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THE SEVEN

DEADLY SINS WEILL WELCOME

Welcome to North’s new production of I’d also like to thank James Brining, Robin Hawkes ’s The Seven Deadly Sins. This is our first and their team at Playhouse for working fully-staged theatrical production since the onset together with us to realise not only this project, of the Covid-19 pandemic in March, and we are but also our enterprising Connecting Voices season delighted to share it with you. which took place in October. We look forward to continuing our partnership with our friends at the This production was originally planned as part Playhouse in the New Year. of a double bill with Handel’s Acis and Galatea to open at Leeds Playhouse in mid-November In the months since March we have stayed for a live, socially-distanced audience, but the true to our purpose of creating extraordinary government’s announcement at the end experiences through music and opera with of October of a second national lockdown and for our communities across the North and forced the postponement of the double bill beyond. We will continue to do so in the weeks until 2021. Despite this latest setback, we ahead, through projects such as Abel Selaocoe’s remain determined to make and share work soundwalk for Leeds As You Are; La petite bohème, with audiences wherever we possibly can; Matthew Robins’ new animated film of Act III hence this livestream performance of of Puccini’s much-loved opera; and a livestream The Seven Deadly Sins. from on 12 December of our new concert staging of Beethoven’s great hymn I’d like to pay tribute to the spirit in which to liberty and hope, Fidelio, at the end of the everyone involved has approached the creation composer’s 250th anniversary year. Whatever of the show: our cast, , Shelley Eva uncertainties may lie ahead, we will continue Haden, Nicholas Butterfield, Stuart Laing, Dean to respond with creativity, courage and generosity Robinson and Campbell Russell; the creative team in our determination to make music for everyone. of James Holmes, Gary Clarke, George Johnson- Leigh and Mike Lock; all the technical staff; and of course members of our ever-intrepid Orchestra. The production has been rehearsed and staged in a Covid-secure environment, with two-metre physical distancing in place, and the entire OBE team has embraced this challenge as a creative Richard Mantle opportunity to be seized rather than a limitation General Director to be endured.

Cover – front: Shelley Eva Haden (Anna II); back: Wallis Giunta (Anna I). Photograph by Tristram Kenton This page: Richard Mantle. Photograph by Justin Slee

1 2 Switch ON - Welcome THE SEVEN DEADLY SINS DIE SIEBEN TODSÜNDEN

Ballet chanté in nine scenes

Music by Kurt Weill Text by Bertolt Brecht Arrangement for 15 players by HK Gruber and Christian Muthspiel Performed in the English translation by Michael Feingold

This streamed performance of Weill’s The Seven Deadly Sins presents a preview of a new arrangement of this work by HK Gruber and Christian Muthspiel, ahead of the arrangement’s scheduled UK premiere by in Spring 2021. We are very grateful to The Royal Opera for facilitating this performance.

By arrangement with Schott Music Ltd., agent for The Kurt Weill Foundation for Music and the heirs of Bertolt Brecht

In rehearsal: Shelley Eva Haden (Anna II), Nicholas Butterfield (Brother), Wallis Giunta (Anna I) Photograph by Tom Arber

3 3 Switch ON - The Seven Deadly Sins CHARACTERS in order of singing

Anna I Wallis Giunta Anna II Shelley Eva Haden

Brothers Stuart Laing Nicholas Butterfield Father Campbell Russell Mother Dean Robinson

Conductor James Holmes Director and Choreographer Gary Clarke Designer George Johnson-Leigh Costumes realised by Stephen Rodwell Lighting Designer Mike Lock

Assistant Conductor Martin Pickard Assistant Director Sophie Gilpin Dramaturgical Advisor Lou Cope Chief Repetiteur Martin Pickard Stage Manager Lisa Ganley Deputy Stage Manager (Book) Abby Jones Assistant Stage Manager Alison Best Production Manager Ray Hain Senior Costume Supervisor Stephen Rodwell Costume Supervisor Mary Gillibrand Wigs and Make-up Supervisor Jo Charlton-Wright Textiles Natalie Needham Costumes Costume Department Prop Making and Scenic Painting by Mandy Burnett Lucy Campbell-Skelling Scott Thompson Props Supervisor Mandy Burnett Production Carpenter Jonny Hick

