If When

The time is WNO 2015/2016 Season Madness Autumn 15 I puritani Bellini Orlando Handel Sweeney Todd Sondheim

Figaro forever Spring 16 The Barber of Seville Rossini The Marriage of Figaro Mozart Figaro Gets a Divorce Elena Langer

WNO@70 Summer 16 In Parenthesis Iain Bell Cavalleria rusticana & Pagliacci Mascagni and Leoncavallo

Registered Charity No 221538 In 2015 everything is ‘on demand’. We can watch films and TV wherever we are, whenever we feel like it. But live opera isn’t like that. There are only so many days a year it can be performed. You have to make time for it, make room in your diary and get there. Once it’s gone, it’s gone.

But it’s worth it. Every performance is unique and special. It’s a time that creates memories to cherish forever.

Our 2015/2016 season may not start for some months but plan your opera-going now. Make sure you don’t let those one-off, never to be repeated moments pass you by. Make time in 2015/2016 for opera.

The time is WNO. 5

WNO@70 Our past, present, future

WNO’s 2015/2016 season looks back in two very significant ways, celebrating both WNO’s 70th birthday and, with our new commission of In Parenthesis, the 100th anniversary of the Battle of the Somme. But with two newly commissioned works, it also looks forward in even more important ways, celebrating the continuing creative energy of the art form of opera - a genre frequently written off as dead but in fact one that continues to re-invent itself with astonishing vigour. The other new work of our season, Figaro Gets a Divorce, manages to look both ways at once, as it takes up the destinies of some of opera’s most beloved characters, and projects them into a future that their creators could hardly have imagined.

Not many 70 year olds look far into the future with quite so much confidence and ambition as we do. But that confidence springs from the continuing passion for telling stories through music which is the simple but all-important heart of the operatic matter. Telling stories is one of the essential distinguishing features of human beings - you are not going to convince me that trees do it, or even earwigs. And music counts as one of our most potent and rich means of communicating with each other, which is why opera is not phased at all by the digital world: it simply uses a new means of communication to broaden its appeal and to enrich its diversity and access.

It is another constant of the highly complex and ambitious art form of opera that it is always about to run out of money, and I predict that we will do that many times over in the next 70 years. But the essential joy of what we communicate through the sound of music - the language which may most nearly emulate the divine - wedded to the ritual gesture of theatre, will survive all the pragmatic pitfalls, and continue to enrich and define the civilisation of our social, humane discourse.

David Pountney Chief Executive & Artistic Director Sweeney Todd’s mania for revenge leads him to Autumn 2015 plumb the depths of human savagery. Orlando’s jealousy takes him over the edge of reason and on to the very gates of Hell itself. Elvira’s love for brave Arturo knows no bounds, but when he appears to abandon her, she tumbles into the abyss.

Stories from different times and different ages but all showcase the same power of human emotion and expose the fragility of the human mind. WNO dares you to join us on our journey to explore human turmoil. I puritani Bellini Orlando Handel Sweeney Todd Sondheim

wno.org.uk/madness I puritani Bellini

New production

‘I puritani epitomises bel canto at its best – exploring and depicting characters, situations, and emotions through the singing voice’ Francesco Izzo (Associate Professor of Music at the University of Southampton).

Bellini’s English Civil War drama is the most purely entertaining of all bel canto operas. There are vocal fireworks aplenty. But they are never at the cost of character, story and emotional depth. I puritani contains a cavalcade of great opera moments. One such moment is the scene in which our heroine Elvira, having lost her mind, longs for her lover Arturo. Elvira’s spectacular high notes reveal her emotional distress. Another is the duet in which the reunited lovers share what they believe will be their final embrace.

It is often said that I puritani is rarely performed because it is hard to find a cast who can tackle Bellini’s demanding score. We are delighted to have such a cast. The team includes one of today’s great tenors, Barry Banks, following his triumphant performances in William Tell and Moses in Egypt. Annilese Miskimmon’s new production combines the historical atmosphere and costumes of the English Civil War. If you haven’t joined us for the bel canto series so far, now is the time. Fans of great Italian opera need to see I puritani.

wno.org.uk/puritani Turbulent times 10 Welsh National Opera 2015/2016 Season Autumn | Madness 11

I puritani Bellini

New production

Conductor Carlo Rizzi Plot summary Director Annilese Miskimmon The tide of the English Civil War is turning against Designer Leslie Travers the Royalists. In the darkness of a prison fortress, Mark Jonathan Lighting Designer Elvira, daughter of the Puritan leader Lord Valton, loses her reason when she mistakenly believes Cast her Royalist lover, Arturo, has abandoned her for Elvira Rosa Feola (until 20 Oct), Linda Richardson (from 27 Oct) another woman. With the defeat of the Stuarts Lord Arturo Talbo Barry Banks imminent, the lovers are finally reunited, and Sir Riccardo Forth David Kempster Elvira’s reason is restored. Sir Giorgio Wojtek Gierlach

Co-production with Den Jyske Opera/Danish National Opera Supported by John Ward, WNO Bel Canto Syndicate, Peter and Veronica Lofthouse and The Kobler Trust

• Performances start at 7pm, except for Cardiff on Sunday 4 October at 4pm • Running time approximately three hours 20 minutes including one interval • Sung in Italian with surtitles in English (and Welsh in Cardiff and Llandudno) 12 Welsh National Opera 2015/2016 Season Autumn | Madness 13

WNO’s guide to I puritani As a whole, I puritani has a characteristic and coherent sound world, blending deeply sentimental and effusive moments (such as Arturo’s entrance, the duet for the two lovers, and Giorgio’s heartfelt aria) with what Bellini himself A soprano and a tenor in love; a jealous quartet’. Bellini carefully tailored his music baritone; a fatherly bass. Conflict to the abilities of each of these artists. For called ‘a touch of military vigour and something of between love and duty. Madness. An soprano Giulia Grisi he provided a wealth abundance of high notes. Anyone wishing of coloratura, fully justified dramatically Puritan austerity’. to be introduced to a quintessentially first by her youth and rapture (as in her romantic bel canto melodrama should polonaise, ‘Son vergin vezzosa’), then by look no further than Vincenzo Bellini’s I madness and despair (as in her extended puritani. With this work the 33 year old mad scene in Act II). For Rubini, who had composer, at the height of his fame, won previously created the lead tenor roles in over the audience of the Théâtre Italien several of his operas, including in Paris, which had commissioned it. Il pirata and La sonnambula, he provided The première, on 24 January 1835, was intensely lyrical lines showcasing his touch of military vigour and something suffering, that keeps us nailed to our an astounding success. The Parisians extraordinary upper register (the high of Puritan austerity’. Unlike the Donizetti chairs even at times where little takes showered Bellini with honours, and he D-flat in his entrance piece, ‘A te, o cara’, ‘Tudor’ operas that date from the same place in terms of dramatic action. Although felt he was ‘second only to Rossini’ (an is proverbial, but the entire role is filled period, no heads roll here, and Elvira a great deal of the singing is extremely undeserved sting to his contemporary and with expansive ascents to high notes). For and Arturo are granted a fairy-tale challenging on technical grounds, none principal competitor, Gaetano Donizetti). Tamburini and Lablache, both described happy ending. Throughout the opera, of it should be understood as sheer as basses at the time but effectively Bellini’s orchestration is more robust virtuosic display; I puritani epitomises bel A debut in Paris was an opportunity not to a baritone and a bass, he provided and sophisticated than in earlier works, canto at its best – exploring and depicting be missed for any Italian composer at the opportunities for solo display at moments and so is his harmonic language and characters, situations, and emotions time, and Bellini did all he could to meet of heightened emotion, and a stirring use of formal procedures. Awareness of through the singing voice. the expectations of the local audience. patriotic duet at the end of Act II. current trends in French opera probably In his endeavour, he was assisted by informed some of his decisions, as did The plot of the opera, too, is rather one of the most formidable groups of As a whole, I puritani has a characteristic Rossini’s influence. Nonetheless, the sophisticated, balancing between the vocal virtuosos that ever existed – Giulia and coherent sound world, blending melodic vein is unmistakably Bellinian, individual pursuit of happiness of Elvira Grisi, Giovanni Battista Rubini, Antonio deeply sentimental and effusive moments and the profusion of memorable tunes and Arturo and the backdrop of the Tamburini, and Luigi Lablache, who sang (such as Arturo’s entrance, the duet for throughout the score is staggering. English Civil War. The political aspect the principal roles and subsequently the two lovers, and Giorgio’s heartfelt It is that profusion, in fact, as well as comes to the fore at various points, but came to be referred to as the ‘Puritani aria) with what Bellini himself called ‘a Elvira’s heartrending despair and mental nowhere more poignantly than in the 14 Welsh National Opera 2015/2016 Season

No one could have predicted that the triumph of I puritani would be Bellini’s last.

duet for Riccardo and Giorgio, whose only one to appreciate it; as English celebrated cabaletta, ‘Suoni la tromba, e critic Henry Chorley put it: ‘errand-boys intrepido’, contains the words ‘Gridando whistled it, barrel-organs ground it’. The libertà’ (‘crying liberty’). Carlo Pepoli, days of errand boys, barrel organs, and who wrote the libretto for I puritani, was romantic princesses may be long gone, an Italian patriot living in exile in Paris, but the appeal of the many extraordinary and it is no wonder that he exploited tunes in the opera is undiminished. Which this moment in the opera for a rousing one will you be humming to yourself after call to action. Bellini himself indicated a WNO performance? that the duet was ‘so liberal that it is frightening’, and once the opera arrived A moment with... in Risorgimento Italy the censors Dean Wright Trumpet frequently suppressed the inflammatory Francesco Izzo is Associate Professor of cry of freedom, replacing the words with Music at the University of Southampton. The best thing about WNO is… Friendship. The friendship within the company, and ‘Gridando lealtà’ (‘crying loyalty’). But the the relationships we have with our sponsors, partners and our audience. music speaks all too eloquently. © Francesco Izzo What would you like WNO to achieve in the future? Keep breaking new ground No one could have predicted that the with new pieces, but most importantly, keep being brilliant. triumph of I puritani would be Bellini’s last. At the end of the summer he contracted Tell us something we don’t know about WNO? On tour, the orchestra alone will an intestinal infection, mistaken by the drink an average of 358.7 cups of tea and coffee in a performing week! Fact. doctors for cholera, and he died on 23 September. But I puritani lived on, Still or sparkling? Still. Sparkling makes you burp. Which isn’t good when playing becoming one of the most popular Italian the trumpet! operas of the time. When the opera Burton or Hopkins? Burton. His reading of Dylan Thomas’s ‘Do Not Go Gentle Into reached London in April 1835, it struck a soft spot in the heart of Princess Victoria, That Good Night’ sends shivers down my spine whenever I hear it. who thereafter referred to the piece as ‘the dear Puritani’. And she wasn’t the Photo: A score waits in the wings Orlando Handel New production

‘An adventurous journey through the deepest recesses of the human soul and a treasure trove of memorable music moments’ Valeria De Lucca (Lecturer in Music at the University of Southampton).

Messiah, the Water Music, the Music for the Royal Fireworks – these are the works for which Handel is best known today. But he remains one of the giants of opera. Very few composers possess his understanding of the human condition. Full of ravishing music and poignant drama, Orlando is one of his greatest operas. It is also the perfect place to begin a love affair with his operas.

In Orlando Handel explores the destructive side of love as our hero is pushed over the edge by his feelings for Angelica. The moment of his madness takes place at the end of Act II. Orlando thinks he is in the underworld. The scene encapsulates how skilfully Handel conveys human suffering throughout the opera. His brilliant writing for the scene combines quiet torment and fevered anguish to sublime effect. It is preceded by Angelica’s aria which is among the loveliest and most touching music Handel ever wrote. Handel’s opera reaches into our souls.

Harry Fehr’s acclaimed staging stylishly updates this tale of inner turmoil to the outset of the Second World War. We have assembled a world-class cast of Handel performers for this production. The cast, conducted by acclaimed Baroque interpreter Rinaldo Alessandrini, includes international counter-tenor Lawrence Zazzo in the title role. Rebecca Evans, one of the Country’s finest singers, sings the role of Angelica.

‘Harry Fehr’s pithy, poignant production’ The Independent on Sunday ‘Harry Fehr has created a moving and provocative human drama ...’**** The Guardian

wno.org.uk/orlando Out of time, out of mind 18 Welsh National Opera 2015/2016 Season Autumn | Madness 19

Orlando Handel

New production

Conductor Rinaldo Alessandrini (until 28 October), TBA (from 4 November) Plot summary Director Harry Fehr In a mythical world of spirits and heroes, Designer Yannis Thavoris broken-hearted young warrior Orlando descends Lighting Designer Anna Watson into madness and violence when he is rejected by Video Designer Andrzej Goulding Princess Angelica, in favour of another man. With Associate Director Kally Lloyd-Jones the magical intervention of Zoroastro the Wizard, Angelica’s life is saved, and Orlando’s mind can Cast Orlando Lawrence Zazzo finally be at peace again. Angelica Rebecca Evans Medoro Robin Blaze (except 21 Oct), TBA (21 Oct) Dorinda Fflur Wyn Zoroastro Daniel Grice

A Scottish Opera production Supported by WNO Bel Canto Syndicate and WNO Friends

• Performances start at 7.15pm, except Cardiff on Sunday 27 September at 4pm • Running time approximately three hours including two intervals • Sung in Italian with surtitles in English (and Welsh in Cardiff and Llandudno) 20 Welsh National Opera 2015/2016 Season Autumn | Madness 21

WNO’s guide to Orlando It is in his depiction of the character of Orlando that Handel used the most extraordinary palette of musical colours, displaying his versatility in the last role he composed for one of the leading castrati of the time, the celebrated Senesino.

