RNCM-Brochure-Summer-2018.Pdf
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Christopher Diffey – TENOR Repertoire List
Christopher Diffey – TENOR Repertoire List Leonard Bernstein Candide Role: Candide Volkstheater Rostock: Director Johanna Schall, Conductor Manfred Lehner 2016 A Quiet Place Role: François Theater Lübeck: Director Effi Méndez, Conductor Manfred Lehner 2019 Ludwig van Beethoven Fidelio Role: Jaquino Nationaltheater Mannheim 2017: Director Roger Vontoble, Conductor Alexander Soddy Georges Bizet Carmen Role: Don José (English) Garden Opera: Director Saffron van Zwanenberg 2013/2014 OperaUpClose: Director Rodula Gaitanou, April-May 2012 Role: El Remendado Scottish Opera: Conductor David Parry, 2015 (cover) Melbourne City Opera: Director Blair Edgar, Conductor Erich Fackert May 2004 Role: Dancaïro Nationaltheater Mannheim: Director Jonah Kim, Conductor Mark Rohde, 2019/20 Le Docteur Miracle Role: Sylvio/Pasquin/Dr Miracle Pop-Up Opera: March/April 2014 Benjamin Britten Peter Grimes Role: Peter Grimes (cover) Nationaltheater Mannheim: Conductor Alexander Soddy, Director Markus Dietz 2019/20 A Midsummer Night’s Dream Role: Lysander (cover) Garsington Opera: Conductor Steauart Bedford, Director Daniel Slater June-July 2010 Francesco Cavalli La Calisto Role: Pane Royal Academy Opera: Dir. John Ramster, Cond. Anthony Legge, May 2008 Gaetano Donizetti Don Pasquale Role: Ernesto (English) English Touring Opera: Director William Oldroyd, Conductor Dominic Wheeler 2010 Lucia di Lammermoor Role: Normanno Nationaltheater Mannheim 2016 Jonathan Dove Swanhunter Role: Soppy Hat/Death’s Son Opera North: Director Hannah Mulder, Conductor Justin Doyle April -
6 December 2013 Page 1 of 11
Radio 3 Listings for 30 November – 6 December 2013 Page 1 of 11 SATURDAY 30 NOVEMBER 2013 Julie Adam and Daniel Herscovitch (pianos) The new film includes a score by Marco Beltrami, who was Oscar nominated for his music for "The Hurt Locker". The SAT 01:00 Through the Night (b03j9xff) 5:27 AM programme offers the opportunity to hear part of his new score 1:01 AM Tchaikovsky, Peter Ilyich [1840-1893] for "Carrie" as well as other scores by Beltrami. Sculthorpe, Peter [1929-] Suite no. 4 (Op.61) in G major "Mozartiana"; Kakadu Polish Radio Symphony Orchestra, Lukasz Borowicz The programme also features music from "The Shining"; "The Tasmanian Symphony Orchestra, Marko Letonja (conductor) (conductor) Shawshank Redemption" and "Dreamcatcher"; as well as music from "Apt Pupil", "Children of the Corn", "The Running Man" 1:17 AM 5:53 AM and "Dead Zone". Tchaikovsky, Peter Ilyich [1840-1893] Berezovsky, Maksim (1745-1777) Concerto for piano and orchestra no. 1 (Op.23) in B flat minor Ne otverzhy mene vo vremia starosti ('Do not forsake me in my The classic score of the week is "Psycho" by Bernard Alexander Gavrylyuk (piano), Tasmanian Symphony Orchestra, old age') Herrmann. Marko Letonja (conductor) Dumka Academic Cappella, Evgeny Savchuk (director) #soundofcinema. 1:51 AM 6:04 AM Mendelssohn, Felix [1809-1847] Ravel, Maurice [1875-1937] Wedding March (A Midsummer Night's Dream) arr for piano Sonata for violin and piano in G major SAT 17:00 Jazz Record Requests (b03k0cnr) Alexander Gavrylyuk (piano) Peter Oundjian (violin), William Tritt (piano) London Jazz Festival 2013 1:57 AM 6:22 AM A special edition of Jazz Record Requests recorded at the Prokofiev, Sergei [1891-1953] Muffat, Georg [1653-1704] and Lully, Jean-Baptiste Barbican Centre as part of the London Jazz Festival 2013 Romeo and Juliet - ballet (Op.64) - excerpts [1632-1687] including the chance for listeners' to make their requests in Tasmanian Symphony Orchestra, Marko Letonja (conductor) Suite for Orchestra (with many loud whip cracks) person. -
Download Book2
MY LIFE AS AN IMPECUNIOUS OPERA LOVER by Peter M. Scott There are a number of reasons why a taste for the opera, once acquired, can prove difficult to satisfy, but the one most commonly encountered, in my experience, has been the expense involved. I have chosen, therefore, to begin this account of my own addiction to it by proposing that the primary objective of opera, as an artform, should be to combine music and drama in ways which give greater pleasure than might be obtainable from either of these elements separately at a lower cost. Serious students of the genre may see this as a statement of the obvious, but, in my case, it is a conclusion drawn from my own experience as a consumer of opera rather than a criterion adopted in advance. It is also a proposition with which some other consumers of opera, and even some producers of it, would seem, on the evidence available, to disagree, and I am willing to concede that it may only hold good for an operagoer who is also, like me, a concertgoer and playgoer, and of limited means. Not that I had been to many, if any, plays or concerts when, against all possible odds, I attended my first opera in the wartime Britain of 1941 at the age of only fifteen, having spent a solidly working-class childhood in the backstreets of Bradford, Yorkshire, where my only musical education had been derived from a few gramophone records, the local chapel, the cinema, and, eventually, the radio, which my parents were unable to afford until I was nearly ten years old. -
CV Full 9:11:20
H O L L Y P I G O T T 07849493923 [email protected] www.hollypigott.co.uk I am a London based performance designer who graduated from the Royal Welsh College of Music and Drama in 2011. I was a finalist in the Linbury Prize for Stage Design and completed a year long residency as Trainee Designer with the Royal Shakespeare Company. As a set and costume designer I have worked for many venues and companies in the UK and beyond, including the Royal Opera House, Young Vic, Sadler’s Wells and Copenhagen Opera Festival, and I am an Associate Artist of The Faction. My recent credits include Fleabag (West End, Wyndam’s Theatre), Ages Of The Moon (Vaults Theatre) and L’elisir d’amore (Iford Opera). I also work as a designer for film, events and interiors. My designs for film include music videos for Lucy Rose as well as numerous promotional films for Dusthouse and the Royal Shakespeare Company. I recently designed the set for musician 1010 Benja SL at the Serpentine Pavilion and co-designed the interiors of The Wardrobe Theatre in Bristol and restaurant Balls & Co in Soho. Alongside this work I like to involve myself in collaborative projects which allow me to work with children and adults, either in an educational or community setting. I recently worked with Opera Anywhere to create an online educational package for The Mikado and I am currently working with community arts charity Arts Together. To see images of my work, please visit my website at www.hollypigott.co.uk QUALIFICATIONS + AWARDS BA (Hons) Theatre Design / Royal Welsh College of Music and Drama, 2008 - 2011 Linbury Prize Finalist, 2011 Lord Williams Memorial Prize for Design, 2011 Foundation Diploma in Art and Design / Wiltshire College, 2007 - 2008 DESIGN CREDITS Fleabag by Phoebe Waller-Bridge, dir.