Livestream film credits Director Jonathan Haswell Script supervisor Gemma Dixon Outside Broadcast Facilities Timeline TV Engineering Manager James Poole

The performance of The Seven Deadly Sins lasts approximately 35 minutes

In rehearsal – this page: Shelley Eva Haden (Anna II); next page: Wallis Giunta (Anna I) Photographs by Tom Arber

1 4 Switch ON - Characters SYNOPSIS

Anna I (who sings) and Anna II (who dances) are twin sisters. At the behest of their family, they travel to seven different American cities in order to make enough money to build a little house on the banks of the Mississippi.

In each city, the twins encounter a different deadly sin: Sloth, Pride, Anger, Gluttony, Lust, Greed and Envy. Anna I (the practical one) rebukes Anna II (the artistic one) for engaging in sinful behaviour – that is, behaviour which hinders the accumulation of wealth.

After each sin is repented in turn, they return to the new house in Louisiana.

5 Switch ON - Synopsis In rehearsal: Gary Clarke (Director / Choreographer) Photograph by Tom Arber

SPEAKING OF SINS

Conductor James Holmes, director and choreographer quickly and respond to things as they come up in Gary Clarke and designer George Johnson-Leigh talk the room’. Whatever the pressures, Gary admires to Stuart Leeks about Opera North’s first fully-staged Opera North’s determination to stick to its mission production since the start of the Covid-19 pandemic of making and sharing music with audiences whatever in the UK in March. the circumstances; hence the present livestream of The Seven Deadly Sins. ‘The fact that the Opera North ‘We’ve got to talk about time’ says Gary Clarke has committed to this show is a real testament to the midway through our conversation. Usually, Company’s bravery and resilience,’ he says. Opera North productions are planned at least eighteen months in advance. Gary – along with the rest of the Written and premiered in Paris in 1933, The Seven creative team – got the call inviting him to direct this Deadly Sins was to be the final collaboration between production just three weeks before rehearsals were the composer Kurt Weill and the playwright Bertolt due to start. And just a week or so after we spoke, Brecht. They had scored a huge hit together with The plans had changed again. Originally intended to open Threepenny Opera in 1928, but their relationship soured in a double bill with Handel’s Acis and Galatea at as they worked towards the premiere of The Rise and Leeds Playhouse on November 11th to a live, socially- Fall of the City of Mahagonny in 1930. A major point distanced audience, the government’s announcement of contention was their opposing views of the function on Halloween of a second national lockdown forced of music in the : Brecht distrusted anything the postponement of the double bill in the theatre until that encouraged audiences to empathise with the early 2021. Gary explains: ‘Usually with a project of characters on stage: he wanted audiences to retain this scale I’d have given myself a research period their objectivity. Jim Holmes explains: ‘In many ways of several months when I’d have fully immersed myself Brecht was a very musical man, but his view of music in the piece, just to make sure that I honour the work was that it should be functional. He didn’t have much and its context and history. We haven’t had that luxury, time for the emotional power of music. Weill took so I’ve been fast-tracking myself, staying up until another view, and when they were working together 2 in the morning, reading and scribbling’. George adds: on the Mahagonny opera this fundamental difference ‘The conversations I’d usually be having a year in between them was bound to come to a head. It didn’t advance are happening alongside the creation of the signify a total rift at the time, but there is no doubt that work in the rehearsal room. But there’s an excitement their relationship hit distinctly rocky ground’. about that because we’re having to make decisions

11 6 Switch ON - Speaking of Sins Left – in rehearsal: Dean Robinson (Mother) Above – in rehearsal: Wallis Giunta (Anna I) Photographs by Tom Arber