When Handel’s Orlando appeared on the Renaissance poems with a supernatural stage of the King’s Theatre on 27 January element (Rinaldo from Tasso’s 1733, Italian opera was under attack. In Jerusalem Delivered being the most fact, the imported genre, which Handel had noteworthy precedent) after many years championed since his arrival in London of explorations of themes and figures and the composition of Rinaldo (1711), had drawn from ancient history. The hero from been the object of increasing criticism by Ariosto’s Orlando Furioso gave Handel the those who supported the institution of an opportunity to explore the human soul in English national musical theatre. Handel’s more depth than ever before, while magic Zoroastro, a magician, is at once spectator sensual aria ‘Se fedel vuoi ch’io ti creda’ operas, with their Italian librettos, formal and the unforeseeable provided the perfect of Orlando’s vicissitudes and deus ex proving that love, even when it is only a conventions, use of castrati and exuberant backdrop to contemplate the erratic machina. He lays out the main dilemma pretence, can inspire ravishing music. display of vocal virtuosity, had been the nature of destiny. Five characters share of the opera – the choice between love preferred target of such criticism. And yet the stage in a drama that, enhanced by and glory – at the opening of Act I, inviting But it is in his depiction of the character during the last few years of his operatic extraordinarily powerful music, takes the Orlando to choose the latter in his aria of Orlando that Handel used the most activity, before he turned mainly to the audience on a wild ride through jealousy, ‘Lascia Amor, e siegui Marte.’ But all men, extraordinary palette of musical colours, composition of English oratorios, Handel the pretence of love, guilt, defeat, self- including heroes, are victims of the blind displaying his versatility in the last role he was to produce some of his masterpieces discovery and madness. Divided into three god of love, as Dorinda discovers. Her composed for one of the leading castrati of in an attempt not only to ensure the acts, the story follows the love of Orlando, unreciprocated love for Medoro inspired the time, the celebrated Senesino. Orlando survival of opera seria in England, but the knight who has defeated enemies and some of the most beautiful music of the is depicted as a profoundly human hero, also to infuse new energy into the genre. terrible monsters, for Angelica. Orlando, opera, including the trio that concludes whose music embodies the very essence Orlando, with its blend of familiar features however, has yet to confront his worst Act I, in which the two lovers Angelica and of the tension between rationality and and musical and dramatic novelty, was one enemy – his own passions – when he Medoro try to comfort the inconsolable love, faith and deceit through his journey of Handel’s most valiant efforts to defend discovers that Angelica loves Medoro, who shepherdess. It is only in Act III that Dorinda of self-discovery and transformation. In Italian opera. loves her back. At the realisation that she can face the truth and conclude that ‘Amor Act I, strong in his belief of Angelica’s love has betrayed him, Orlando’s mind plunges è qual vento, che gira il cervello’ – Love is for him, he sings ‘Fammi combattere,’ Based on a libretto by Carlo Sigismondo into madness and despair, beginning like a wind that makes one’s head spin. In expressing in early bel canto fashion the Capece, adapted for Handel by an a journey that will lead him through the the meantime Angelica, unable to break the power and boldness of youth to confront anonymous poet, Orlando marks darkest alleys of the human soul. knight’s heart, hides her love for Medoro monsters and enemies for her sake. the composer’s return to the Italian and tries to deceive Orlando with the highly Orlando, however, is not ready to confront 22 Welsh National Opera 2015/2016 Season

A moment with... Marilyn Stolz Human Resources Manager

Horrible visions of specters materialise before his My biggest achievement is... Completing 40 years at WNO! eyes, as he imagines himself as Orpheus, taking a The best thing about WNO is... The dedication and commitment of the staff. journey to the abyss of his mind. What would you like WNO to achieve in the future? Connecting with the man in the street.

Mozart or Rossini? Mozart.

Hills or Valleys? Valleys.

the idea of losing Angelica and the opera times. We must be grateful that today reaches its dramatic and musical climax we can enjoy such a masterfully devised at the end of Act II, when he bursts into opera, with its opportunities for grand a mad scene of unprecedented power. coups de théâtre, languid introspective Horrible visions of spectres materialise moments, ravishing sensuality, and before his eyes, as he imagines himself as original treatment of operatic Baroque Orpheus, taking a journey to the abyss of conventions. Handel’s lovers will recognise his mind. For this scene Handel devised many of the features that make his music an uninterrupted musical tour de force that such an indispensable presence in the defies the formal conventions of Baroque operatic canon, while being surprised opera: the initial accompanied recitative, by the originality of this particular score; with sudden changes of tempo, key and for anyone else, this is an adventurous accompaniment, gives way to an elaborate journey through the deepest recesses of rondo that captures the obsessiveness of the human soul and a treasure trove of madness (‘Vaghe pupille’). memorable musical moments.

Fortunately the detractors of the Italian genre did not succeed in discouraging Handel from composing opera seria Valeria De Lucca is Lecturer in Music at the and after Orlando there were still several University of Southampton. masterpieces to come, including two further operas based on Ariosto’s Orlando © Valeria De Lucca Furioso – Ariodante and Alcina. Starting with its early revivals in the 1920s, Orlando has enjoyed much success in modern Photo: The children’s dressing room The Demon Barber of Fleet Street A Musical Thriller

New production

Music and lyrics by Stephen Sondheim Book by Hugh Wheeler From an adaptation by Christopher Bond Originally directed by Harold Prince Original orchestrations by Jonathan Tunick

Sweeney Todd fills a void with a bloody and blind quest for vengeance. Those who enter his shop get more than a close shave. The unlucky ones end up in Mrs Lovett’s rather unsavoury pies, proving you are what you eat.

Sondheim’s masterpiece is by turns hugely funny, terrifying and deeply sad. It works on a number of different levels, is complex but always engaging. In a scene of high comedy, Mrs Lovett explains why hers are ‘The worst pies in London’. In another, Sweeney is reunited with the razor blades he left behind when he was wrongfully imprisoned. There are few scenes like it. On one hand it is disturbing – he regards the razors as his friends and begins to be distanced from the real world – but it is also strangely moving. The musical’s finale is devastating but also hugely cathartic.

James Brining’s thrilling production is set in the late 1970s/early 1980s. It emphasises Sondheim’s message that it’s not just Sweeney who is insane. Through its corruption and inequality, society is totally mad. See Sweeney Todd and you’ll find that it buries itself in your consciousness and refuses to leave. Sweeney Todd has all the emotional impact of the greatest operas. It deserves to be performed by the forces of our Chorus and Orchestra.

‘This is a fascinating, febrile evening, but not one for those who like their musical theatre succulent and untroubling. It spares the audience nothing, and like one of Mrs Lovett’s meat pies it leaves a nasty taste in the mouth.’ The Guardian

wno.org.uk/sweeney Next? 26 Welsh National Opera 2015/2016 Season Autumn | Madness 27

Sweeney Todd Sondheim

New production

Conductor James Holmes Plot summary Director James Brining After 15 years of wrongful imprisonment, barber Designer Colin Richmond Sweeney Todd returns to London in search of Chris Davey Lighting Designer his wife and daughter. He loses his mind when Choreographer Anna Morrissey pie-shop owner Mrs Lovett reveals their respective murder and mistreatment at the hands of a Cast to be announced sinister Judge. His grizzly quest for revenge leads to a heartbreaking discovery.

Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in association with Dean and Judy Manos Presented by arrangement with JOSEF WEINBERGER LIMITED on behalf of MUSIC THEATRE INTERNATIONAL of New York Co-production with Wales Millennium Centre and West Yorkshire Playhouse in association with Royal Exchange Theatre

• Performances start at 7.15pm, except Cardiff on 8 & 9 October, 24, 25, & 27 November at 7.30pm and 26 & 28 November at both 2pm and 7.30pm and 29 November at 2pm • Running time approximately three hours ten minutes including one interval • Sung in English (please note there will be no surtitles) • Amplification will be used in this production in line with music theatre practice 28 Welsh National Opera 2015/2016 Season Autumn | Madness 29

WNO’s guide to

Sweeney Todd and procedure of relevance and tradition and wickedly clever lyricist understands from both high and low culture, those above all is how to ratchet up musical, sounds and styles, not picked apart (unlike verbal and dramatic tension and then the bodies of Todd’s victims), but crafted release it so that you thoroughly surprise with loving expertise and enjoyed entirely yourself in your equally wicked enjoyment. on their own terms. The score ranges from slapstick, burlesque and strutting Sweeney Todd is not an opera; it remains a walkarounds to soaring romantic ballads musical. Every word, sung at the speed of Stephen Sondheim’s Sweeney Todd careful and witty Dickensian touches you and delicate art songs; from creepy speech, can and must be heard. Its catchy is a Broadway musical that has been would expect from a period piece, as well organ voluntaries and terrifying musical or soulful or insidious tunes are much taken into the operatic repertoire. How as Dickens’s scary atmosphere. And being soliloquies of rage to the most seductive, repeated, though always for a reason. Its come? By the late 1970s Sondheim was a melodrama, everything was larger than and yet hilarious, sung Viennese waltz ingenu croons, its female comic croaks well known as a composer and lyricist for life, just as in opera. It could be pretty as Todd and his accomplice Mrs Lovett and belts. It is theatre even before it is Broadway musicals. He had written the much all set to music and sung, and would suddenly realise how to get rid of the body music, and acts itself out within the fast- lyrics for West Side Story and Gypsy and not merely be a matter of song-and-dance he has just murdered – by rebranding paced vaudeville tradition. It still has plenty the music as well as the lyrics for shows numbers interspersed with lots of spoken her pie business with (secretly) human of spoken dialogue, sometimes leading such as A Funny Thing Happened on ‘book’ scenes. The other thing was that its ingredients. What Sondheim the musician into song, and plenty of short scenes with the Way to the Forum, Follies and A Little plot of a serial killer at loose in old London Night Music. He had had a popular hit reminded him of a film he had seen as with the song ‘Send in the clowns’. But a teenager about a mad composer: paradoxically, all these projects he had Hangover Square, with music by Bernard made his own by working as part of a team Herrmann (who wrote the scores for the – that is how Broadway musicals operate Hitchcock films). He had always wanted – on subjects and adaptations originating to be able to write incidental music like with other people. Sweeney Todd was Herrmann’s (which of course included the Sweeney Todd is not an opera; it remains a different, and it shows, or rather sounds. fictional mad composer’s own concerto), and now was his chance. Enlisting the help musical. Every word, sung at the speed of speech, In 1974 he was in London, a city he loves of Hugh Wheeler in refashioning Bond’s more than anywhere except his native New play for the musical theatre, he set to. The can and must be heard. Its catchy or soulful or York, and saw a production of Christopher Broadway director Hal Prince put it on insidious tunes are much repeated, though always Bond’s fairly recent play Sweeney Todd at the New York stage, where it premièred in Joan Littlewood’s left-wing Theatre Royal, 1979. for a reason. Its ingenu croons, its female comic Stratford East. For once it was his idea that this had to become a musical, and that he What had emerged was Sondheim’s croaks and belts. had to write it. The reason? It was funny, it biggest score – not as big as Gershwin’s was exciting, and it was popular – a revival folk opera Porgy and Bess, but packed of bloodbath melodrama but with all the equally full of every rich musical sound 30 Welsh National Opera 2015/2016 Season

Characters, especially Sweeney himself, sing with operatic vehemence, power, and sustenance, and they are backed up by orchestral devices and instrumental harmonies of considerable sophistication...

dazzling stage management between the ending. Above all, heroic or romantic them. It is very funny, and Mrs Lovett is one music can in a moment give way to the of the great comic villains of the theatre. sneakiness of character and the wit of note and rhyme that have you laughing out At the same time it is complex and loud. What other composer since Rossini disturbing, while never less than moral has managed that? and fundamentally tragic. Sweeney addresses one love song to a trick chair It really does have the best of both worlds, (which will despatch his customers) and and so does the audience. Yet Sondheim sings two others as he is cutting throats. has never repeated the formula; all the Characters, especially Sweeney himself, more reason to go and see Sweeney Todd. sing with operatic vehemence, power, and sustenance, and they are backed up by orchestral devices and instrumental harmonies of considerable sophistication, Stephen Banfield is Emeritus Professor of on occasions with the modernistic Music at the University of Bristol. harshness of Copland or Stravinsky, at other times with emotional leitmotifs © Stephen Banfield or psychological transitions worthy of Wagner. Melodic clues are interwoven that underline the motivation and foretell Photo: Carmen and Don José – a view from the wings He laughed. He loved. He lost. Spring 2016

For over 200 years he has remained one of opera’s most popular and enduring creations. Truly, he stands the test of time. Making matches. Making mischief. Making audiences worldwide smile and laugh with his lust for life and love. Rossini’s The Barber of Seville and Mozart’s Figaro forever The Marriage of Figaro are much loved by opera lovers and are the perfect introduction for newcomers. Then in a world première we catch up The Barber of Seville Rossini with our hero in Figaro Gets a Divorce. Just how The Marriage of Figaro Mozart has time taken its toll? Figaro Gets a Divorce Elena Langer

wno.org.uk/figaroforever The Barber of Seville Rossini

New production

The Barber of Seville should be available on the NHS. Upbeat and optimistic, Rossini’s sunniest creation is the perfect pick-me up. Its fantastic slapstick energy is destined to rub off on anyone who sees it.

The pace is fast and never lets up from the start. Everyone is carried along by a whirlwind of crazy disguises, twists and turns and unlikely interventions. Barber opens with one of the best loved of all overtures, full of wit and playfulness. Figaro lets us know he is society’s problem solver in the great comic aria, ‘Largo al factotum’. Rosina’s sparkling aria ‘Una voce poco fa’ makes it very clear that she’s not someone you’d want to mess with.

We have assembled an exceptional cast of comic performers including the peerless Andrew Shore as the greedy Doctor Bartolo. This is our first new production of The Barber of Seville for nearly 30 years. It is the perfect opportunity to bask in the warmth and sunniness of this ultimate feel-good opera with a sparkling new translation by Kelley Rourke.

wno.org.uk/barber Time to laugh 36 Welsh National Opera 2015/2016 Season Spring | Figaro forever 37

The Barber of Seville Rossini

New production

Conductor James Southall Plot summary Director Sam Brown Figaro, a quick-witted barber, agrees (for a Set Designer Ralph Koltai generous sum) to help Count Almaviva woo Sue Blane Costume Designer Rosina, the closely-guarded ward of the Lighting Designer Linus Fellbom greedy Doctor Bartolo, who fancies her and her Assistant Set Designer Robin Don substantial inheritance for himself. Together, Cast the lovers and their friseur plot an escape that Figaro Nicholas Lester involves bribery, subterfuge and numerous comic Rosina Claire Booth disguises along the way. Count Almaviva Nico Darmanin Bartolo Andrew Shore Basilio Richard Wiegold

Co-production with Grand Théâtre de Genève Supported by WNO Partners

• Performances start at 7.15pm • Running time approximately two hours and 50 minutes including one interval • Sung in English with surtitles in English (and Welsh in Cardiff and Llandudno) 38 Welsh National Opera 2015/2016 Season Spring | Figaro forever 39

WNO’s guide to The Barber of Seville This is an Italian opera, and in addition to the ensemble scenes and the more comic moments, one should expect an abundance of arias, in which individual characters express their love, hopes, anger, and plots. Some 20 minutes into Rossini’s The success, staged in the original language Barber of Seville, the orchestra bursts into and in translation at countless locations in one of the most extraordinary expressions Italy and all over the world. By 1818 it had of energy, verve, and joie de vivre of reached London, and in 1825 it became any opera, announcing the imminent the first opera to be performed in Italian in appearance of Figaro, an infinitely New York. alternation of dialogue and brief lyrical with his rank. Analogously, Rosina resourceful and rightfully boastful barber. episodes, commanding the spectator’s introduces herself to the audience in the Since 1816, when Il barbiere di Siviglia first The reasons for the success are not attention throughout. celebrated ‘Una voce poco fa’ (‘A voice a appeared at the Teatro Argentina in Rome, difficult to understand: Figaro’s entrance short while ago’), in which she cherishes this character and the opera he inhabits aria, ‘Largo al factotum’ (‘Make way for the Of course this is an Italian opera, and the thought of winning ‘Lindoro’ for have been perennial features on stages factotum’) may well be the signature piece, in addition to the ensemble scenes and herself and writes him a letter describing around the world. but every moment of The Barber of Seville the more comic moments, one should her own personality. (Lindoro, of course, is filled with highly entertaining subject expect an abundance of arias, in which is none other than Count Almaviva in As with several other celebrated operas, matter and memorable music. To be sure, individual characters express their love, disguise, seeking to woo Rosina for who the opening night was a tremendous Rossini and his librettist, Cesare Sterbini, hopes, anger, and plots. Several of the he is and not for his money). Then, in fiasco: as Rossini reported in a letter to capitalised on well-established comic arias in The Barber of Seville consist of two the Act II lesson scene, she sings a more his mother, ‘Last night my opera went on stereotypes. Consider the scenes in which movements, according to a conventional complex piece, where she adopts a more stage, and it was solemnly booed’. Several Count Almaviva, the affluent and powerful formal pattern well established in Rossini’s elevated style to express her strengthening incidents had disrupted the performance nobleman in love with Rosina, enters her operas. All of them are exquisite examples confidence and frustration with her tutor, (most famously, the unexpected house disguised first as a soldier, then as of musical characterisation, in which the greedy Doctor Bartolo, who desires appearance of a cat onstage), and a music teacher. The disguise is as old an Rossini succeeds in expressing both the to marry Rosina to lay his hands on her supporters of Giovanni Paisiello, who expedient as comedy itself, but Rossini’s nature of the character and a particular fortune. had composed a very successful music injects new life into it, masterfully dramatic situation. The two serenades Il barbiere di Siviglia prior to Rossini, may depicting first the brash soldier’s sung by Count Almaviva depict his youthful An opera buffa (‘buffa’ is the conventional have tried their best to hiss the new opera drunkenness, then the querulous and spirit, genuine feelings, and refined Italian for ‘comic’) of the early 19th century off the stage. Within a few performances, servile music teacher seeking to ingratiate manners, whereas his highly virtuosic final must feature at least one pure-breed comic however, the fate of Rossini’s Barber himself with Doctor Bartolo. In those aria (sometimes omitted in performance), character, often an elderly man seeking was reversed, and the opera went on scenes, the action flows seamlessly with after his identity is revealed to Rosina, to improve his social standing or to marry to become a tremendous international various characters entering, quick-paced overtly expresses the might associated a young woman. Here that character is 40 Welsh National Opera 2015/2016 Season

It is with Figaro’s music in their ears that audiences make their way home, every time wishing to have a chance to hear it again.

