Frances Mccafferty

Total Page:16

File Type:pdf, Size:1020Kb

Frances Mccafferty Frances McCafferty Frances McCafferty created the role of Yeta Zimmerman in the world premiere of Nicholas Maw’s opera Sophie’s Choice for the Royal Opera. Other roles for Covent Garden have included Mother Goose The Rake’s Progress, Nurse Boris Godounov, The Governess Cyrano de Bergerac, The Mother Lulu, First Maid Elektra, Mrs Trapes The Beggar’s Opera and The Governess in Pique Dame. Other roles include Katisha, Gertrude Hänsel und Gretel, Hostess at the Inn Boris Godunov and Auntie Peter Grimes (Nationale Reisopera), Mother Mavra (Greek National Opera), Hata The Bartered Bride and Mrs Herring Albert Herring (Glyndebourne Festival), Madame Popova The Bear (Cerniers Festival, Switzerland), Soloka Cherevichki (Garsington Festival), Kedruta and Fanny Novakova The Adventures of Mr Broucek (Opera North and Scottish Opera), Fortune Teller Julietta (Opera North at Ravenna Festival), Marcellina The Marriage of Figaro (Holland Park) Mrs Ott Susannah (Carlisle Floyd) and the title role in The Medium (Wexford Festival), La Haine Armide and Bostana The Barber of Baghdad (Buxton Festival), Mistress Quickly Falstaff (English National Opera, Opera North, New Israeli Opera, Stuttgart Staatsoper) Mother Goose The Rake’s Progress (Opera de Lille) Mrs Sedley Peter Grimes (Den Norske Opera, Oslo) the title role in The Medium (Singapore Symphony) Mother Goose and Baba The Rake’s Progress, Martinka The Kiss and Kabanicha Katya Kabanova (Opera Theatre Company, Dublin) and Filipyevna Eugene Onegin (Opera North and English Touring Opera). Frances McCafferty has also sung concerts and oratorios with many of the major orchestras in the UK including the City of Birmingham Symphony, the Hallé, the Bournemouth Symphony, RSNO and the Scottish Chamber Orchestras. Her association with Carl Davis has led to concerts in a lighter vein, including programmes of Broadway music with the Hallé, Royal Liverpool Philharmonic, BBC Concert and Opera North orchestras. She is featured in a recording of World War Two songs conducted by Carl Davis. She is a regular guest for Opera Decentralise in Neuchatel, Switzerland, where her engagements have included concert performances of Les Noces, Beethoven’s Ninth Symphony, Mussorgsky’s Le Mariage and Rossini’s Petite Messe Solenelle and Mahler’s Das Lied von der Erde. She made her American debut in 2009 in two Gilbert and Sullivan concerts at the Grant Park Festival, Chicago and made her debut at the 2012 Savonlinna Opera Festival in Finland as Mrs Sedley in Peter Grimes. Miss McCafferty’s recordings include Orpheus in the Underworld Sony, The Marriage of Figaro Chandos, Patience and HMS Pinafore TER, Cherevichki Garsington Opera own label, A Night at the Chinese Opera (Judith Weir) NMC, The Contrabandists/The Foresters Hyperion, The Beggar’s Opera Chandos and DVDs of Sophie’s Choice and Lulu on the Royal Opera House Opus Arte label. Mark Kendall Artists Management Ltd 56 St. Anselm’s Road, Worthing, West Sussex BN14 7EN Tel: +44 (0)1903 233 229 Mobile: + 44 (0)7525 916 598 www.markkendallartists.com email: [email protected] Company No. 6512351 .