Both Brecht (a Marxist) and Weill (a Jew) fled Germany in 1933 when the Nazis seized power. Weill sought refuge in Paris, where he met a wealthy English admirer of his work, Edward James, who commissioned a new theatre piece from him. Jim takes up the story: ‘There was also a personal motive for the commission. Edward James was estranged from his wife, a dancer called Tilly Losch, and I guess he hoped to effect some kind of reconciliation with her through artistic means’. It’s easy to imagine a degree of fellow feeling between the two men, since at the time Weill was also estranged from his wife, the singer and actor Lotte Lenya. Jim continues: ‘James also admired Lenya, so the idea of a ballet chanté – a sung ballet – involving both Losch and Lenya was born. This evolved into the idea of the two playing a woman with a split personality – or alternatively identical twin sisters – with Lenya singing and Losch dancing’. Jean Cocteau was approached to supply the text, but when he refused the offer Weill and James turned to Brecht. ‘Brecht had been fascinated by the idea of representing a split personality on stage since the middle of the 1920s’ says Jim. ‘In The Seven Deadly Sins Anna I is the practical one – the ‘seller’ – and Anna II is the idealistic one – the artist if you like. And if Anna I is the seller, Anna II is the commodity. Brecht always felt that Weill was too much the dreamer and that his music needed words to render it relevant

12 Switch ON - The Seven Deadly Sins 7 Switch ON - Speaking of Sins and practical. So in a way the piece is a perfect metaphor for the fractured state of their relationship. But it also functions on many other levels: as a critique of capitalism, of the church, of the way that women are treated in this society’.

The autobiographical context and the historical moment of the work are key to Gary’s conception of the production. ‘I love its political edge’ he says. ‘I got really angry when I first read it, especially at the hypocrisy of the family (Anna’s father, mother and two brothers). I really wanted to draw that out and give Anna and the family background and history’. For Gary, the family’s exploitation of Anna is rooted in the desperation of their situation. ‘We’ve made them German immigrants fleeing the rise of Hitler and ending up in America in the early 1930s. They’ve lost everything they had, and little did they know they’d be arriving in the depths of the Depression. So in our production they are homeless – they literally do not have a roof over their heads.’ Anna has the skills to make a fortune on stage or in film in America, so the family sends her off to make the money they need to build a new life. Her geographical journey is doubled in the production by a trip through the cultural landscape of the 1930s, with Gary referencing the films of Charlie Chaplin, the Dying Swan of Russian ballerina Anna Pavlova, the extravagant Hollywood choreography of Busby Berkeley, and the ‘grotesque pantomime’ of German cabaret dancer Valeska Gert. Crucially, there’s

Left – in rehearsal: James Holmes (Conductor) Above – in rehearsal: Shelley Eva Haden (Anna II), Wallis Giunta (Anna I) Photographs by Tom Arber

13 8 Switch ON - Speaking of Sins a visible tension in George’s design for the production between the promise of the American dream as portrayed through the lens of Hollywood and the reality of life for millions of Americans during the Depression. Gary mentions the ‘Hoovervilles’ – shanty towns of the homeless that sprang up in major American cities in the early 1930s. The set is imagined as an abandoned film studio – an ironic metaphor for the whole of the country at the time, as George explains: ‘Hollywood was still booming in the 1930s – it was probably one of the few things in America that was – so we’ve created a visual representation of the reality of the state of the country juxtaposed with the dream of Hollywood’.

It’s here that the requirement for two-metre distancing on stage has been seized by the team as a creative opportunity rather than a limitation. Each sin is contained within a box marked out on the stage floor. The space between the boxes is the ‘no man’s land’ where the family is forced to live. When one person makes a move, the effect on everyone on stage has been painstakingly considered every step of the way during rehearsals. Thus the journey of the two Annas around the set as they visit the seven American cities inevitably keeps the rest of the family on the move – a physical representation of their status as displaced people. Jim says: ‘The plight of dispossessed people is a thread that runs through Weill’s work; being in that situation himself, it’s something he could really relate to. But the thing never to forget is that he wanted to entertain the audience. There are one or two of his finest tunes in this piece and the music is constructed as a rather beautiful arch. It’s very accessible and has an immediate emotional impact, because Weill couldn’t work any other way’.