Doctor Bartolo, who hopes to marry Rosina trick, another disguise, another excuse so (‘by force or by love’, he says). His hope as to help the Count’s love dream come remains unfulfilled, but he does nonetheless true (and receive adequate remuneration). come across as a resourceful figure, not When the story reaches its happy ending, it easily deceived or deterred, and providing is for him to switch off the lights. For almost endless opportunities for others to scheme two centuries, every time The Barber of against him. The aria in which he confines Seville is performed, it is with Figaro’s music Rosina to her room is a magnificent in their ears that audiences make their way A moment with... opportunity for a buffo bass to showcase home, every time wishing to have a chance Ruth Evans Youth & Community Producer his ability at delivering poetry at breakneck to hear it again. We should have every speed – an effective strategy for the display confidence that in 2016, when Rossini’s My biggest achievement is... Gaining three full international rugby caps by of comically exaggerated anger. comic masterpiece turns 200, it will sound representing Wales Women’s Rugby Team in the 6 Nations and European as youthful and appealing as ever. Championships in 2009. Indeed, one of the marvels of Rossini’s The Barber of Seville is that by the end My favourite WNO moment is... On our WNO Singing Doctors project of the performance we feel that we know in the Wrexham Maelor hospital when one gentleman on the Alzheimer’s ward, and understand each of its characters Francesco Izzo is Associate Professor of who normally made no conversation with relatives or staff, sang along and intimately (including also the greedy music Music at the University of Southampton. conducted our WNO musicians from his hospital bed. The nurses and the teacher, Don Basilio, and Berta, a deeply whole team were crying. human housemaid). Each of them at once © Francesco Izzo embraces and defies convention, and each The best thing about WNO is... That every day is different! Being a producer of them comes across as sophisticated and is such a varied and interesting job. I am so privileged to work for such a fascinating. Some are likable, some less passionate and exciting company and artform. so, but all are propelled through the plot by plausible feelings, motives, aims – and Today or tomorrow? Today. music. Above all, of course, towers Figaro, present onstage for much of the opera, always ready to invent and deploy another Photo: The ladies of the Chorus from the wings The Marriage of Figaro Mozart

New production

What makes us tick? Mozart and his librettist da Ponte understood this better than most great artists. In The Marriage of Figaro, Mozart allows us to eavesdrop into a day in the life of Count Almaviva’s household.

Over the course of the opera we get to see each character’s agendas, flaws, wit and strengths. We also get to see flashes of ourselves in each character. The Countess struggles to come to terms with the possibility that her husband may not love her anymore in the heartbreaking aria ‘Porgi Amor’. In ‘Hai già vinta la causa’ the Count himself struggles with the reality that his privileged world may be changing forever. At the opera’s conclusion the Count asks for his wife’s forgiveness (and he probably means it for that moment). All seems to be resolved but we cannot be sure that he will keep his promise. Outside the Castle walls, a storm is brewing that will change everything forever.

The Marriage of Figaro preserves a moment in time for audiences of all subsequent generations. With sublime music and a huge sense of fun, Figaro, perhaps more than any work of art since captures what it means to be alive.

wno.org.uk/figaro Time to love 44 Welsh National Opera 2015/2016 Season Spring | Figaro forever 45

The Marriage of Figaro Mozart

New production

Conductor Lothar Koenigs (until 9 March, 6 & 9 April) Simon Phillippo (12 March – 2 April) Plot summary Director Tobias Richter In the Almaviva Castle, the wedding day of Set Designer Ralph Koltai Costume Designer Sue Blane servants Figaro and Susanna is fraught with Lighting Designer Linus Fellbom complications: Figaro must ward off the advances Assistant Set Designer Robin Don of the duenna, Marcellina, while Susanna must find a way to avoid her lecherous master. Cast Conspiring with the heartbroken Countess, the Figaro David Stout young couple plot to outwit the Count, who is Susanna Anna Devin made to see the error of his philandering ways, in Count Almaviva Mark Stone a day of scandalous revelation. Countess Almaviva Elizabeth Watts Cherubino Naomi O’Connell Marcellina Susan Bickley Doctor Bartolo Richard Wiegold Don Basilio / Don Curzio Alan Oke

Co-production with Grand Théâtre de Genève Supported by WNO Partners

• All performances start at 7pm • Running time approximately three hours and 25 minutes including one interval • Sung in English with surtitles in English (and Welsh in Cardiff and Llandudno) 46 Welsh National Opera 2015/2016 Season Spring | Figaro forever 47

WNO’s guide to The Marriage of Figaro It was Mozart himself, finger on the pulse of his times, who suggested turning a French play that had recently caused an uproar in Paris into an Italian opera for the court theatre in Vienna.

the pecking order. The play spoke directly is up to he declares war in an aria of to his own experience. And Mozart was scarcely controlled rage, ‘Se vuol ballare’: politically astute enough to know that ‘If you want to dance, little mister Count, the play’s message was also in accord I’ll play the tune’. The aria starts with a The overture to The Marriage of Figaro comic drama, but Beaumarchais brought with Emperor Joseph II’s own attempts mockingly formal minuet, the dance of the opens with a low chuckle that grows to an to his archetypal story a topical twist that to modernise the creaking Habsburg aristocracy, and then explodes into a series unstoppable guffaw of laughter. But what made it much more dangerous, for Count empire by dismantling the power of the of unseemly middle-class hopping dances the overture doesn’t quite prepare us for is Almaviva claims the feudal right of the feudal aristocracy, who would be the as Figaro imagines the indignities to which the anger, heartbreak and tenderness that lord of the manor to enjoy the favours of main audience for the opera at the court he will subject the Count, Mozart drawing is to follow, taking the opera’s audience on any newlywed on his estate on her bridal theatre. Despite having banned German on his audience’s knowledge of the class an emotional roller-coaster that leaves it night. Lurking beneath the age-old plot is a translations of the play, Joseph let Mozart associations of the dances of his day to uncertain whether to laugh or cry from one devastating critique of the social structures go ahead. make the point. minute to the next. of late 18th century Europe, and of the continued dominance of the aristocracy, Beaumarchais’s play is a fast-moving Throughout the opera Mozart carefully It was Mozart himself, finger on the pulse which erupts in a great tirade by Figaro intrigue with ingenious twists and turns, deploys his various musical languages of his times, who suggested turning a against the injustices of wealth and power plots and subplots. Mozart’s Italian librettist (comic, serious, sentimental, parodic) to French play that had recently caused an which still resonates today. Napoleon Lorenzo da Ponte had to shape this into depict the different characters, and then uproar in Paris into an Italian opera for the considered that the play had been the first an opera, providing, in his own words, brings them together in the equalising court theatre in Vienna. Originally banned step towards the French Revolution, which ‘canzonettas, arias, choruses, and other ensembles and finales. For the ensembles by King Louis XVI, Beaumarchais’s play began only five years later. forms and words susceptible to music’. Mozart was able to construct musical The Marriage of Figaro concerns the And he had to tone down some of the frameworks that permitted characters conflict between the aristocratic Count Mozart, too, often expressed the rage more confrontational political content. to express entirely different thoughts Almaviva, and his servant Figaro over the of those who were condemned to lowly Nonetheless, social criticism is inherent in or emotions in response to the same Count’s attentions to Figaro’s bride-to-be social status because of their class. As a the plot, expressed in the anger of Figaro situation simultaneously. One of the most Susanna. The battle between masters court musician in Salzburg he was placed and Susanna at their predicament. When remarkable examples is the sextet in Act and servants had long been a staple of above the cooks but below the valets in Figaro realises what his master the Count III when it is revealed that two of Figaro’s 48 Welsh National Opera 2015/2016 Season A moment with... Megan Llewellyn Dorke Soprano, WNO Chorus

My favourite WNO moment is... Die Meistersinger.

The best thing about WNO is... The teamwork of the Crew, Chorus, Mozart paces his finales carefully, allowing the Stage Management and all the admin. tension to build slowly until it explodes like a Today or tomorrow? Tomorrow. suppressed geyser. What would you like WNO to achieve in the future? More funding, quite frankly.

Crisps or nuts? Almonds, although I am partial to a cheeky salt and vinegar!

staunchest enemies are in fact (plot- little song with the banal words ‘I have lost spoiler alert) his long-lost parents; as the it’ ostensibly laments a lost pin. Nudge- revelations and surprises unfold, and as nudgingly we know that the song refers the characters change relationships and to the loss of her sexual innocence; but allegiances, Mozart matches every plot in truth it mourns a whole fallen world of twist and turn effortlessly in the music. regret for lost youth, innocence and times Even more remarkable are the end of past, which Mozart conveys tenderly in his act finales, when the dramatic action uniquely bitter-sweet music. is brought to a climax, with all of the characters thrown together in mounting chaos and confusion. Mozart paces his Nicholas Till is Professor of Opera & Music finales carefully, allowing the tension Theatre at the University of Sussex. to build slowly until it explodes like a suppressed geyser. © Nicholas Till

And the opera is not just about social issues. The theme of loss, of both happiness and innocence, is also prevalent throughout: the Countess Almaviva poignantly remembering happier times; Cherubino, the adolescent page boy hopelessly in love with every woman he sees; Susanna’s heartfelt invocation of the recovery of Eden; even the peasant girl Barbarina, who in an achingly wistful Photo: An afternoon rehearsal takes place Figaro Gets a Divorce

World première

Music by Elena Langer Libretto by David Pountney

So, was it really happy ever after for the Almaviva household? Has the distant thunder of the revolution in France turned into a storm from which they cannot escape? What does the world of Figaro sound like in the hands of a contemporary composer?

These questions have intrigued David Pountney. So much so that he decided to provide some answers. He’s done this by commissioning a new opera by Elena Langer for which he has written the libretto. Comic moments collide with touching ones in an opera which is part comedy, part political thriller. Langer and Pountney have created an affectionate sequel to Mozart’s classic, a testimony to human courage and resilience.

The characters of The Marriage of Figaro are some of the best-loved in opera. For those of us who have seen the opera before, they can feel like people we know, even friends. Figaro Gets a Divorce, therefore, is a one-off reunion, a chance to catch-up with these old friends.

Time to lose wno.org.uk/figarodivorce 52 Welsh National Opera 2015/2016 Season Spring | Figaro forever 53

Figaro Gets a Divorce Elena Langer

World première

Conductor TBA Plot summary Director David Pountney Set Designer Ralph Koltai The Almaviva household is fleeing the chaos of Costume Designer Sue Blane the Revolution, pursued by the evil Major who is Lighting Designer Linus Fellbom plotting to kill them all. Susanna’s frustration with Assistant Set Designer Robin Don her increasingly cynical husband, Figaro, propels her towards a one-night stand with Cherubino, Cast now a rather sleazy nightclub owner who calls Figaro David Stout himself The Cherub. Meanwhile, the Count and Susanna Marie Arnet Countess are scandalised by the revelation of Count Mark Stone Countess Elizabeth Watts each others’ infidelities. They finally return to what Serafin Naomi O’Connell remains of the Almaviva residence, and the Count The Cherub Andrew Watts and Countess are reconciled with one another, The Major Alan Oke and with their fate, as revolutionary troops advance.

Co-production with Grand Théâtre de Genève Supported by The Boltini Trust, WNO Commissions Group and WNO Partners

• Performances start at 7.15pm, except Cardiff on Sunday 21 February at 4pm • Running time approximately two hours and 30 minutes including one interval • Sung in English with surtitles in English (and Welsh in Cardiff and Llandudno) 54 Welsh National Opera 2015/2016 Season Spring | Figaro forever 55

WNO’s guide to

Figaro Gets a Divorce world: Pierre Beaumarchais, the author story where Rossini and Mozart left off: of the original Figaro plays that inspired ‘I thought he was joking!’ she laughs, ‘I Rossini’s and Mozart’s operas, wrote a was intimidated at first, but when I read sequel called The Guilty Mother, while the libretto, I saw that it follows the human in 1936, Austrian playwright Ödön von story of these characters.’ For audience Horváth wrote a darkly disillusioned members who are concerned that Figaro alternative, set in the contemporary Gets a Divorce will merely be a pale chaos of Nazi Germany. ‘I looked at the imitation of the Rossini or Mozart, Elena Beaumarchais and Horváth, and it has is keen to emphasise that the music will elements of both,’ says David, ‘but this is a create a fresh and eclectic sound world: ‘I An unfaithful Count apologises to his wife, landscape of the 21st century, the question different piece. It has its comic moments, consciously chose not to quote or make the Countess. A love-struck teenage boy of ‘What next?’ for the inhabitants of Count but it is also a political thriller.’ The resulting any references to the other two Figaro is left heartbroken. A servant and maid Almaviva’s castle could not be more timely. story, with its plot twists and intrigue, operas. There will be a range of styles, finally get married after an engagement has presented a particularly exciting from lyrical love duets, to elements of fraught with complications. Set against the The title of this action-packed sequel challenge for composer Elena Langer: cabaret and even the tango!’ For Elena, backdrop of impending political revolution, alludes to just one of several twists of fate ‘It’s so eventful - things are happening all it has been a pleasure to interpret a new the final moments of Mozart’s opera The that will affect the characters in a new, the time! There’s murder, adultery, and story with moments of playful humour: ‘I’m Marriage of Figaro offer a conclusion that post-Revolutionary reality. It soon becomes racketeering, so above all, my music must playing with the text and responding to could be seen as less than conclusive. apparent that Susanna and Figaro are not not be boring.’ it, because I’ve got to give it at least one It was this open-endedness that caught the only couple to have run into marital more layer of meaning. It’s a comedy – the attention of David Pountney, Chief problems: the Count and Countess, Understandably, Elena was somewhat and although is quite dark at times, in real Executive and Artistic Director of WNO, reeling from the loss of their aristocratic daunted to be approached by David with life I like comedy, so it’s great that I get to who has written the libretto for a new status, are forced to reveal aspects of the challenge of effectively picking up the write this!’ sequel to the story. In spring 2016, this their personalities – and secrets from the new commission will complete the Figaro past – that perhaps they would rather have forever season trilogy, which begins with kept hidden from one another. Audiences Rossini’s much-loved comic opera, The will also be interested to see the amusing Barber of Seville. ‘Clearly the Count and development of Cherubino, the hopelessly Countess’s reconciliation is not the final naive teenage boy from Mozart’s opera, episode,’ David says, referring to the end who, like the rest of the cast, reinvents of the Mozart opera; ‘Simultaneously, himself to adapt to the changing times. The title of this action-packed sequel alludes to you have Figaro and Susanna, who are ‘There’s also a newly invented evil just one of several twists of fate that will affect the embarking on the new voyage of marriage, character who is out to destroy them all,’ while politically, the country is on the warns David, darkly. characters in a new, post-Revolutionary reality. verge of revolution. The world is about to turn upside down. Well, what would have There is a precedent for following these happened, if it had?’ In the volatile political characters into the post-Revolutionary 56 Welsh National Opera 2015/2016 Season A moment with... Ian Douglas Company Manager

My favourite WNO moment is... Hearing the applause at the end of a show. With the prospect of scandal, deceit and young Tell us something we don’t know about WNO? We once had to hire coaches to get the performing company out of Cardiff to go on tour as the snow was so deep love, all set to a sparkling new musical score, that the police wouldn’t allow private cars on the main roads. The show must go on!