Recommended publications
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Thomas D. Svatos and Twentieth-Century Czech Critical Culture
    ex tempore A Journal of Compositional and Theoretical Research in Music Vol. XIV/2, Spring / Summer 2009 _________________________ A Clash over Julietta: the Martinů/Nejedlý Political Conflict - Thomas D. Svatos and Twentieth-Century Czech Critical Culture Dialectic in Miniature: Arnold Schoenberg‟s - Matthew Greenbaum Sechs Kleine Klavierstücke Opus 19 Stravinsky's Bayka (1915-16): Prose or Poetry? - Marina Lupishko Pitch Structures in Reginald Smith Brindle’s -Sundar Subramanian El Polifemo de Oro Rhythmic Cells and Organic Development: - Jean-Louis Leleu The Function of Harmonic Fields in Movement IIIb of Livre pour quatuor by Pierre Boulez Analytical Diptych: Boulez Anthèmes / Berio Sequenza XI - John MacKay co-editors: George Arasimowicz, California State University, Dominguez Hills John MacKay, West Springfield, MA associate editors: Per Broman, Bowling Green University Jeffrey Brukman, Rhodes University, RSA John Cole, Elisabeth University of Music, JAP Angela Ida de Benedictis, University of Pavia, IT Paolo Dal Molin, Université Paul Verlaine de Metz, FR Alfred Fisher, Queen‟s University, CAN Cynthia Folio, Temple University Gerry Gabel, Texas Christian University Tomas Henriques, Universidade Nova de Lisboa, POR Timothy Johnson, Ithaca College David Lidov, York University, CAN Marina Lupishko, le Havre, FRA Eva Mantzourani, Canterbury Christchurch Univ, UK Christoph Neidhöfer, McGill University, CAN Paul Paccione, Western Illinois University Robert Rollin, Youngstown State University Roger Savage, UCLA Stuart Smith, University of Maryland Thomas Svatos, Eastern Mediterranean Univ, TRNC André Villeneuve UQAM, CAN Svatos/A Clash over Julietta 1 A Clash over Julietta: The Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture Thomas D. Svatos We know and honor our Smetana, but that he must have been a Bolshevik, this is a bit out of hand.
    [Show full text]
  • 2017 Season 2
    1 2017 SEASON 2 Eugene Onegin, 2016 Absolutely everything was perfection. You have a winning formula Audience member, 2016 1 2 SEMELE George Frideric Handel LE NOZZE DI FIGARO Wolfgang Amadeus Mozart PELLÉAS ET MÉLISANDE Claude Debussy IL TURCO IN ITALIA Gioachino Rossini SILVER BIRCH Roxanna Panufnik Idomeneo, 2016 Garsington OPERA at WORMSLEY 3 2017 promises to be a groundbreaking season in the 28 year history of Cohen, making his Garsington debut, and directed by Annilese Miskimmon, Garsington Opera. Artistic Director of Norwegian National Opera, who we welcome back nine years after her Il re pastore at Garsington Manor. We will be expanding to four opera productions for the very first time and we will now have two resident orchestras as the Philharmonia Orchestra joins us for Our fourth production will be a revival from 2011 of Rossini’s popular comedy, Pelléas et Mélisande. Il turco in Italia. We are delighted to welcome back David Parry, who brings his conducting expertise to his 13th production for us, and director Martin Duncan Our own highly praised Garsington Opera Orchestra will not only perform Le who returns for his 6th season. nozze di Figaro, Il turco in Italia and Semele, but will also perform the world premiere of Roxanna Panufnik’s Silver Birch at the conclusion of the season. To cap the season off we are very proud to present a brand new work commissioned by Garsington from composer Roxanna Panufnik, to be directed Pelléas et Mélisande, Debussy’s only opera and one of the seminal works by our Creative Director of Learning & Participation, Karen Gillingham, and I of the 20th century, will be conducted by Jac van Steen, who brought such will conduct.
    [Show full text]
  • Our Newly Designed Website We Are Happy to Announce That the Twin Cities Opera Guild Has a New Website That Can Now Be Accessed on Your Phone
    Celebrating 69 Years of Opera Education for Children Summer 2021 Newsletter 2021 Spring Benefit to Fund Music Education for Children Enjoy A Virtual Celebration – A Video from Fargo Moorhead Opera Young Artists August 24, 2021 Interlachen Country Club • Edina Featuring Alyssa Anderson, Mezzo Soprano Justin Spenner, Baritone Julian Ward, Pianist Our Newly Designed Website We are happy to announce that the Twin Cities Opera Guild has a new website that can now be accessed on your phone. Check us out at: www.twincitiesoperaguild.org on your computer or phone Letter from the President of TCOG It looks like we made it! We are Country Club and the delicious miso sea bass, so we at the end of the tunnel, and it are holding our fun Party in Pink, with sea bass, at looks bright and sunny. All of us Interlachen on August 24. I am so looking forward to suffered in many ways – illness, hearing opera in person again! Details are elsewhere grief, loneliness. Getting my in this newsletter. I hope everyone can come! Our Big Welcome Back Party vaccine in February was the best This is my last letter as President. I have enjoyed thing imaginable, I could reenter meeting you all, our events, and projects. Twin Cities the world. Opera Guild is in fine shape, and our new President, TCOG decided to wait a bit before resuming our Kathryn Keefer, has a long history with TCOG and events, to give folks time to get vaccinated and adjust will do a wonderful job. I hope to see you all at our to the new maskless world.
    [Show full text]
  • Mario Ferraro 00
    City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1.