Left – in rehearsal: Campbell Russell (Father) Above – in rehearsal: Wallis Giunta (Anna I), Dean Robinson (Mother), Shelley Eva Haden Anna II) Photographs by Tom Arber

13 9 Switch ON - Speaking of Sins Widow (); and Paquette Candide (Hamburger Symphoniker). In concert, recent highlights ARTISTS’ include an acclaimed solo recital at the BBC Proms in Cadogan Hall, returns to Münchner Rundfunkorchester BIOGRAPHIES (Mozart Die Schuldigkeit des Ersten Gebots), Koerner Hall, (Bernstein Centenary Gala), Mozart C minor Mass (Gewandhausorchester) and Beethoven NICHOLAS BUTTERFIELD Symphony No.9 (National Arts Centre Orchestra in Brother ). For Opera North: Angelina, title role L’Enfant studied at the Royal Northern et les sortilèges and Dinah . College of Music and graduated with a BMus (Hons). He has sung SHELLEY EVA HADEN Count Rostov War and Peace Anna II (RNCM Symphony Orchestra); was nominated in the outstanding bass soloist I Giardini della storia female performance category (Batignano Festival); Michel in at the 2017 National Dance Martin Butler’s A Better Place Awards, voted for by the Critics’ (RNCM); Schaunard La bohème (Mananan Festival, Circle. She graduated from the Opus 1 Opera); Carpenter and Captain Corcoran HMS Northern School of Contemporary Pinafore, Pooh-Bah The Mikado (Carl Rosa); Boroff Dance in 2014 with a First-Class Fedora, Inn Keeper Manon Lescaut and Dr Grenvil La BA (Hons) in Contemporary traviata (Holland Park). He joined the Chorus of Opera Dance Performance, having become the first-ever North in December 2006 as an additional chorister student to achieve 100% on the solo choreography and, subsequently, on a full-time basis in the spring assessment – her Silver Shelter is now part of the of 2007. For Opera North: Pantalone The Adventures school’s repertoire. She has toured internationally, of Pinocchio, John P. Tweedledee Let ‘em Eat Cake, and her performance credits include Sam Amos Bubyentsov Paradise Moscow, Dancairo , (TrashDollys), Autin Dance Theatre, Corey Baker Official Registrar , Guide Death in Dance, Jamaal Burkmar (Extended Play), Gary Clarke, Venice, Larkens The Girl of the Golden West, Marquis Maxine Doyle (Punchdrunk), Rhiannon Faith Company, La traviata, Fiorello , Narrator in the ORIANTHEATRE Dance Company, Tamsin Fitzgerald West Playhouse/Opera North co-production (2Faced Dance Company), Keneish Dance, and Rosie of , Second Mate Billy Budd, Trio Trouble Kay Dance Company. Her work as a choreographer, in Tahiti and Kuligin Katya Kabanova. Other highlights educator, curator and movement director is wide- include being part of the award-winning Britten ranging, spanning commissions, independent projects, centenary production of on staged shows, commercials, television, film and opera. Aldeburgh Beach. Her collaborations in opera include Birmingham Opera Company’s Lady Macbeth of Mtsensk and WAKE WALLIS GIUNTA (Dir. Graham Vick, 2019 and 2018); the Royal Danish Anna I Opera, and Scottish Opera’s (Dir. John Fulljames, 2019). This is her Opera North debut. was the winner of the Young Singer category at the 2018 International Opera Awards and STUART LAING Breakthrough Artist in UK Opera Brother in the 2017 WhatsOnStage trained at the West Australian Awards. Recent highlights Academy of Performing Arts, include Dodo in ’s Australian Opera Studio, West Breaking the Waves (Edinburgh Australian Opera Company and International Festival / Adelaide Festival); and house Guildhall School of Music and debuts at (Angelina ) and Drama. Opera includes: Jaquino Deutsche Oper am Rhein (Bradamante ). Operatic Leonore, Lensky Eugene Onegin, highlights include role debuts as Carmen, Rosina title role Peter Grimes, , The Barber of Seville, Octavian Tito , Lysander A Midsummer (Oper Leipzig); Idamante Idomeneo (, Night’s Dream, Stage Manager Our Town, Squire Toronto); Flora La traviata with Plácido Domingo (Royal Lovemore The Lottery, Tinca Il tabarro, Chaplitsky/ , Muscat); Cherubino Le nozze di Figaro Master of Ceremonies The Queen of Spades, Froh Das (); The Seven Deadly Sins (Real Rheingold, Don Basilio/Don Curzio Le nozze di Figaro, Orquesta Sinfónica de Sevilla); Mercédès Carmen (Oper Nick La fanciulla del West, Horace Adams Peter Grimes, Frankfurt); Sesto La clemenza di Tito, Dorabella Così Remendado Carmen, Voltaire/Dr Pangloss Candide, Dick fan tutte (); Olga The Merry McGann , Mozart Mozart i Salieri, King Ouf