Figaro Gets a Divorce will provide an unmissable Mozart or Rossini? Mozart – by streets! third chapter in the lives of these characters, ‘and Still or sparkling? Life is too short not to have fizz in your life! I hope audiences will share my enthusiasm and Hills or Valleys? Hills – the higher the better. curiosity for knowing what happens next...’

With the prospect of scandal, deceit and century audiences are invited to join these young love, all set to a sparkling new much-loved residents of the Almaviva musical score, Figaro Gets a Divorce will Castle, whose story resumes at the provide an unmissable third chapter in moment the storm descends. It promises the lives of these characters, ‘and I hope to be a knife-edge adventure. audiences will share my enthusiasm and curiosity for knowing what happens next,’ says David Pountney. For those who are as yet unacquainted with Figaro WNO Nicholas John Dramaturg Sophie and friends, this newly crafted political Rashbrook spoke to Elena Langer and thriller will provide a fantastically engaging David Pountney. introduction to their world, that is full of fun and adventure. In the preface to Ödön von Horváth’s continuation of the story, the author writes; ‘The problems of revolution are first: timeless, and second: especially topical in our time.’ There are rumbles of the coming revolution in The Marriage of Figaro. With Figaro Gets a Divorce, 21st Photo: The dressing room for the men of the Chorus We mark our 70th birthday with the world Summer 2016 première of Iain Bell’s In Parenthesis. A work that proves that opera isn’t a heritage art form, it’s a life-force. Opera is about who we are as human beings and why our pain, as well as our joy defines us.

Old favourites and friends return as we celebrate with a revival of Cavalleria rusticana WNO@70 and Pagliacci; the first production ever staged by WNO in Cardiff on 15 April 1946. In Parenthesis Iain Bell We will witness the ageless intensity of Italian Cavalleria rusticana & Pagliacci opera, as fresh now as it was then. Mascagni & Leoncavallo

wno.org.uk/wno70 In Parenthesis World première

Music by Iain Bell Libretto by David Antrobus and Emma Jenkins (after David Jones)

Our 70th birthday is a time to look forward. What better way to do this than with a world première of a major new opera? In Parenthesis is young British composer Iain Bell’s adaptation of the epic poem by Welsh poet, writer and artist David Jones. In Parenthesis is commissioned by the Nicholas John Trust with 14-18 NOW, the UK cultural programme to commemorate World War I.

Private John Ball and his comrades in the Royal Welsh Fusiliers are posted to the Somme. In Mametz Wood they enter a strange realm – outside of time, dream-like but deadly. Rather than simply reporting the horrors of the Somme, In Parenthesis dares to offer hope. Even here amongst the destruction, a fragile flowering of regeneration and re-birth can be found. Bell’s beautiful score combines traditional Welsh song with moments of other- worldliness, terror, humour and transcendence. David Pountney’s period production is both an evocation and a commemoration of the events of the Somme. Opera is a living, breathing art form. But for it to keep on growing and evolving, we need The end of time you to join us for what we believe is an important major new work.

wno.org.uk/parenthesis 62 Welsh National Opera 2015/2016 Season Summer | WNO@70 63

In Parenthesis Iain Bell

World première

Conductor Carlo Rizzi Director David Pountney Designer Robert Innes Hopkins Plot summary Cast The young Private John Ball joins a company Private Ball TBA of Welsh soldiers to fight the Germans at the Bard of Brittannia/HQ Officer Battle of Mametz Wood. His experience of war is Peter Coleman-Wright illuminated by powerful visions of a mythical past, Bard of Germania/Alice the Barmaid/ The Queen of the Woods Alexandra Deshorties which transform the final scene of devastation into Lieutenant Jenkins George Humphreys a vision of hope for the future. Lance Corporal Lewis Marcus Farnsworth Sergeant Snell Mark Le Brocq Dai Great Coat Donald Maxwell The Marne Sergeant Graham Clark

Commissioned by the Nicholas John Trust With 14-18 NOW, WW1 Centenary Art Commissions, supported by the National Lottery through Arts Council England and the Heritage Lottery Fund Supported by WNO Commissions Group Performances at the Royal Opera House are supported by the Welsh Government

• Performances start at 7.15pm, except Royal Opera House on 29 June and 1 July at 7.30pm • Running time approximately two hours and 30 minutes including one interval • Sung in English with surtitles in English (and Welsh in Cardiff) 64 Welsh National Opera 2015/2016 Season Summer | WNO@70 65

WNO’s guide to It was really important for me to be able to tell the In Parenthesis story of these young men who went to war, with the utmost respect for their bravery and courage.

‘As a 13-year-old schoolboy, I had read about Jones’s poetry is the rich use of every book on the World War One shelf, historical and cultural references, which are apart from the one whose title I didn’t woven into the narrative. The battleground understand, and then I finally had to pick experiences of the protagonist, Private it up. I can still remember the excitement John Ball, are interspersed with dream-like of opening the first page of In Parenthesis, flashbacks to a legendary past. This duality also added to the appeal of an operatic of John Ball’s visions will be evoked with and seeing the frontispiece with the picture has proven particularly inspiring to co- interpretation: ‘It has such a rich sound shimmering layers of melody, sung by of the soldier. Of course, there was lots of librettist Emma Jenkins: ‘There is nothing scape, from the “jaguar cough” of far-off an all-female ‘Chorus of Remembrance’. it that I didn’t understand, but there were else like it in the literary canon,’ she says. artillery, to the sound of an approaching Iain explains how these two worlds islands within the text that brought World ‘There’s something so totally visionary shell which seems like the drone of “a evolve throughout the opera: ‘As the War One alive, with its sights, sounds, about it. It penetrates through layers of million bees hiving to the stars”.’ piece develops, the fantasy world starts colours and textures.’ For co-librettist reality, and connects us with our mythical to encroach upon the battlefield, and the David Antrobus, this was the beginning of roots.’ Composer Iain Bell describes the music almost starts to feels like a cinematic a life-long fascination with the First World responsibility that comes with setting sound track, with epic scenes and intimate War poem by David Jones, which will be Not only does the theme of layers return in In Parenthesis to music: ‘It was really moments.’ staged by WNO in a new commission to the finely wrought artwork of Jones, who important for me to be able to tell the story commemorate the 100th anniversary of the was a gifted painter, draughtsman, and of these young men who went to war, Iain is keen to refute the stereotype of Battle of the Somme in summer 2016. maker of woodcuts and inscriptions; it is with the utmost respect for their bravery contemporary opera as unrelentingly also central to understanding the decision and courage.’ Like Emma and David, he harsh and discordant. In addition to writing In the poem, Jones draws on his personal to adapt the work as an opera; arguably was also fascinated by the possibilities melodies of great beauty, he will also be experience at the Battle of Mametz Wood the most complex and multi-faceted art of evoking the ‘real’ world of the Battle of including a popular Welsh folk song that to depict a deeply moving account of the form of all. ‘Initially we started trying to Mametz and the mystical visions of the was sung by soldiers in the trenches, but fighting and heavy losses sustained by the create a straight stage adaption,’ explains narrator: ‘As a composer, the challenge of which can be heard today at every game Royal Welch Fusiliers; a regiment often David Antrobus. ‘However, it wasn’t able evoking those two very different worlds in of Welsh Rugby: ‘The book references referred to as the ‘Poets’ Regiment’, owing to communicate the allusive quality of music was a thrilling prospect,’ he says. Sosban Fach, and I wanted to include to the presence of Jones and several Jones’s writing, or the ability to “see To evoke a parade ground in 1915, Iain it, because it is so important to Welsh other remarkable young writers, including through” things. Opera allows this process has chosen to echo the sounds of army national identity,’ he says. Just as that Siegfried Sassoon, Robert Graves, Wyn of connection.’ Emma describes how the life, with trumpet fanfares and marching tune has echoed through the centuries, Griffiths and Hedd Wyn. What is unusual innate musicality of Jones’s language rhythms. The contrasting, mystical world Emma and David intend that the opera will 66 Welsh National Opera 2015/2016 Season

There will be moments of lightness and humour throughout, with the genuine excitement of the soldiers and the jokes they share with one other along the way, but the final image will be one of peaceful repose. A Christmas Carol Iain Bell

be a call for remembrance that extends Night’s Dream,’ says Emma. There will 18 December 7.15pm far beyond this story of the Royal Welch be moments of lightness and humour 20 December 4pm Fusiliers: ‘We hope that audiences will throughout, with the genuine excitement Weston Studio, Wales Millennium Centre remember these men of Wales who died of the soldiers and the jokes they share in Mametz Wood, who come back to life to with one other along the way, but the final tell their story. But it is also about the men image will be one of peaceful repose. at Agincourt, Arthur’s knights, those who As Emma puts it: ‘I think that audiences In the build up to Iain Bell’s In Parenthesis we present his adaptation of lost their lives at the legendary Battle of will come away from the opera uplifted, A Christmas Carol. Bell has turned Dickens’s much-loved story into a Catraeth, indeed all warriors who have ever enlightened, and with a sense of having been. They reach forward through time to joined the men on a transformational scintillating, one-man tour de force for tenor and chamber orchestra. Get link minds with us and inspire us.’ odyssey into the wasteland and back to know Bell’s sound world and give yourself a seasonal operatic treat. again. But what will stay with them is the This tone of positivity is at the heart of the triumph of regeneration over destruction, piece. Despite the apparent heaviness of and of life over death.’ Sung in English the subject matter, the message of Running time one hour and 30 minutes In Parenthesis will be one of hope, rooted in the natural splendour of Mametz Wood, which has since recovered from the WNO Nicholas John Dramaturg Sophie ravages of the war. ‘What’s interesting Rashbrook spoke to librettists David about the battleground today is that it isn’t Antrobus and Emma Jenkins, and a terrible place – it’s green and magical, composer Iain Bell. like something out of A Midsummer Cavalleria rusticana Mascagni Pagliacci Leoncavallo

Our 70th birthday is a time to reflect. What better way to do this than with the double bill that started it all? This perfect pairing of tragedies was our first performance in 1946. Cav & Pag (as they are affectionately known) are as full-on and intense as Italian opera gets.

Each opera packs in much high drama and powerful music in just over an hour. Cavalleria rusticana’s highlights include the glorious Easter Hymn and Intermezzo. Pagliacci features one of the greatest of all tenor arias, ‘Vesti la giubba’, in which the clown Canio has just learnt that his wife is having an affair. He pitifully dwells on his situation while getting ready to take to the stage. He must act the fool on stage while dying inside.

The sumptuous period-set production features a recreation of a Sicilian village square. It is only fitting that the cast for these birthday performances includes some of Wales’s greatest opera talent. Everyone who enjoys the elegance and pageantry of opera will want to embrace Cav & Pag.

wno.org.uk/cav&pag Timeless opera 70 Welsh National Opera 2015/2016 Season Summer | WNO@70 71

Cavalleria rusticana Mascagni Pagliacci

Leoncavallo Plot summary Cavalleria rusticana Passions are running high in a Sicilian village on Conductor Carlo Rizzi Easter Morning. Animal herder Alfio is inflamed Director Elijah Moshinsky with jealousy when he learns of his wife’s Designer Michael Yeargan affair with the young gallant, Turiddu. The two Lighting Designer Howard Harrison men resort to a duel with knives, and, despite Cavalleria rusticana cast the protestations of Turridu’s mother and his Turiddu Gwyn Hughes Jones heartbroken lover, Santuzza, the day ends in Alfio David Kempster bloodshed. Santuzza Camilla Roberts Mamma Lucia Anne-Marie Owens Pagliacci Lola Rebecca Afonwy-Jones A touring troupe of actors arrives at a village in Pagliacci cast southern Italy, to perform their play, ‘The Clown Canio Gwyn Hughes Jones and Columbine’, which tells the story of an Tonio David Kempster unfaithful woman, played by real-life adulterer, Nedda TBA Nedda. For Canio, her jealous husband in life and Silvio TBA on stage, the irony is too much to bear, and the performance comes to a tragic end.

• Performances start at 7.15pm, except Cardiff on Sunday 29 May at 4pm • Running time for Cavalleria rusticana approximately one hour and 10 minutes and Pagliacci approximately one hour 15 minutes, with one interval in between • Sung in Italian with surtitles in English (and Welsh in Cardiff) 72 Welsh National Opera 2015/2016 Season Summer | WNO@70 73

WNO’s guide to Inspired by writers such as the distinguished Cavalleria rusticana and Giovanni Verga, Mascagni and Leoncavallo Pagliacci joined other young composers in rejecting the conventions of Italian Romantic melodrama in favour of a gritty realism.