    [Show full text]
  • William Dazeley Baritone
    William Dazeley Baritone William Dazeley is a graduate of Jesus College, Cambridge. He studied singing at the Guildhall School of Music and Drama, where he received several notable prizes including the prestigious Gold Medal, the Decca/Kathleen Ferrier Prize and the Richard Tauber Prize and won such competitions as the Royal Overseas League Singing Competition and the Walther Grüner International Lieder Competition. Engagements in the current season include MARCELLO La Boheme for Grange Park Opera, the world premiere of LIKE FLESH for the Opera de Lille and MUSIKLEHRER Ariadne auf Naxos for the Opera de Montpellier. Most recently, William sang DON ALFONSO Così fan tutte for the Royal Danish Opera, FATHER Hansel & Gretel in his company debut for Grange Park Opera, PROSECUTOR Frankenstein in the world premiere of Mark Grey’s opera Frankenstein at La Monnaie, COUNT Capriccio for Garsington Opera and PANDOLFE Cendrillon for Glyndebourne on Tour for whom he also appeared as CLAUDIUS in Brett Dean’s new award winning Hamlet. William has appeared in many of the world’s opera houses, where roles have included COUNT Cherubin, MARCELLO La Bohème, GUGLIELMO Così fan tutte, ANTHONY Sweeney Todd, YELETSKY Queen of Spades, MERCUTIO Romeo et Juliette and FIGARO Il Barbiere di Siviglia Royal Opera House, Covent Garden, PAPAGENO The Magic Flute English National Opera, ALFONSO Così fan tutte, Yeletsky, TITLE ROLE Don Giovanni, POSA Don Carlos, FANINAL Der Rosenkavalier, DANILO The Merry Widow, MR GEDGE Albert Herring Opera North, L’AMI The Fall of the
    [Show full text]
  • Two Young Singers Win Awards 11
    TWO YOUNG SINGERS WIN AWARDS Garsington Opera is delighted to announce the winners of two awards in recognition of their extraordinary talent, musical skill and contribution to the 2014 productions. The 2014 Helen Clarke Award has been won by Bradley Travis and the Simon Sandbach Award by Richard Dowling. Both singers return in the 2015 season and, as well as singing in the Britten chorus, Bradley sings German Father / Priest in St Marks / 6th Boy on Board and understudies the challenging role of the Traveller in Britten’s Death in Venice and Richard sings the roles of the Glass Maker / 1st Boy on Board in Death in Venice as well as understudying Baron Lummer in Intermezzo. One of Garsington Opera’s key objectives is to discover, encourage and nurture the best young performing talent who are given the opportunity to work alongside singers, conductors and directors of distinction. This year the 2015 season that runs from Friday 5 June – Sunday 26 July features three new productions – Richard Strauss’ Intermezzo, Benjamin Britten’s Death in Venice, Mozart’s Così fan tutte and a collaboration with the Royal Shakespeare Company of Shakespeare’s A Midsummer Night’s Dream with Mendelssohn’s incidental music. Bradley Travis said “I am very pleased to receive this award. Garsington Opera is so important to me as it was my first professional job after leaving the Royal College of Music and proved to be a highly rewarding, creative and enjoyable experience. “The award couldn’t have come at a better time and I am delighted” says Richard Dowling.
    [Show full text]
  • The Bach Variations: a Philharmonic Festival March 6–April 6, 2013
    FOR IMMEDIATE RELEASE February 20, 2013 Contact: Katherine E. Johnson (212) 875-5718; [email protected] THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL MARCH 6–APRIL 6, 2013 PROGRAM II OF IV Alan Gilbert To Conduct Mass in B minor With Soprano Dorothea Röschmann, Mezzo-Soprano Anne Sofie von Otter, Tenor Steve Davislim, and Bass-Baritone Eric Owens with the New York Choral Artists March 13–16 The New York Philharmonic will present The Bach Variations: A Philharmonic Festival March 6–April 6, 2013. On the festival’s second orchestral program, Alan Gilbert will conduct the Philharmonic in Bach’s Mass in B minor, with soprano Dorothea Röschmann, mezzo-soprano Anne Sofie von Otter, tenor Steve Davislim, bass-baritone Eric Owens, and the New York Choral Artists, Joseph Flummerfelt, director, Wednesday, March 13, 2013, at 7:30 p.m.; Thursday, March 14 at 7:30 p.m.; Friday, March 15 at 8:00 p.m.; and Saturday, March 16 at 8:00 p.m. “The Mass in B minor is a consummate masterpiece that makes me feel humble as a musician when I hear it,” Alan Gilbert said. “Bach took a liturgical, religious starting point and made it even more universal. No matter what you believe, no matter your religious credo, or whether or not you even have a religious credo, it is impossible not to be incredibly moved by this music because it speaks from one human being directly into the heart of another. I feel very privileged to be able to touch this music.” The Bach Variations marks the first time the New York Philharmonic has presented a festival of the music of the Baroque master.