1512 Switch ON - The Seven Deadly Sins 10 Switch ON - Artists’ Biographies Stuart Laing continued Opera North where his roles include: Remendado L’Étoile, Tiger Brown The Threepenny Opera, Nathanael Carmen, Royal Herald Don Carlos, Crow Doctor and and Dr Spalanzani Les Contes d’Hoffmann, Witch Hansel Sinister Man The Adventures of Pinocchio, Third and Gretel. Companies he has appeared with include: Burgess Peter Grimes, Joe The Girl of the Golden West, Wexford Festival Opera, Buxton Festival Opera, Grange Circus Manager The Bartered Bride, David Bascombe Park Opera, Bury Court Opera, Fulham Opera, Ryedale and Major-Domo Der Rosenkavalier. He has Festival, Guildhall Opera School, West Australian Opera appeared many times at the Edinburgh International and Australian Opera Studio. He is a member of the Festival, as well as at Lisbon and Oporto’s City of Chorus of Opera North, and his roles for the Company Culture celebrations. Other roles include: Rodolfo include: Tinca, Peppe Pagliacci, Amelia’s Servant La bohème, Cavaradossi , Don Ottavio Don , Third Jew , Berlin to Giovanni, Prince Charmant Cendrillon, Lensky Eugene Broadway, First Armed Man , Parpignol Onegin. He sang regularly with The John Currie La bohème, Daniel Buchanan Street Scene. Singers and has appeared and recorded with The Caledonian Tenors. DEAN ROBINSON Mother JAMES HOLMES was born in Australia and Conductor studied at RNCM with major straddles the worlds of opera and support from the Peter Moores musicals in a wide-ranging career. Foundation. He has appeared A former ENO staff conductor as principal guest artist with and Opera North’s Head of Music The Royal Opera, ENO, WNO, from 1996-2008, he has become Scottish Opera and Netherlands well-known in recent years for Opera. Festival appearances ‘classic’ , include the Rossini Opera Festival and Garsington. including: Carousel (National In concert he has sung under Gardiner, Haitink, Rattle, Theatre); Pacific Overtures, Rise and Fall of the City Colin Davis, Slatkin, Nagano, Pappano and Armstrong. of Mahagonny, Street Scene (ENO); Sweeney Todd, Film appearances include: First Officer The Death of , The Seven Deadly Sins, Arms and Klinghoffer and Goffredo in Judith Weir’s Armida. For the Cow, Of Thee I Sing, Paradise Moscow, Carousel Opera North: Fabrizio The Thieving Magpie, Zaccaria and Street Scene (Opera North); Into the Woods (West Nabucco, Imperial Commissioner Butterfly, Narumov Yorkshire Playhouse/Opera North); The King and I The Queen of Spades, Montano , Swallow Peter (Châtelet, Paris); One Touch of Venus (Dessau); Street Grimes, Theseus A Midsummer Night’s Dream, José Scene (Berlin); Into the Woods, Magical Night (ROH2); Castro The Girl of the Golden West, Doctor Macbeth, Pat Kirkwood is Angry (Royal Exchange Theatre/Tour); Doctor Grenvil La traviata, Bartolo Figaro, Betto di Signa Sweeney Todd, Kiss Me, Kate (WNO); Wonderful Town , David Bascombe Carousel, Don Basilio (Vienna Volksoper); and The Silver Lake (English Touring The Barber of Seville, Foreman Jenufa˚ , Pietro Fleville/ Opera). Recordings include: Pacific Overtures (Grammy Fouquier-Tinville Andrea Chénier, Commissar Der nomination); One Touch of Venus, Street Scene (DVD); Rosenkavalier, Bermyata The Snow Maiden, Mandarin and as pianist/arranger, Mercy and Grand – The Tom , Konečny Osud, Bonze Butterfly, Count Ribbing Waits Project. He has conducted as wide a range of Un ballo in maschera, First Nazarene Salome, Kromov Kurt Weill’s work as anyone in the world, is Trustee of , British Major Silent Night, Speaker the Kurt Weill Foundation, New York, and is currently The Magic Flute, Old Man The Greek Passion, Curio preparing the Critical Edition of the composer’s Gulio Cesare, Abraham Kaplan Street Scene; and the orchestral music. In 2018 he became only the seventh West Yorkshire Playhouse/Opera North co-productions ever recipient of the Foundation’s Lifetime Achievement of Into the Woods (Baker) and Berlin to Broadway. Award for his services to the composer.