‘You will find them to be tragic episodes composers in rejecting the conventions of in low life. The characters are peasants, Italian Romantic melodrama in favour of a mountebanks, stevedores, drunkards, gritty realism. These operas are simple tales the human heart’, to describe his creative with deliberate lack of ceremony: ‘Turridu punks. The tragedy is the outcome of illicit concerning ordinary folk and blunt emotions approach: in Verga’s opinion, authors has been killed!’ sexual relationships. Animal passions with which audiences could directly – and should demonstrate an intimate familiarity rage and cry out. The elements are viscerally – connect. That audiences still with their characters so as to portray There is no place for sentimentality nor squalor, lust and blood. The life depicted do so today is reflected in the ‘Cav & Pag’ naturally and without embellishment their subtlety in either score, which nevertheless is short, brutal and nasty’. Such was shorthand by which this beloved pairing customs, habits, thoughts and language. depict credible characters – neither wholly the prudish dismissal, by a Boston critic is commonly referred. Indeed, the operas ‘good’ nor ‘bad’ – who pull mercilessly at in 1896, of two new Italian operas then have worked so well together so often Mascagni uses highly vivid music to bring our heartstrings. And herein lies the operas’ enjoying enormous popular success both since their initial double-billing in 1893 Verga’s Sicilian villagers to life within a short, enduring verismo power. After all, which sides of the Atlantic: Cavalleria rusticana (in Rome and New York), that they can tautly-devised narrative contrasting love of us has not experienced desperation in (Rustic Chivalry) by Pietro Mascagni, and seem intentional partners. But they were and religious piety with sexual jealousy, love or grief? These characters are not just Pagliacci (Clowns) by Ruggero Leoncavallo. not composed that way, and each opera rage and the desire for vengeance. driven to the edge, however, but plunge Moralists and others objected to what they has its own distinctive qualities within a Directness of expression and authentic headlong over it through crimes of passion saw as the vulgarity of the ‘truthfulness’ or complementary frame. local colour are key, with vocal melodies which, in their brutal catharsis, paint a bleak verismo that these two works compellingly of raw, heightened emotion supported by societal picture. define in operatic terms; a verismo that Cavalleria rusticana was Mascagni’s first potently dramatic orchestral writing. Anyone was born of the political, social and literary (and only well-known) opera, hurriedly familiar with the films Raging Bull and The Leoncavallo’s Pagliacci can be especially upheavals then sweeping the Italy of Verdi’s composed in 1890 for a music publisher’s Godfather Part III will recognise instantly the wrenching in its white-hot concision. old-age. competition – which he promptly won. passionate, symphonic intermezzo which, Spurred by the success of Cavalleria The source of his libretto, by Giovanni in the opera, bisects the single act. The rusticana – and supposedly based on a Inspired by writers such as the Targioni-Tozzetti and Guido Menasci, was pause in the action allows us to gather our real-life murder which took place during distinguished Giovanni Verga, Mascagni that same influential Verga, who once used emotional wits before an inevitable, violent his childhood – the composer wrote both and Leoncavallo joined other young an important verist phrase, ‘the science of denouement, which Mascagni concludes the libretto and music in 1892 (again, it 74 Welsh National Opera 2015/2016 Season

A moment with... Sian Price Head of Wardrobe

My biggest achievement is... After two years of preparing and working on it, the The opera cleverly juxtaposes public persona and opening night of Die Meistersinger. private truth, reality and non-reality, by setting the My favourite WNO moment is... Sitting in the auditorium of Wales Millennium Centre and hearing for the first time the overture ofThe Flying Dutchman. It was climactic action as a play within a play. so powerful it felt as if the music was inside your body.

Bass or Soprano? I like both but, having worked as a men’s cutter, I know that basses usually have a naughty sense of humour.

Still or sparkling? Sparkling every time – the sound of the champagne cork!

Hills or Valleys? Being a Valleys’ girl myself, what else could it be?

is the only well-known of his works). The the stylised antiquity of the troupe’s stage opera cleverly juxtaposes public persona personas with their febrile emotional lives. and private truth, reality and non-reality, by setting the climactic action as a play Indeed, that tension of appearance and within a play. The protagonists are travelling reality goes to the heart of operatic verismo, commedia dell’arte players, enabling which lasted a mere two or so decades, Leoncavallo to incorporate this traditional, but which left its mark on Puccini and highly physical theatre of masked comic other composers in Italy and beyond. For ‘types’ into a Calabrian village setting. But it the ‘truth’ for us all, as proposed by both is the composer’s searing portrait of aging, Leoncavallo and Mascagni, lies behind washed-up clowns and hopeless love the social roles and masks we assume, outside a failed and bitter marriage which and is inexorably revealed when ordinary grab and hold us fast. situations become extreme. In that sense, the truncated final cry of Pagliacci carries a In an opening prologue, the fool Tonio suggestive but unequivocal message of this appeals to us directly as the archetypal most pessimistic yet emotionally liberating suffering comedian, forced to perform operatic movement: ‘The comedy is ended!’ for the crowd; a predicament which the cuckolded Canio violently rejects in anguished double murder within two, fast-moving acts. The music is intensely Steph Power is an author and critic. expressive; the more so for contrasting © Steph Power Photo: A costume in Escamillo's dressing room 76 Welsh National Opera 2015/2016 Season

Transforming Lives WNO’s Director of Engagement & Partnerships, Emma Flatley, talks about our work beyond the main stage.

What does WNO’s Youth and Community department do? We work with all kinds of different ages and groups of people from school children and young adults to entire communities. Each project brings music, singing, storytelling and design together in a way that only opera can, with the aim to engage, challenge and inspire. We aim to create memorable and meaningful experiences that are just the start of a journey with us.

What do you think was Youth and Community’s best achievement in 2014? There’s a lot to choose from. We commissioned and performed a powerful new opera by Errollyn Wallen, Anon across Wales and England. It was created for and by young women, exploring difficult untold stories of some of the challenges they face. We were also privileged to work with over 4,000 participants from a range of schools across Wrexham in Street Songs. We drew to a close three years working at the heart of the community by focusing on developing artistic projects and collaborations in areas we had not worked with before.

What is the most satisfying aspect of your role? Working with new audiences across Wales and England means that we meet a diverse range of talented people and it’s a privilege to work with groups of people who have never encountered opera before or who previously thought ‘this is not for me’. It’s satisfying when we know we have created a meaningful opportunity that defies their expectations.

Can you give a flavour of the kind of projects planned for the 2015/2016 Season? We will continue to deliver projects to engage communities across England and Wales, especially in areas where opportunities to experience the arts are less accessible. From September 2015 we will begin our schools programme working with pupils to create a piece inspired by the season's themes, culminating in a site specific performance. We will also be auditioning and staging a new youth opera production, performed by 16–25 year olds, offering the chance to work with experienced directors, conductors and singers to develop technique and explore repertoire. We will also be commissioning digital projects to tell stories with opera at their centre and we are looking forward to meeting you along the way and hearing your stories online or in person. 2015/2016 Season

Performance and booking information

wno.org.uk 80 Welsh National Opera 2015/2016 Season 81

Birmingham Hippodrome

Autumn 2015 ON SALE DATES OTHER DISCOUNTS I puritani Tuesday 17 November 7pm WNO Friends & Partners booking opens Groups 10+ Orlando Wednesday 18 November 7.15pm Friday 27 February at 10am (phone only) 10+ £3 discount per ticket 20+ £4 discount per ticket Sweeney Todd Thursday 19, Friday 20 & Saturday 21 November 7.15pm General booking opens Friday 6 March at 35+ £5 discount per ticket Spring 2016 10am (online, phone and in person) (Includes £1 transaction charge. Organiser goes free on group bookings 35+. Access The Barber of Seville Tuesday 1 & Friday 4 March 7.15pm BOOKING DETAILS discounts available on top three price The Marriage of Figaro Wednesday 2 & Saturday 5 March 7pm Ticket Sales is open from 10am to 8pm, bands) Not available on Saturday evening Figaro Gets a Divorce Thursday 3 March 7.15pm 6pm on non-performance days (phone and performances. counter) Monday to Saturday, Groups Sales Summer 2016 10am to 5pm Monday to Friday. Patrons with disabilities Cavalleria rusticana & Pagliacci Thursday 9 & Saturday Cheques should be made payable to £5 off each ticket for patrons with 11 June 7.15pm ‘Birmingham Hippodrome’. Most major disabilities or two tickets for the price of one In Parenthesis Friday 10 June 7.15pm credit cards accepted. for those with disabilities who require the support of a companion. MULTI BUY Discounts available on top three price Explore with us and save bands. Multi-buy is a simple and flexible way to save money on your opera tickets. It is 60+, Registered Claimants, Passport to HOW TO BOOK TICKET PRICES* available on all operas on sale at any one Leisure Book online birminghamhippodrome.com Stalls £52.50 | £46.20 | £39.38 | £26.78 time. You do not have to book the same £3 off. Discount applies in top three price By phone 0844 338 5000* Circle £52.50 | £46.20 | £39.38 | £26.78 number of tickets for each opera. You can bands. Not available on Saturday evening Group Sales 0844 338 7000* | £17.33 also book for different seating areas/price performances. Transaction charge included in group ticket Boxes £52.50 | £39.38 | £17.35 bands for each opera. Available in top four price. *These prices include a 5% transaction price bands. Under 30s By post or in person Ticket Sales, charge to clearly show the maximum A minimum of 60 tickets available at every Birmingham Hippodrome, Hurst Street, you will pay. This fee does not apply to Book any three operas and save 10% performance for £5 (subject to transaction Southside, Birmingham B5 4TB in person cash bookings. Bookings are Book any four operas and save 15% charge, please note that fees are not *Calls cost from 5p per minute also subject to an additional £1 postage Book any five operas andsave 20% charged for bookings paid for by cash in charge. Transaction charges are levied and Book any six operas and save 25% person). Seats located within top three retained in their entirety by Birmingham Book seven or eight operas and save 30% price bands. Tickets must be booked Hippodrome. in person no later than 48 hours prior to performance. ID required for each ticket Surtitles are available at every performance purchased. Subject to availability. (except Sweeney Todd), please check when booking to ensure visibility. 82 Welsh National Opera 2015/2016 Season Season | Title 83

Student and Passport to Leisure SPRING 2016 standby The Barber of Seville May be available 24 hours prior to Tuesday 1 March 5.45pm performance, best available seats for the The Marriage of Figaro lowest price, limited to two per booker. ID Wednesday 2 March 5.30pm required for each ticket purchased. Subject Figaro Gets a Divorce to availability. Not available on Saturday Thursday 3 March 5.45pm evening performances. SUMMER 2016 Schools Cavalleria rusticana & Pagliacci £13.50 each plus eleventh ticket for teacher Thursday 9 & Saturday 11 June 5.45pm free. Available on lowest three prices only. In Parenthesis Friday 10 June 5.45pm Only one discount per ticket may apply. Valid ID must be presented where AUDIO DESCRIPTION applicable. Discounts are generally Sweeney Todd 21 November available on the top three price bands only. Free touch tour 6.15pm All discounts are subject to availability and Performance 7.15pm restrictions may apply for certain shows. The Barber of Seville 4 March Birmingham Hippodrome and WNO Free touch tour 6.15pm reserve the right to change ticket prices Performance 7.15pm and remove or limit discounts at any time. Cavalleria rusticana & Pagliacci Please ask Ticket Sales for full details. 11 June Free touch tour 6.15pm FREE PRE-PERFORMANCE TALKS Performance 7.15pm WNO’s Nicholas John Dramaturg, Sophie Rashbrook, gives you everything Tickets for free Pre-Performance Talks and you need to know to enjoy the performance. Touch Tours can be booked at the same Tickets must be booked in advance. time as booking your opera tickets.

AUTUMN 2015 I puritani Tuesday 17 November 5.30pm Orlando Wednesday 18 November 5.45pm Sweeney Todd Thursday 19 November 5.45pm

Photo: The dressing room for the ladies of the Chorus 84 Welsh National Opera 2015/2016 Season 85

The Bristol Hippodrome

Autumn 2015 ON SALE DATES Groups of 10+ I puritani Tuesday 20 October 7pm WNO Friends & Partners booking opens £3 off top three price bands plus one seat Orlando Wednesday 21 October 7.15pm Monday 2 March at 10am (post, phone and free with every 10 purchased. online) Sweeney Todd Thursday 22, Friday 23 & Saturday 24 October 7.15pm ATG Theatre Card Members Spring 2016 General booking opens Monday 9 March at £5 off top four price bands for first 10am (online, phone and in person) performance of each opera The Barber of Seville Tuesday 15 & Friday 18 March 7.15pm The Marriage of Figaro Wednesday 16 & Saturday 19 March 7pm SUBSCRIPTION DEALS Under 30s Figaro Gets a Divorce Thursday 17 March 7.15pm Explore with us and save A minimum of 60 tickets available at every Book five or six operas andsave 30% performance for £5 (subject to transaction Book any three or four operas and charge, please note that fees are not HOW TO BOOK TICKET PRICES* save 25% charged for bookings paid for by cash in Book online atgtickets.com/bristol*† Stalls £45.90 | £39.90 | £31.90 Book any two operas and save 20% person). Seats located within first three price By phone 0844 871 3012* Grand Circle £45.90 | £39.90 | £31.90 Simply book for two operas or more to bands. Tickets must be booked in person Group bookings Groups of 10+ Upper Circle £21.90 | £11.40 take advantage of our discounts. You can no later than 48 hours prior to performance. 0844 871 3032 Boxes £45.90 (Rear Stalls Box) £39.90 buy your Subscription over the phone or in ID required for each ticket purchased. When (Mon – Fri 10am – 6pm) (Front Side-View Box) person. You do not have to book the same allocation is sold out tickets for Under 30s Access for all 0117 3023 222 number of tickets for each opera. You can and full-time students are available at half (Mon – Fri 10am - 6pm) *Includes a £2.90 – £3.90 per ticket also book for different seating areas / price price. Subject to availability. By post or in person The Bristol booking fee applicable to online and bands for each opera. Please note does Hippodrome, St Augustine’s Parade, Bristol telephone bookings. All online and not apply to lowest price tickets. Schools and colleges BS1 4UZ telephone bookings are also subject to a Buy any £28 seats for £18 or any £18 seats †Some concessions are not available online £4 transaction fee. Booking and transaction BOOKING DETAILS for £8.50. fees do not apply to Groups and Theatre The Box Office is open from 10am to 6pm Card, post, and in person bookings. The Monday – Saturday (extending to 15 minutes Restricted mobility booking and transaction fees are levied and after curtain-up on performance days). If you have access requirements or are a retained in their entirety by Ambassador Cheques should be made payable to ATG wheelchair user please contact our Access Theatre Group. Booking charges are London Ltd. Cheques are accepted for Officer on 0117 302 3222 for availability and subject to change. Please check at time of postal bookings only (please allow 28 days prices. booking. Prices include a theatre restoration for delivery of tickets). Please enclose a levy of £1 which is retained by Ambassador stamped addressed envelope for return of Discounted seats are allocated at the Theatre Group. your tickets. discretion of The Bristol Hippodrome and WNO and may be limited. Only one Surtitles are available at every performance OTHER DISCOUNTS discount applies per ticket. Prices are (except Sweeney Todd), please check Senior Citizens and Claimants subject to change and discounts can be when booking to ensure visibility. £5 off top four price bands withdrawn. 86 Welsh National Opera 2015/2016 Season Season | Title 87

FREE PRE-PERFORMANCE TALKS WNO’s Nicholas John Dramaturg, Sophie Rashbrook, gives you everything you need to know to enjoy the performance. Tickets must be booked in advance.

AUTUMN 2015 I puritani Tuesday 20 October 5.30pm Orlando Wednesday 21 October 5.45pm Sweeney Todd Thursday 22 October 5.45pm

SPRING 2016 The Barber of Seville Tuesday 15 March 5.45pm The Marriage of Figaro Wednesday 16 March 5.30pm Figaro Gets a Divorce Thursday 17 March 5.45pm

AUDIO DESCRIPTION Sweeney Todd 24 October Free touch tour 6.15pm Performance 7.15pm The Barber of Seville 18 March Free touch tour 6.15pm Performance 7.15pm

Tickets for free Pre-Performance Talks and Touch Tours can be booked at the same time as booking your opera tickets.

