice Scholarship, 2010 Voice Fellowship, 2008 W Voice Fellowship, 2019 Emilie Renard Stéphane Jamin Dominik Köninger N Voice Scholarship, 2011 Madeleine Boyd G Wigmore Hall Voice Kang Wang Dr Natasha Loges Designer Fellowship, 2007 Fellowship, 2011 Duncan Rock Voice Fellowship, 2014 Florence Boissolle. Tereza Gevorgyan Benedict Nelson Voice Scholarship, 2009 Peter Brathwaite Alinka Kozári Voice Fellowship, 2008 Adrian Ward Voice Fellowship, 2014 Independent Opera is immensely Voice Fellowship 2010 Voice Fellowship, 2007 Natalya Romaniw Voice Fellowship, 2008 Luis Gomes Timothy Nelson Voice Scholarship, 2010 grateful for the continuing work and James Way Voice Scholarship, 2012 Arshak Kuzikyan Voice Fellowship, 2015 support of its Board of Trustees, C Voice Fellowship, 2015 Matthew Rose Voice Fellowship, 2017 Nika Goriˇc James Newby Wigmore Hall Voice whose practical assistance and Wigmore Hall Voice Joel Williams Nathalie Chalkley Voice Scholarship, 2016 L Fellowship, 2007 advice are invaluable. Voice Scholarship, 2011 Fellowship, 2015 Voice Scholarship & Polly Graham Rebecca Ryan Fellowship, 2018-20 Kyu Choi Director Fellowship, 2016 Claire Lees Joanna Norman Voice Fellowship, 2007 Independent Opera is a Registered Voice Scholarship, 2014 Charity No. 1162432 Voice Scholarship & Anthony Gregory Voice Scholarship & Y Fellowship, 2018-20 Fellowship, 2017-19 S Voice Scholarship, 2010 & O Samantha Clarke 2011 Anna Leese Lauren Young Voice Scholarship, 2016 & BBC Singer of the World Vojteˇch Šafarˇík Voice Scholarship & Photography credits Thorbjørn Gulbrandsøy James Oldfield p. 3: Near Rajec on the Morava: © Fine Art Voice Fellowship, 2019 Support, 2011 Voice Fellowship, 2008 Fellowship, 2019-21 Pelleas Voice Fellowship, Voice Scholarship, 2008 Images / Bridgeman Images; p. 4: Jarmila Kirstin Sharpin Rosalind Coad 2008 Nicholas Lester Jung Soo Yun Novotna and Richard Tauber: © SZ Photo / Tom Oldham Voice Fellowship, 2008 Voice Scholarship, 2013 Voice Fellowship, 2009 Designer Fellowship, 2009 Voice Fellowship, 2009 Scherl / Bridgeman Images; p. 5: Benjamin H Daniel Shelvey Britten: Lebrecht Music Arts / Bridgeman Nia Coleman Igor Levit Patricia Orr Voice Scholarship, 2012 Z Images; Ben Foskett © Pierre Alexis Ciavaldini; Voice Scholarship & Instrument Loan (Piano) Voice Fellowship, 2008 Fellowship, 2018-20 Max Hoehn Helen Sherman p. 8: Christopher Glynn © Gerard Collett; Benjamin Lewis Cathy-Di Zhang p. 16: © Robbie Jack; p. 17: Biedermann Director Fellowship, 2015 Alex Otterburn Voice Scholarship, 2009 & Gerard Collett Voice Fellowship, 2015 Voice Scholarship & © Robbie Jack; Simplicius © Max Lacome; John Holland-Avery Voice Fellowship, 2017 BBC Singer of the World Voice Scholarship, 2009 Fellowship, 2014-16 p. 18: 2017 Recital © Simon Jay Price; Voice Scholarship, 2015 Meili Li Support, 2011 Louise Collett Voice Scholarship & P 2019 Recital © Benjamin Ealovega; Voice Scholarship, 2008 Jimmy Holliday Fellowship, 2014-16 Victor Sicard p. 19: Barbican Hall © Mark Allan; Voice Fellowship, 2011 Raphaela Papadakis Voice Scholarship, 2011 Joby Talbot et al. © Chris Allerton. Katie Coventry Nadine Livingston Voice Scholarship & Thomas Hopkinson Voice Scholarship, 2008 Voice Fellowship, 2013 & Milan Siljanov Voice Scholarship, 2013 2014 Voice Scholarship & Fellowship, 2016-18 Katie Lowe Mikhail Pavlov Fellowship, 2015-17 Nicholas Crawley Raoni Hübner Voice Fellowship, 2016 Voice Scholarship, 2012 Voice Scholarship, 2011 Philip Smith Voice Scholarship, 2012 Julieth Lozano John Pierce Voice Fellowship, 2008 Katherine Crompton Anna Huntley Voice Fellowship, 2019 We hope you enjoyed tonight’s Voice Scholarship, 2012 Voice Fellowship, 2009 Voice Fellowship, 2009 & Ivo Stankov concert. To keep up to date with & Wigmore Hall Voice M BBC Singer of the World Instrument Loan (Violin) all the latest news at IO follow us: Glen Cunningham Fellowship, 2011 Support, 2011 Voice Scholarship & Charlotte Stephenson @IOpera James Platt Fellowship, 2019-21 Soraya Mafi Voice Fellowship, 2009 /IndependentOpera Voice Fellowship, 2014 Voice Scholarship, 2012 Svetlina Stoyanova or sign up to our mailing list at Blaise Malaba Eliana Pretorian Voice Scholarship & independentopera.com Voice Fellowship, 2018 Voice Fellowship, 2008 Fellowship, 2017-19

20 INDEPENDENT OPERA AT SADLER’S WELLS 2005–2020

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