CAMPBELL RUSSELL GARY CLARKE Father Director / Choreographer studied singing at the Royal is an acclaimed British Scottish Academy of Music and Choreographer, Dancer and Drama with Neilson Taylor. At the Artistic Director of Gary Clarke RSAMD he was winner of the Company. His theatrical dance Prize for Oratorio Performance, works have toured extensively he also performed the roles of nationally and internationally Nero The Coronation of Poppea, to both critical and audience Chevalier de la Force Dialogues of acclaim. His work has been seen the Carmelites and Tamino Die Zauberflöte. On leaving in some of the UK’s most prestigious dance houses, the RSAMD he joined Scottish Opera, for whom he including The Barbican, the Royal Opera House and performed many roles. He subsequently joined the Southbank Centre. He has received many awards

1512 Switch ON - Artists’The Seven Biographies Deadly Sins 11 Switch ON - Artists’ Biographies Gary Clarke continued MIKE LOCK for his work including a UK Theatre Award for Lighting Designer Achievement in Dance, a Critics’ Circle National trained at the Bristol Old Dance Award, a Herald Angel Award and the Brian Vic Theatre School in stage Glover Memorial Award. He has created stage and management and technical site-specific work for a number of other companies theatre. He has worked on and and organisations including Sky Arts, Ludus Dance lit shows covering most forms Company, Akademi, Hull City of Culture and the 2012 of theatre, including The Inside Olympic and . He has worked as Outside Slide Show for Alan a movement specialist on a number of large-scale Ayckbourn; Charley’s Aunt, The feature films including World War Z, JK Rowling’s Price (York Theatre Royal); The Adventures of Mr Toad, Fantastic Beasts and Where to Find Them and The Picture of Dorian Gray, Street Scene (Lawrence The Mummy. His performance credits include work Batley Theatre, Huddersfield); Grimaldi (Georgian with Matthew Bourne’s New Adventures, Lloyd Theatre Royal, Richmond); and The Last Cuckoo, Newson’s DV8 Physical Theatre, Lea Anderson’s Lost Boy Racer (Co-production/LBT). As Deputy and The Cholmondeleys and The Featherstonehaughs, now Head of Lighting at Opera North, Mike has been Sadler’s Wells Productions, re-lighting for more than 20 years. Designs and Candoco Dance Company. In 2017 Gary was include revivals of La traviata, Peter Grimes, Macbeth, appointed an Honorary Fellow at The Northern School Jenufa˚ and the world premiere of Jessica Walker’s of Contemporary Dance. For Opera North: Hansel and Not Such Quiet Girls. Gretel and Street Scene. DAVID GREED GEORGE JOHNSON-LEIGH Orchestra Leader Designer was appointed Leader of the trained at The Liverpool Institute Orchestra of Opera North in for Performing Arts, achieving a 1978 becoming, at that time, the First Class BA (Hons) degree in youngest leader in the country. Theatre and Performance Design. His repertoire is extensive, He was a joint winner of the 10th including all of the major violin European Opera Directing Prize concertos. He has appeared with director Karolina Sofulak, as guest Leader with many designing