Photo: The children wait backstage 88 Welsh National Opera 2015/2016 Season 89

Wales Millennium Centre

Autumn 2015 TICKET PRICES* *These prices include a £1.50 booking I puritani Friday 11, Saturday 19 September 7pm; I puritani, Orlando, Figaro Gets a fee to clearly show the maximum you will Sunday 4 October 4pm Divorce, In Parenthesis pay. This fee does not apply to in person Stalls & Circle £42.50 | £38.50 | £34.50 cash bookings. Subscriptions are subject Orlando Sunday 27 September 4pm; Saturday 3 & Wednesday Upper Circle £26.50** | £20.50 | £14.50 to a one-off booking fee of £4 and the per 7 October 7.15pm | £6.50 ticket fees indicated are not charged on Sweeney Todd Thursday 8 & Friday 9 October 7.30pm; Subscriptions. Booking fees are retained in Tuesday 24, Wednesday 25, Thursday 26, Friday 27 & Saturday 28 The Barber of Seville, The Marriage their entirety by Wales Millennium Centre. November 7.30pm; Thursday 26, Saturday 28 & Sunday 29 of Figaro and Cavalleria rusticana & **Please note that there is a handrail on November 2pm Pagliacci the front of the Upper Circle which may Stalls & Circle £42.50| £38.50 cause a restricted view for some audience A Christmas Carol Friday 18 December 7.15pm & Sunday 20 Upper Circle £26.50** | £20.50 | £14.50 members. † December at 4pm | £6.50 £6.50 only available on 8 & 9 October

Sweeney Todd (Fri & Sat performances) Surtitles are available at every performance Spring 2016 Stalls and Circle £55 | £45 | £41 (except Sweeney Todd), please check when The Barber of Seville Saturday 13, Wednesday 17, Friday 19, Upper Circle £37** | £29 | £20 | £6.50† booking to ensure visibility. Tuesday 23 & Thursday 25 February 7.15pm The Marriage of Figaro Thursday 18, Saturday 20, Wednesday 24, Sweeney Todd (all other performances) Friday 26 February 7pm Stalls and Circle £53 | £43 | £39 Upper Circle £35** | £27 | £18 | £6.50† Figaro Gets a Divorce Sunday 21 February 4pm & Saturday 27 February 7.15pm A Christmas Carol £21.50

Summer 2016 ON SALE DATES SUBSCRIPTION DEALS In Parenthesis Friday 13, Saturday 21 May & Friday 3 June 7.15pm Subscription booking (WNO Partners and Explore with us and save Cavalleria rusticana & Pagliacci Thursday 26 May 7.15pm; Sunday Friends only) opens Tuesday 17 February Book any three operas and save 10% 29 May 4pm; Wednesday 1 & Saturday 4 June 7.15pm (phone and online only) Book any four operas and save 15% Subscription booking (General) opens Book any five operas andsave 20% Thursday 26 February (phone and online only) Book any six operas and save 25% HOW TO BOOK Individual operas (WNO Friends & Partners Book seven or eight operas and save 30% Book online wmc.org.uk only) opens Thursday 5 March (phone, online You simply need to book for a minimum of By phone 029 2063 6464 and in person) three operas to book a Subscription. Group bookings 029 2063 6464 option 4 Individual operas (General) opens Thursday In person (from 5 March) 12 March (phone, online and in person) The saving quoted is off the total cost of Wales Millennium Centre, Bute Place, your booking. Subscriptions are flexible Cardiff, CF10 5AL so you do not have to book the same 90 Welsh National Opera 2015/2016 Season Wales Millennium Centre 91

number of tickets for each opera. You can after the start of the last performance. The Under 30s All discounts are subject to availability. Only also book for different seating areas/price Information Desk will remain open for any Minimum of 60 tickets available at every one discount applies per ticket. bands for each opera. Please note that for ticketing enquiries until the end of the last performance for £5 (subject to booking and online subscriptions the number of people Donald Gordon Theatre performance. On transaction fees, please note that fees are FREE PRE-PERFORMANCE TALKS attending each opera must be the same. non-performance days the Ticket Desk is not charged for bookings paid for by cash WNO’s Nicholas John Dramaturg, Sophie Only one discount applies per ticket. Does open 10am – 6pm. in person). In person bookings only, ID Rashbrook, gives you everything you need not include £6.50 seats for any performance. required and subject to availability. Booking to know to enjoy the performance. Tickets Subscription discounts do not apply to Only one discount applies per ticket. The opens 12 March. must be booked in advance. performances of Sweeney Todd from 25–29 Ticket Office will endeavour to exchange November. Does not include A Christmas your tickets from one performance to another DISCOUNTS FOR SWEENEY TODD AUTUMN 2015 Carol. If you require advice or assistance performance in the same season, up to Groups I puritani please call Wales Millennium Centre’s 24 hours prior to the original performance 10+ £4 off, 20+ £5 off and 50+ £6 off Friday 11, Saturday 19 September 6pm; Subscription Information line on 029 2063 (subject to availability). A £1 handling fee second and third prices plus free ticket for Sunday 4 October 3pm 4663 (10am – 6pm Monday to Friday). will be charged per ticket. The Ticket Office group organiser for groups of 20+. Orlando Please note that bookings cannot be taken will also accept tickets for re-sale subject to Sunday 27 September 3pm; Saturday 3 & on this line. a 10% fee but cannot guarantee that a new Over 60s, Patrons with disabilities, Wednesday 7 October 6.15pm purchaser will be found. Unwaged, Students, Under 16s Sweeney Todd BOOKING DETAILS Full terms and conditions are available £4 off second and third prices. Thursday 8 & Friday 9 October 6.30pm Payments can be made using the following online. credit and debit cards – Visa, MasterCard, All discounts are subject to availability and SPRING 2016 MasterCard Debit, Visa Debit / Delta, OTHER DISCOUNTS cannot be applied retrospectively. Only one The Barber of Seville Maestro and Electron, by cheque (payable Patrons with disabilities discount applies per ticket. Saturday 13, Wednesday 17, Friday 19, to Wales Millennium Centre). Tickets must Customers who require a personal assistant Tuesday 23 & Thursday 25 February be paid for at the time of booking. Tickets to support them at the Centre can now join PRE-SHOW DINING 6:15pm can only be reserved for group bookings of the Access Scheme. Where applicable Pre-show meals at ffresh Restaurant at the The Marriage of Figaro 10 or more, or temporarily while we process the Centre offers either a discounted or Centre cost from £19.50 for two courses Thursday 18, Saturday 20, Wednesday 24 your access application. No fees apply if complimentary seat to carers so please visit and £23.50 for three courses*. Menus and & Friday 26 February 6pm you book in person and pay by cash or the Centre's website for further information: serving times are available at ffresh.org.uk Figaro Gets a Divorce Wales Millennium Centre Gift Certificates. wmc.org.uk/access. If you have any queries You can book a two course meal with your Sunday 21 February 3pm; Saturday 27 There is a fee-free Lloyds cash point please do get in touch with the Ticket Office subscription or when booking individual February 6.15pm situated in the Glanfa Foyer at the Centre. who will be happy to explain the system in operas through the Ticket Office. For three more detail. courses a top up fee can be paid at the SUMMER 2016 By telephone: Phone lines are open restaurant. *Subject to change. In Parenthesis Monday to Saturday 10am – 7pm on Groups (all operas excluding Sweeney Friday 13, Saturday 21 May & Friday 3 June performance days and 10am – 6pm on Todd) WNO PROGRAMMES 6.15pm non-performance days. On Sundays lines Get a group of 10 together and get one extra Our season programmes are an Cavalleria rusticana & Pagliacci open for four hours before the start of the ticket free (that’s two additional free tickets indispensable guide to all three operas Thursday 26 May, Wednesday 1 & Saturday first performance and on non-performance for a group of 20 etc). This offer only applies each season. Each programme is £5 and 4 June 6.15pm; Sunday 29 May 3pm days lines are closed. to top three prices. Tickets for groups can be pre-ordered at the same time as booking two or more operas go on sale on you book your Subscription (phone only). In person: On performance days the Ticket 26 February. Group bookings for one opera You will receive a voucher to exchange for a Desk is open from 10am until 30 minutes opens on 12 March. programme directly before the performance. 92 Welsh National Opera 2015/2016 Season Wales Millennium Centre 93

AUDIO DESCRIPTION Sweeney Todd 28 November Free touch tour 6.30pm Performance 7.30pm The Barber of Seville 19 February Free touch tour 6.15pm Performance 7.15pm Cavalleria rusticana & Pagliacci 4 June Free touch tour 6.15pm Performance 7.15pm

Tickets for free Pre-Performance Talks and Touch Tours can be booked at the same time as booking your opera tickets.

Photo: The children’s dressing room 94 Tymor 2015/2016 WNO 95

Canolfan Mileniwm Cymru

PRISIAU TOCYNNAU* *Mae’r prisiau hyn yn cynnwys ffi archebu Hydref 2015 I puritani, Orlando, Figaro Gets a o £1.50 i ddangos yn glir y mwyafswm y I puritani Nos Wener 11, nos Sadwrn 19 Medi 7pm; Divorce, In Parenthesis byddwch yn ei dalu. Nid yw’r ffi hwn yn dydd Sul 4 Hydref 4pm Seddau a’r Cylch £42.50 | £38.50 gymwys i archebion wyneb yn wyneb ag | £34.50 arian parod. Orlando Dydd Sul 27 Medi 4pm; nos Sadwrn 3 a nos Fercher 7 Hydref Cylch Uchaf £26.50** | £20.50 | £14.50 Tanysgrifiadau yn amodol ar ffi archebu 7.15pm | £6.50 untro o £4 ac nid yw ffioedd fesul tocyn Sweeney Todd Nos Iau 8 a nos Wener 9 Hydref 7.30pm yn cael eu codi ar danysgrifiadau. Cedwir nos Fawrth 24, nos Fercher 25, nos Iau 26, nos Wener 27 a nos The Barber of Seville, The Marriage y ffioedd archebu yn eu cyfanrwydd gan Sadwrn 28 Tachwedd 7.30pm; dydd Iau 26, dydd Sadwrn 28 a dydd of Figaro a Cavalleria rusticana a Ganolfan Mileniwm Cymru. Pagliacci Sul 29 Tachwedd 2pm ** Nodwch fod yna ganllaw ar flaen y Cylch Seddau a’r Cylch £42.50| £38.50 Uchaf a allai amharu ar yr hyn y gall rhai A Christmas Carol Nos Wener 18 Rhagfyr 7.15pm a dydd Sul 20 Cylch Uchaf £26.50** | £20.50 | £14.50 aelodau o'r gynulleidfa ei weld. | £6.50 † Rhagfyr 4pm £6.50 ar gael ar 8 a 9 Hydref yn unig Sweeney Todd (Perfformiadau Gwener Gwanwyn 2016 Mae uwchdeitlau ar gael ym mhob a Sadwrn) perfformiad (ac eithrio Sweeney Todd), The Barber of Seville Nos Sadwrn 13, nos Fercher 17, nos Wener Seddau a’r Cylch £55 | £45 | £41 holwch wrth archebu i sicrhau y byddwch † 19, nos Fawrth 23 a nos Iau 25 Chwefror 7.15pm Cylch Uchaf £37** | £29 | £20 | £6.50 chi'n gweld yr uwchdeitlau. The Marriage of Figaro Nos Iau 18, nos Sadwrn 20, nos Fercher Sweeney Todd (Pob perfformiad arall) 24, nos Wener 26 Chwefror 7pm Seddau a’r Cylch £53 | £43 | £39 Figaro Gets a Divorce Dydd Sul 21 Chwefror 4pm a nos Sadwrn Cylch Uchaf £35** | £27 | £18 | £6.50† 27 Chwefror 7.15pm A Christmas Carol £21.50 Haf 2016 In Parenthesis Nos Wener 13, nos Sadwrn 21 Mai a nos Wener DYDDIADAU GWERTHU BARGEINION TANYSGRIFIO Archebu tanysgrifiadau (Partneriaid a Archwiliwch gyda ni ac arbedwch arian 3 Mehefin 7.15pm Chyfeillion WNO yn unig) yn agor ddydd Archebwch docynnau i unrhyw dair opera Cavalleria rusticana a Pagliacci Nos Iau 26 Mai 7.15pm; Mawrth 17 Chwefror (ar y ffôn ac ar-lein yn ac arbedwch 10% nos Sul 29 Mai 4pm; nos Fercher 1 a nos Sadwrn 4 Mehefin 7.15pm unig) Archebwch docynnau i unrhyw bedair Archebu tanysgrifiadau (Cyffredinol) yn opera ac arbedwch 15% SUT I ARCHEBU agor ddydd Iau 26 Chwefror (ar y ffôn ac Archebwch docynnau i unrhyw bum opera Archebu ar-lein yganolfan.org.uk ar-lein yn unig) ac arbedwch 20% Ar y ffôn 029 2063 6464 Operâu unigol (Partneriaid a Chyfeillion Archebwch docynnau i unrhyw chwe opera Archebion grwˆp 029 2063 6464 dewis 4 WNO yn unig) yn agor ddydd Iau 5 Mawrth ac arbedwch 25% Wyneb yn wyneb (o 5 Mawrth ymlaen) (ar y ffôn, ar-lein ac wyneb yn wyneb) Archebwch docynnau i saith neu wyth Canolfan Mileniwm Cymru, Plas Bute, Operâu unigol (Cyffredinol) yn agor ddydd opera ac arbedwch 30% Caerdydd, CF10 5AL Iau 12 Mawrth (ar y ffôn, ar-lein ac wyneb yn Mae angen i chi archebu lleiafswm o dair wyneb) opera i archebu Tanysgrifiad. 96 Tymor 2015/2016 WNO Wales Millennium Centre 97