    [Show full text]
  • General Index
    Cambridge University Press 0521780098 - The Cambridge Companion to Twentieth-Century Opera Edited by Mervyn Cooke Index More information General index Abbate, Carolyn 282 Bach, Johann Sebastian 105 Adam, Fra Salimbene de 36 Bachelet, Alfred 137 Adami, Giuseppe 36 Baden-Baden 133 Adamo, Mark 204 Bahr, Herrmann 150 Adams, John 55, 204, 246, 260–4, 289–90, Baird, Tadeusz 176 318, 330 Bala´zs, Be´la 67–8, 271 Ade`s, Thomas 228 ballad opera 107 Adlington, Robert 218, 219 Baragwanath, Nicholas 102 Adorno, Theodor 20, 80, 86, 90, 95, 105, 114, Barbaja, Domenico 308 122, 163, 231, 248, 269, 281 Barber, Samuel 57, 206, 331 Aeschylus 22, 52, 163 Barlach, Ernst 159 Albeniz, Isaac 127 Barry, Gerald 285 Aldeburgh Festival 213, 218 Barto´k, Be´la 67–72, 74, 168 Alfano, Franco 34, 139 The Wooden Prince 68 alienation technique: see Verfremdungse¤ekt Baudelaire, Charles 62, 64 Anderson, Laurie 207 Baylis, Lilian 326 Anderson, Marian 310 Bayreuth 14, 18, 21, 49, 61–2, 63, 125, 140, 212, Andriessen, Louis 233, 234–5 312, 316, 335, 337, 338 Matthew Passion 234 Bazin, Andre´ 271 Orpheus 234 Beaumarchais, Pierre-Augustin Angerer, Paul 285 Caron de 134 Annesley, Charles 322 Nozze di Figaro, Le 134 Ansermet, Ernest 80 Beck, Julian 244 Antheil, George 202–3 Beckett, Samuel 144 ‘anti-opera’ 182–6, 195, 241, 255, 257 Krapp’s Last Tape 144 Antoine, Andre´ 81 Play 245 Apollinaire, Guillaume 113, 141 Beeson, Jack 204, 206 Appia, Adolphe 22, 62, 336 Beethoven, Ludwig van 87, 96 Aquila, Serafino dall’ 41 Eroica Symphony 178 Aragon, Louis 250 Beineix, Jean-Jacques 282 Argento, Dominick 204, 207 Bekker, Paul 109 Aristotle 226 Bel Geddes, Norman 202 Arnold, Malcolm 285 Belcari, Feo 42 Artaud, Antonin 246, 251, 255 Bellini, Vincenzo 27–8, 107 Ashby, Arved 96 Benco, Silvio 33–4 Astaire, Adele 296, 299 Benda, Georg 90 Astaire, Fred 296 Benelli, Sem 35, 36 Astruc, Gabriel 125 Benjamin, Arthur 285 Auden, W.
    [Show full text]
  • LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
    LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’.
    [Show full text]
  • A Little Night Music
    WELCOME It is a real pleasure to welcome you to the Quarry before last, and who share the role of Fredrika in Theatre for the first time in many months for our A Little Night Music. It’s a thrill to be able to perform co-production of Stephen Sondheim’s A Little Night Sondheim’s work in Jonathan Tunick’s original Music. This latest collaboration between Leeds orchestrations, with the brilliant Orchestra of Opera Playhouse and Opera North represents a significant North conducted by one of the world’s leading step for both organisations on the road back to a full interpreters of classic musical theatre, Jim Holmes. programme of performances for live audiences. Behind the scenes, our staff have been working The partnership between our two companies has incredibly hard to ensure a safe environment flourished since our work together five years ago for performers and audiences alike, and that on another Sondheim musical, Into the Woods, and will continue to be a top priority as we plan for has grown all the stronger during the pandemic. performances without restrictions in the coming Against the odds we made an all too brief return months. There is much to look forward to from to live performance together last October with both companies, with Pam Gems’ sensational play the Connecting Voices season, which included about the life of Edith Piaf at the Playhouse later Orpheus in the Record Shop, an extraordinary new this summer, and an autumn season that includes work by Leeds-based artist Testament, which was the magical Christmas show Wendy and Peter subsequently filmed for BBC4’s Lights Up festival.
    [Show full text]
  • Download Booklet
    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).
    [Show full text]