Opera Holland Park’s orchestras, including the Philharmonia, CBSO, BBC 2019 production of Manon Lescaut as the prize. Credits National Orchestra of Wales, BBC Philharmonic, BBC include: As Set, Lighting and Costume Designer: Vanda Scottish Symphony Orchestra, Hallé, Royal Liverpool (Teatr Łaznia Nowa Kraków); My Night with Reg (The Philharmonic, Royal Northern Sinfonia, Bournemouth Lowry); and Trouble in Tahiti (Royal Sinfonietta, Norwegian Opera, Royal Opera House, Conservatoire of Scotland); Beyond Shame (Derby Irish Chamber, Manchester Camerata and English Theatre); The Original Chinese Conjuror (Northern National Ballet. In March 1999 he led the Orchestra Opera Group); Pirates Revisited! (Opera North Youth of the Royal Opera on its concert tour of the USA and Company). As Set and Costume Designer: Manon in November 2007 he was guest leader of the Orchestra Lescaut (Opera Holland Park); Influence (Derby Theatre); of Norwegian Opera in Oslo. His recordings include Who Cares? (The Lowry). As Lighting Designer: The The Lark Ascending for Naxos, conducted by David Mountain and Other Tales of She Transformed (Leeds Lloyd-Jones, and the Elgar Concerto with the International Festival); Plurality of Abhinaya (Lakeside Hertfordshire Youth Orchestra. He is Music Director Arts); Recreation (ARC Stockton); S/HE ( of the Sinfonia of Leeds, with whom he has made King’s Cross). As Associate Designer: Pagliacci, recordings of Bartók, Lutosławski, Chopin, Beethoven L’Enfant et les sortilèges, , Trial by and Rachmaninov piano concertos. He has also Jury, Osud, Trouble in Tahiti (Opera North); Story of Our conducted the Cleveland Philharmonic, the City of Youth (National Youth Theatre). As Assistant Designer: Leeds Youth Orchestra, the Helix Ensemble and at I masnadieri (Teatro alla Scala, Milan); (Teatr RNCM and Chetham’s School, Manchester. He coaches Wielki Poznan); Jenufa˚ (Santa Fe Opera); The Reluctant violin for the National Youth and European Union Youth Fundamentalist (National Youth Theatre). Orchestras. He has also made visits to the State of Kasakhstan and has held the position of Principal Guest Conductor with its National Symphony Orchestra. He plays on a violin owned by the Yorkshire Guadagnini 1757 Syndicate.

Switch ON - Artists’The Seven Biographies Deadly Sins 12 Switch ON - Artists’ Biographies ORCHESTRA OF OPERA NORTH

Music Director Garry Walker Principal Guest Conductor Antony Hermus

First Violin David Greed

Second Violin Cristina Ocaña Rosado

Viola David Aspin

Cello Daniel Bull

Bass Diane Clark

Flute Luke O’Toole

Clarinets Andrew Mason Sarah Masters

Bassoon Adam Mackenzie

Horn Alexander Hamilton

Trumpet Adam Wood

Trombone Blair Sinclair

Timpani/Percussion Mark Wagstaff

Percussion Christopher Bradley

Piano Philip Voldman

In rehearsal: Shelley Eva Haden (Anna II) Photograph by Tom Arber

13 Switch ON - Orchestra of Opera North The Seven Deadly Sins Kurt Weill

November 2020

Opera North Grand Theatre 46 New Briggate Leeds LS1 6NU Tel: 0113 243 9999

Registered Charity No. 511726

operanorth.co.uk

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