Mae'r arbediad a ddyfynnir oddi ar bedair awr cyn dechrau'r perfformiad cyntaf, Grwpiau (pob opera ac eithrio Sweeney BWYTA CYN Y SIOE gyfanswm cost eich archeb. Tanysgrifiadau a bydd y llinellau wedi cau ar ddiwrnodau Todd) Mae prydau cyn y sioe ym Mwyty ffresh yn yn hyblyg felly nad oes rhaid i chi archebu'r pan nad oes perfformiadau. Trefnwch fod grwˆp o 10 yn dod at ei gilydd y Ganolfan yn costio cyn lleied â £19.50 am un nifer o docynnau ar gyfer pob opera. ac fe gewch un tocyn ychwanegol am ddau gwrs a £23.50 am dri chwrs*. Mae Gallwch hefyd archebu seddi mewn Wyneb yn wyneb: Ar ddiwrnodau ddim (dau docyn am ddim ychwanegol bwydlenni ac amseroedd gweini i’w gweld gwahanol fannau eistedd neu brisiau perfformiad, bydd y Ddesg Docynnau yn ar gyfer grwˆp o 20, ac ati). Dim ond ar ar ffresh.org.uk Gallwch archebu pryd o gwahanol ar gyfer pob opera. Sylwch agored o 10am tan 30 munud ar ôl dechrau gyfer y tri phris uchaf y mae’r cynnig hwn fwyd dau gwrs gyda'ch tanysgrifiad, neu fod rhaid i nifer y bobl sy'n mynychu pob perfformiad olaf y diwrnod. Bydd y Ddesg yn berthnasol. Bydd tocynnau ar gyfer wrth archebu operâu unigol drwy'r Swyddfa opera fod yr un fath am danysgrifiadau Wybodaeth yn parhau yn agored ar gyfer archebion grwˆp i ddwy neu ragor o operâu Docynnau. Ar gyfer prydau tri chwrs, gellir talu ar-lein. Dim ond un gostyngiad fesul tocyn. unrhyw ymholiad ynghylch tocynnau tan ar werth ar 26 Chwefror. Bydd archebion ffi atodol yn y bwyty. *Gallai’r manylion newid. Nid yw'n cynnwys seddi £6.50 ar gyfer ddiwedd y perfformiad olaf yn Theatr Donald grwˆp ar gyfer operâu unigol yn agor ar 12 unrhyw berfformiad. Nid yw gostyngiadau Gordon. Ar ddiwrnodau pan nad oes Mawrth. RHAGLENNI WNO Tanysgrifiad yn berthnasol i berfformiadau perfformiadau, bydd y Ddesg Docynnau yn Mae ein rhaglenni tymor yn ganllaw o Sweeney Todd o 25–29 Tachwedd. Nid agored rhwng 10am a 6pm. Pobl dan 30 oed anhepgor i bob un o'r tair opera bob tymor. yw'n cynnwys A Christmas Carol. Am ragor Mae lleiafrif o 60 o docynnau ar gael ym Mae pob rhaglen yn costio £5 a gellir eu o wybodaeth neu gymorth, ffoniwch Linell Dim ond un gostyngiad fesul tocyn. Bydd mhob perfformiad am £5 (yn amodol ar harchebu ymlaen llaw ar yr un pryd ag y Wybodaeth Tanysgrifiad Canolfan Mileniwm y Swyddfa Docynnau yn ymdrechu i ffioedd archebu a thrafod. Nodwch nad yw byddwch yn archebu eich Tanysgrifiad (ar Cymru ar 029 2063 4663 (Ar agor 10am – gyfnewid eich tocynnau o un perfformiad i ffioedd yn gymwys pan delir ag arian wyneb y ffôn yn unig). Byddwch yn cael taleb i’w 6pm, dydd Llun i Gwener). Ni ellir archebu berfformiad arall yn yr un tymor, hyd at 24 yn wyneb). Archebion wyneb yn wyneb yn chyfnewid am raglen yn uniongyrchol cyn y tocynnau drwy’r ffonio’r rhif yma. awr cyn y perfformiad gwreiddiol (yn amodol unig, bydd angen dangos dull adnabod ac perfformiad. ar argaeledd). Codir ffi trafod o £1 am bob mae’r cynnig yn amodol ar argaeledd. Gellir MANYLION ARCHEBU tocyn. Bydd y Swyddfa Docynnau hefyd yn archebu o 12 Mawrth ymlaen. Mae pob gostyngiad yn amodol ar Gellir gwneud taliadau drwy ddefnyddio'r derbyn tocynnau i'w hailwerthu yn amodol argaeledd. Dim ond un disgownt fesul tocyn. cardiau credyd a debyd – Visa, MasterCard, ar ffi o 10%, ond ni allwn warantu y deuwn GOSTYNGIADAU AR GYFER SWEENEY MasterCard Debit, Visa Debit / Delta, Maestro o hyd i brynwr newydd. Mae’r telerau ac TODD SGYRSIAU AM DDIM CYN ac Electron, gyda siec (yn daladwy i Ganolfan amodau llawn ar gael ar-lein. Grwpiau PERFFORMIADAU Mileniwm Cymru). Rhaid talu am docynnau 10+ £4 oddi ar y pris, 20+ £5 oddi ar y pris Bydd Dramaturg Nicholas John WNO, wrth eu harchebu. Dim ond ar gyfer GOSTYNGIADAU ERAILL a 50+ £6 oddi ar y prisiau (ail a thrydydd) Sophie Rashbrook, yn darparu popeth archebion grwˆp o 10 neu ragor y gellir neilltuo Noddwyr ag anableddau ynghyd â thocyn am ddim i drefnwr y grwˆp y byddwch angen ei wybod i fwynhau’r tocynnau, neu dros dro wrth i ni brosesu eich Gall cwsmeriaid sydd angen cynorthwyydd os oes mwy na 20 o bobl yn y grwˆp. perfformiad. Rhaid archebu tocynnau cais mynediad. Nid yw ffioedd yn berthnasol personol i'w cynorthwyo yn y Ganolfan ymlaen llaw. os ydych yn archebu wyneb yn wyneb ac yn ymuno â'r Cynllun Mynediad erbyn hyn. Lle Dros 60 oed, pobl ag anableddau, talu ag arian parod neu Dystysgrifau Rhodd bo'n berthnasol mae'r Ganolfan yn cynnig digyflog, myfyrwyr a phobl ifanc dan HYDREF 2015 Canolfan Mileniwm Cymru. Mae man codi naill ai sedd am bris gostyngol neu am ddim 16 oed I puritani arian parod di-dâl gan Lloyds yng Nghyntedd i ofalwyr, felly ewch i'n gwefan am ragor o £4 oddi ar y prisiau (ail a thrydydd). Nos Wener 11, nos Sadwrn 19 Medi 6pm; Glanfa yn y Ganolfan. wybodaeth: yganolfan.org.uk/hygyrchedd. dydd Sul 4 Hydref 3pm Os oes gennych unrhyw ymholiad, cofiwch Mae pob gostyngiad yn amodol ar Orlando Ar y ffôn: Mae'r llinellau ffôn yn agored o gysylltu â'r Swyddfa Docynnau, a bydd y staff argaeledd ac ni ellir eu cymhwyso yn ôl- Nos Sul 27 Medi 3pm; nos Sadwrn 3 a nos ddydd Llun i ddydd Sadwrn 10am – 7pm ar yn gallu esbonio'r system yn fanylach. weithredol. Fercher 7 Hydref 6.15pm ddiwrnodau perfformiad a 10am – 6pm ar Sweeney Todd ddiwrnodau lle nad oes perfformiadau. Ar Nos Iau 8 a nos Wener 9 Hydref 6.30pm ddyddiau Sul bydd y llinellau yn agored am 98 Tymor 2015/2016 WNO Wales Millennium Centre 99

GWANWYN 2016 SAIN DDISGRIFIAD The Barber of Seville Sweeney Todd 28 Tachwedd Nos Sadwrn 13, nos Fercher 17, nos Wener Taith gyffwrdd am ddim 6.30pm 19, nos Fawrth 23 a nos Iau 25 Chwefror Perfformiad 7.30pm 6.15pm The Barber of Seville 19 Chwefror The Marriage of Figaro Taith gyffwrdd am ddim 6.15pm Nos Iau 18, nos Sadwrn 20, nos Fercher 24 Perfformiad 7.15pm a nos Wener 26 Chwefror 6pm Cavalleria rusticana a Pagliacci Figaro Gets a Divorce 4 Mehefin Dydd Sul 21 Chwefror 3pm; nos Sadwrn Taith gyffwrdd am ddim 6.15pm 27 Chwefror 6.15pm Perfformiad 7.15pm

HAF 2016 Gellir archebu tocynnau ar gyfer sgyrsiau In Parenthesis cyn perfformiadau a theithiau cyffwrdd yr Nos Wener 13, nos Sadwrn 21 Mai a nos un pryd â phan fyddwch yn archebu eich Wener 3 Mehefin 6.15pm tocynnau opera. Cavalleria rusticana a Pagliacci Nos Iau 26 Mai, nos Fercher 1 a nos Sadwrn 4 Mehefin 6.15pm; dydd Sul 29 Mai 3pm

Photo: An afternoon rehearsal takes place 100 Welsh National Opera 2015/2016 Season 101

Liverpool Empire Theatre

Sweeney Todd Friday 13 & Saturday 14 November 7.15pm ON SALE DATES Under 30s WNO Friends & Partners booking opens Tickets available at every performance for Monday 2 March at 10am (post, phone and £5 (subject to booking and transaction online) fees, please note that fees are not charged for bookings paid for by cash in General booking opens Monday 9 March at person). Seats located within top two price HOW TO BOOK TICKET PRICES* 10am (online, phone and in person) bands. Tickets must be booked in person Book online atgtickets.com/liverpool Stalls £39.90 | £29.90 | £6 no later than 48 hours prior to performance. By phone 0844 871 3017 Circle £39.90 | £29.90 | £19.90 | £6 OTHER DISCOUNTS ID required for each ticket purchased. (Mon to Sat 9am – 10pm, Sun 10am – Contact Access for All on 0844 871 7677 Subject to availability. 8pm) *Ticket prices include a £2.90 – £3.90 per for availability and prices. Groups 0844 871 3037 ticket booking fee applicable to online and FREE PRE-PERFORMANCE TALK (Mon – Fri, 10am – 6pm) telephone bookings (except £6 tickets). Groups WNO’s Nicholas John Dramaturg, Sophie Access for All 0844 871 7677 (Mon – Sat There is, in addition, a £2.85 transaction 8–15 £5 off top two ticket prices Rashbrook, gives you everything you need 9am – 10pm, Sun 10am – 8pm) fee but booking and transaction fees 16+ £10 off top two ticket prices to know to enjoy Sweeney Todd. By post Liverpool Empire Theatre, Lime do not apply to Groups and Theatre Tickets available through Groups booking Tickets must be booked in advance. Street, Liverpool, L1 1JE Card, postal and in person bookings. line only. In person Mon – Sat, from 10am, closing The booking and transaction fees are Friday 13 November 5.45pm times and Sunday opening times vary. levied and retained in their entirety by School groups Ambassador Theatre Group. Booking All seats £10, accompanying teacher goes charges are subject to change. Please free. Tickets available through Groups check at time of booking. Prices include booking line only. a theatre restoration levy of £1 which is retained by Ambassador Theatre Group. Senior Citizens, Registered Unemployed, Students & Children £5 off top two ticket prices.

ATG Theatre Card £7.50 off top two tickets prices.

Discounted seats are allocated at the discretion of the Box Office Manager and may be limited. Only one discount per ticket applies. 102 Welsh National Opera 2015/2016 Season 103

Venue Cymru

can also book for different seating areas / FREE PRE-PERFORMANCE TALKS Autumn 2015 price bands for each performance. Please WNO’s Nicholas John Dramaturg, Sophie I puritani Tuesday 27 October 7pm note does not apply to lowest price tickets. Rashbrook, gives you everything you need Orlando Wednesday 28 October 7.15pm to know to enjoy the performance. Tickets OPERA HOLIDAYS must be booked in advance. Sweeney Todd Thursday 29, Friday 30 & Saturday 31 October 7.15pm Llandudno Opera Holidays are the perfect way to gain even more enjoyment from AUTUMN 2015 Spring 2016 Welsh National Opera performances. I puritani The Barber of Seville Tuesday 8 & Friday 11 March 7.15pm For details contact Barbara Sandbach, Tuesday 27 October 3pm & 5.30pm The Marriage of Figaro Wednesday 9 & Saturday 12 March 7pm Opera Holidays Administrator on Orlando Figaro Gets a Divorce Thursday 10 March 7.15pm 01492 879526 or email Wednesday 28 October 3pm & 5.45pm [email protected] Sweeney Todd llandudnooperaholidays.co.uk Thursday 29 October 3pm & 5.45pm HOW TO BOOK Book online venuecymru.co.uk TICKET PRICES* OTHER DISCOUNTS SPRING 2016 By phone 01492 872000 Stalls £40 | £35 | £23 Groups of 10 or more The Barber of Seville Group bookings Circle £40 | £35 | £23 | £10 10% off the top three prices. Tuesday 8 & Friday 11 March 3pm 01492 872001 *All bookings subject to a £3 & 5.45pm [email protected] administration fee. Wheelchair Users & Registered The Marriage of Figaro By post and in person Venue Cymru, Disabled Wednesday 9 & Saturday 12 March 3pm Promenade, Llandudno, LL30 1BB Surtitles are available at every performance Zero-rated companion seat for all wheelchair & 5.30pm The Box Office is open Monday – Saturday (except Sweeney Todd), please check when users & registered disabled who require a Figaro Gets a Divorce 10am – 7.45pm on the counter and 10am booking to ensure visibility. personal assistant to aid them in attending Thursday 10 March 3pm & 5.45pm – 7pm on the phone lines. Box Office is the performance. Must be on the Venue closed on Sunday and Bank Holidays on Cymru Access Scheme in order to qualify. AUDIO DESCRIPTION non-show days and is open one hour prior Please direct all enquiries and bookings to Sweeney Todd 31 October to the show on performance days (counter Venue Cymru Box Office. Free touch tour 6.15pm service only). Performance 7.15pm Under 30s The Barber of Seville 11 March A minimum of 60 tickets available at Free touch tour 6.15pm ON SALE DATES SUBSCRIPTIONS every performance for £5 (subject to £3 Performance 7.15pm WNO Friends & Partners booking opens Book for two operas and save 20% administration fee). Seats located within first Monday 2 March at 10am (phone and Book three or four operas and save 25% three price bands. Tickets must be booked Tickets for free Pre-Performance Talks and counter only) Book five or more operas andsave 30% in person no later than 48 hours prior to Touch Tours can be booked at the same Simply book for two performances or more performance. ID required for each ticket time as booking your opera tickets by General booking opens Monday 9 March at and take advantage of our discounts. You purchased. Subject to availability. phone and counter only. 10am (online, phone and in person) can buy your subscription over the phone or in person. You do not have to book the same Only one discount applies per ticket. number of tickets for each performance. You All tickets are subject to availability. 104 Tymor 2015/2016 WNO 105

Venue Cymru

Hydref 2015 ragor o berfformiadau a manteisiwch ar SGYRSIAU AM DDIM CYN Y I puritani Nos Fawrth 27 Hydref 7pm ein gostyngiadau. Gallwch brynu eich PERFFORMIAD tanysgrifiad dros y ffôn neu wyneb yn Bydd Draaturg Nicholas John WNO, Sophie Orlando Nos Fercher 28 Hydref 7.15pm wyneb. Nid oes rhaid i chi archebu’r un Rashbrook, yn cynnig popeth y byddwch Sweeney Todd Nos Iau 29, nos Wener 30 a nos Sadwrn 31 Hydref nifer o docynnau ar gyfer pob perfformiad. angen ei wybod i fwynhau’r perfformiad. 7.15pm Gallwch hefyd archebu ar gyfer gwahanol Rhaid archebu tocynnau ymlaen llaw. fannau eistedd / bandiau pris ar gyfer pob HYDREF 2015 Gwanwyn 2016 perfformiad. Noder nad yw’r cynnig yn I puritani berthnasol i’r tocynnau pris isaf. The Barber of Seville Nos Fawrth 8 a nos Wener 11 Mawrth 7.15pm Dydd Mawrth 27 Hydref 3pm a 5.30pm The Marriage of Figaro Nos Fercher 9 a nos Sadwrn 12 Mawrth 7pm GWYLIAU OPERA Orlando Figaro Gets a Divorce Nos Iau 10 Mawrth 7.15pm Gwyliau Opera Llandudno yw’r ffordd Dydd Mercher 28 Hydref 3pm a 5.45pm berffaith o gael hyd yn oed mwy o fwynhad o Sweeney Todd berfformiadau WNO. Am fanylion cysylltwch Dydd Iau 29 Hydref 3pm a 5.45pm SUT I ARCHEBU PRISIAU TOCYNNAU* â Barbara Sandbach, Gweinyddwr y Gwyliau GWANWYN 2016 Archebu ar-lein venuecymru.co.uk Seddau £40 | £35 | £23 Opera ar 01492 879526 neu anfonwch The Barber of Seville Ar y ffôn 01492 872000 Cylch £40 | £35 | £23 | £10 e-bost [email protected] Dydd Mawrth 8 a dydd Gwener 11 Mawrth Archebion grwˆp *Mae pob archeb yn amodol ar ffi llandudnooperaholidays.co.uk 3pm a 5.45pm 01492 872001 [email protected] weinyddol o £3. GOSTYNGIADAU ERAILL The Marriage of Figaro Drwy’r post ac wyneb yn wyneb Venue Mae uwchdeitlau ar gael ym mhob Grwpiau o 10 neu ragor Dydd Mercher 9 a dydd Sadwrn 12 Mawrth Cymru, y Promenâd, Llandudno, LL30 1BB perfformiad (ac eithrio Sweeney Todd), 10% oddi ar y tri phris uchaf. 3pm a 5.30pm Mae’r Swyddfa Docynnau yn agored o holwch wrth archebu i sicrhau y byddwch Figaro Gets a Divorce Defnyddwyr cadair olwyn a phobl a Dydd Iau 10 Mawrth 3pm a 5.45pm ddydd Llun i ddydd Sadwrn 10am – 7.45pm chi'n gweld yr uwchdeitlau. gofrestrwyd yn anabl ar y cownter a 10am – 7pm ar y llinellau Sedd cydymaith cyfradd sero i holl SAIN DDISGRIFIAD ffôn. Mae’r Swyddfa Docynnau wedi cau ar ddefnyddwyr cadair olwyn a phobl Sweeney Todd 31 Hydref ddydd Sul a Gwyliau Banc ar ddiwrnodau a gofrestrwyd yn anabl sydd angen Taith gyffwrdd am ddim 6.15pm pan nad oes sioe, ac ar agor un awr cyn y cynorthwyydd personol i’w cynorthwyo i fynd Perfformiad 7.15pm sioe ar ddiwrnodau perfformiad (gwasanaeth i’r perfformiad. Rhaid bod yn rhan o Gynllun The Barber of Seville 11 Mawrth cownter yn unig). Mynediad Venue Cymru er mwyn bod yn Taith gyffwrdd am ddim 6.15pm gymwys. Cyfeiriwch bob ymholiad ac archeb i Perfformiad 7.15pm Swyddfa Docynnau Venue Cymru. DYDDIADAU GWERTHU TANYSGRIFIADAU Gellir archebu tocynnau ar gyfer Sgyrsiau Cyfeillion a Phartneriaid WNO – y broses Archebwch docynnau i ddwy opera ac Pobl dan 30 oed Cyn Perfformiadau a Theithiau Cyffwrdd rhad archebu’n agor ddydd Llun 2 Mawrth am arbedwch 20% O leiaf 60 o docynnau ar gael ym mhob ac am ddim yr un pryd ag y byddwch yn 10am (ffôn a’r cownter yn unig) Archebwch docynnau i dair neu bedair opera perfformiad am £5 (yn amodol ar ffi weinyddol archebu eich tocynnau opera dros y ffôn ac ac arbedwch 25% o £3). Bydd y seddau yn y tri band pris cyntaf. wrth y cownter yn unig. Archebion cyffredinol yn agor ddydd Llun Archebwch docynnau i bump neu ragor o Rhaid archebu tocynnau wyneb yn wyneb 9 Mawrth am 10am (ar-lein, dros y ffôn ac operâu ac arbedwch 30% ddim hwyrach na 48 awr cyn y perfformiad. wyneb yn wyneb) Archebwch docynnau ar gyfer dau neu Bydd angen dangos dull adnabod ar gyfer pob tocyn a brynir. Yn amodol ar argaeledd. 106 Welsh National Opera 2015/2016 Season 107

Milton Keynes Theatre

Spring 2016 SUBSCRIPTIONS Groups of 20 or more The Barber of Seville Tuesday 29 March & Friday 1 April 7.15pm Explore with us and save £7.50 off bands A and B The Marriage of Figaro Wednesday 30 March & Book any 3 operas and save 25% Book any 2 operas and save 20% Under 30s Saturday 2 April 7pm Simply book for two operas or more to A minimum of 60 tickets available at every Figaro Gets a Divorce Thursday 31 March 7.15pm take advantage of our discounts. You can performance for £5 (subject to transaction buy your subscription over the phone or in charge, please note that fees are not person. You do not have to book the same charged for bookings paid for by cash in number of tickets for each opera. You can person). Seats located within first three HOW TO BOOK TICKET PRICES* also book for different seating areas / price price bands. Tickets must be booked Book online atgtickets.com/ Stalls & Circle (Bands A–C) bands for each opera. Please note this in person no later than 48 hours prior to miltonkeynes* £53.90 | £43.90 | £35.90 does not apply to lowest price tickets. performance. ID required for each ticket By phone 0844 871 7652* Upper Circle (Bands B–E) purchased. Subject to availability. Group bookings 10+ 01908 547 609 £43.90 | £35.90 | £29.90 | £21.90 BOOKING DETAILS Access bookings 0844 871 7677* *include a £3.90 per ticket booking Telephone Sales: Monday to Saturday ATG Theatre Card By post and in person Milton Keynes fee applicable to online and telephone 9am – 10pm and Sunday 10am – 8pm £5 off bands A – C Theatre, Marlborough Gate, bookings. There is, in addition, a £2.85 Counter Service: Monday to Saturday Central Milton Keynes, MK9 3NZ transaction fee but booking and transaction 10am until 15 minutes after the last Only one discount applies per ticket. *Booking fee applies fees do not apply to Groups and Theatre performance commences, closing at 6pm Discounted seats are allocated at the Card bookings, and in person bookings. when there is no evening performance. discretion of the Box Office Manager and The booking and transaction fees are Sundays open from 1 hour and 30 minutes may be limited. levied and retained in their entirety by prior to the first show, closing 15 minutes Ambassador Theatre Group. Booking after the last performance commences. FREE PRE-PERFORMANCE TALKS charges are subject to change. Please WNO’s Nicholas John Dramaturg, Sophie check at time of booking. Prices Include OTHER DISCOUNTS Rashbrook, gives you everything you need a theatre restoration levy of £1 which is Senior Citizens and Registered to know to enjoy the performance. Tickets retained by Ambassador Theatre Group. Unemployed must be booked in advance. Prices subject to change. £2 off bands A – C (Tue, Wed, Fri only) SPRING 2016 Surtitles may not be visible all seats, please Equal Access The Barber of Seville check with the Box Office or website when All customers who require additional Tuesday 29 March 5.45pm booking. assistance to attend should make this The Marriage of Figaro known at the time of booking. Wednesday 30 March 5.30pm Figaro Gets a Divorce ON SALE DATES General booking opens Monday 9 March at Groups of 10 or more Thursday 31 March 5.45pm WNO Friends & Partners booking opens 10am (online, phone and in person) £4 off bands A and B Monday 2 March at 10am (post, phone and online) 108 Welsh National Opera 2015/2016 Season 109

New Theatre Oxford

Autumn 2015 ON SALE DATES OTHER DISCOUNTS I puritani Tuesday 3 November 7pm WNO Friends & Partners booking opens Early Booking Offer Orlando Wednesday 4 November 7.15pm Monday 2 March at 10am (post, phone and Book before Friday 24 July 2015 and get online) £10 off bands A & B. This offer applies to Sweeney Todd Thursday 5, Friday 6 & Saturday 7 November 7.15pm concessionary tickets only, which includes General booking opens Monday 9 March at Seniors and Claimants. 10am (online, phone and in person) ATG Theatre Card members: Book BOOKING DETAILS before Friday 24 July 2015 and get £10 off The Box Office is open 10am – 5pm bands A & B. Book from 25 July get £5 off Monday to Saturday (on performance days bands A & B. HOW TO BOOK TICKET PRICES* the Box Office closes 30 minutes after the Book online atgtickets.com/oxford* Stalls (Bands A–D) £58.90 | £41.90 | advertised performance time). Under 30s By phone 0844 871 3020* £29.90** | £17.90** Cheques should be made payable to ATG A minimum of 60 tickets available at every Group bookings 0844 871 3040 Circle (Bands A–D) £58.90 | £41.90 | London Ltd and can only be accepted performance for £5 (subject to transaction (Mon – Fri 10am – 6pm) £29.90 | £17.90** no later than four weeks prior to the charge, please note that fees are not Disabled Access Enquiries and Balcony (Bands C–D) £29.90 | £17.90 performance. charged for bookings paid for by cash in Bookings 01865 320770 Post No fee, please send SAE for return of person). Seats located within bands A – C. (Mon – Fri 10am – 6pm) *Ticket prices include a £2.90 – £4.90 per tickets Tickets must be booked in person no later By post and in person New Theatre, ticket booking fee applicable to online and In Person No fee than 48 hours prior to performance. ID George Street, Oxford, OX1 2AG telephone bookings. There is, in addition, Telephone & Online Booking and required for each ticket purchased. Subject *Booking fee applies a £4 transaction fee but booking and transaction fees apply to availability. transaction fees do not apply to Groups Group Bookings 10+ No fee when and Theatre Card, post, and in person booking on 0844 871 3040 Groups of 10+ bookings. The booking and transaction £8 off tickets in bands A & B. fees are levied and retained in their entirety PACKAGE DEALS by Ambassador Theatre Group. Booking Explore with us and save Standby charges are subject to change. Please Book two operas and save 20% Available one week before the performance: check at time of booking. Includes £1 Book three operas and save 25% Seniors / Students / Under 18s / Claimants: restoration levy retained by the theatre. You can buy your Package Deal over the £5 off selected seats. ** Some seats have restricted views, phone or in person. You do not have to please check when booking. book the same number of tickets for each School groups opera. You can also book for different £12.50 per pupil and 1 teacher free with Surtitles are available at every performance seating areas / price bands for each opera. every 10 pupils (bands B and C). (except Sweeney Todd), please check Please note does not apply to lowest price when booking to ensure visibility. tickets. 110 Welsh National Opera 2015/2016 Season 111

Access If you have access requirements or are a wheelchair user please contact our Access Team on 01865 320770 for availability and prices (Mon – Fri 10am – 6pm).

Discounted seats are allocated at the discretion of the Box Office Manager and may be limited.

FREE PRE-PERFORMANCE TALKS WNO’s Nicholas John Dramaturg, Sophie Rashbrook, gives you everything you need to know to enjoy the performance. Talks are held at the Wesley Memorial Hall and tickets must be booked in advance.

I puritani Tuesday 3 November 6pm Orlando Wednesday 4 November 6.15pm Sweeney Todd Thursday 5 November 6.15pm

Photo: Carmen on stage 112 Welsh National Opera 2015/2016 Season 113

The Lyric, Theatre Royal Plymouth

Spring 2016 PACKAGE DEALS Students, Under 16s, Young Company The Barber of Seville Tuesday 5 & Friday 8 April 7.15pm Explore with us and save Members & Unwaged The Marriage of Figaro Wednesday 6 & Saturday 9 April 7pm Book any two operas and save 20% Half price for top three price bands for all Book any three operas and save 25% performances. Figaro Gets a Divorce Thursday 7 April 7.15pm You can buy your Package Deal over the phone or in person. Tickets must be TRAC purchased in the same price band for each £4 off top three ticket prices for all opera. Package Deals only apply to the top performances three price bands. Only one discount applies per ticket. OTHER DISCOUNTS Discounts are subject to availability. Groups Groups of 10+ – £2.50 off each ticket FREE PRE-PERFORMANCE TALKS HOW TO BOOK TICKET PRICES Groups of 20+ – £3.50 off each ticket WNO’s Nicholas John Dramaturg, Sophie Book online theatreroyal.com Stalls £51 | £44 | £12* Groups of 40+ – £4.50 off each ticket Rashbrook, gives you everything you need By phone 01752 267222 Circle £51 | £33 | £12* (top three prices only) to know to enjoy the performance. Tickets In person Theatre Royal Plymouth, Upper Circle £31 | £22 | £12* must be booked in advance. Royal Parade, Plymouth, PL1 2TR Over 60s & Disabled Ticket price includes £1.25 Theatre Royal £5 off top three ticket prices, for all The Barber of Seville Plymouth Future Fund contribution. performances. Tuesday 5 April 5.45pm *Restricted view The Marriage of Figaro Under 30s Wednesday 6 April 5.30pm Surtitles are available at every A minimum of 60 tickets available at Figaro Gets a Divorce performance, please check when booking every performance for £5.70 (ticket prices Thursday 7 April 5.45pm to ensure visibility. include 70p per ticket booking fee, up to a maximum of nine tickets). Seats located Tickets to free Pre-Performance Talks can ON SALE DATES BOOKING DETAILS within first three price bands. Tickets must be booked through the theatre Box Office WNO Friends & Partners booking opens Box Office: Telephone bookings are open be booked in person. ID required for each at the same time as booking your opera Monday 2 March at 10am (phone only) 10am – 7pm Monday to Saturday and ticket purchased. Subject to availability. tickets. personal bookings are open 10.30am – Groups and Schools booking open 8pm Monday to Saturday (10.30am – 6pm School groups of 10+ Thursday 5 March at 10am on non-performance days). £10 seats for top three price band for all performances. General booking opens Monday 9 March at 10am 114 Welsh National Opera 2015/2016 Season 115

Mayflower Theatre, Southampton

Autumn 2015 SUBSCRIPTIONS FREE PRE-PERFORMANCE TALKS I puritani Tuesday 13 October 7pm Explore with us and save WNO’s Nicholas John Dramaturg, Sophie Orlando Wednesday 14 October 7.15pm Book 2 operas and save 20% Rashbrook, gives you everything you need Book 3 or 4 operas and save 25% to know to enjoy the performance. Tickets Sweeney Todd Thursday 15, Friday 16 & Saturday 17 October 7.15pm Book 5 or 6 operas and save 30% must be booked in advance through Simply book for two operas or more to take Mayflower Theatre Box Office on Spring 2016 advantage of our discounts. You can buy 02380 711811. The Barber of Seville Tuesday 22 March 7.15pm your Subscription over the phone or in The Marriage of Figaro Wednesday 23 & Saturday 26 March 7pm person. You do not have to book the same AUTUMN 2015 Figaro Gets a Divorce Thursday 24 March 7.15pm number of tickets for each opera. You can I puritani also book for different seating areas Tuesday 13 October 5.30pm / price bands for each opera. Please note Orlando does not apply to lowest price tickets. Wednesday 14 October 5.45pm Subscription bookings can be made for a Sweeney Todd maximum 9 tickets per opera. Thursday 15 October 5.45pm Subscriptions can not be booked online. SPRING 2016 OTHER DISCOUNTS The Barber of Seville Groups of 8 or more Tuesday 22 March 5.45pm £3 off each ticket and one free ticket with The Marriage of Figaro HOW TO BOOK TICKET PRICES every 20 purchased. Only available on £39 Wednesday 23 March 5.30pm Book online mayflower.org.uk Stalls £44 | £39 | £28 | £21.50 | £8 and £28 tickets. Figaro Gets a Divorce By phone 02380 711811 Circle £44 | £39 | £21.50 | £8 Thursday 24 March 5.45pm Group bookings 8+ 02380 711812 Balcony £28 | £21.50 | £17.50 | £8 Concessions (Senior Citizens, Full In person Mayflower Theatre, Commercial Time Students and those receiving Job Road, Southampton SO15 1GE Seekers or Disability Living Allowance) ON SALE DATES BOOKING DETAILS £6 off £39 seats in Stalls and Rear Circle WNO Friends & Partners booking opens Book by telephone, online or in person. Monday 2 March at 9.30am (phone only) Tickets may be booked in person at Under 30s Mayflower Theatre. All major credit cards A maximum of 60 tickets available at every General booking opens Monday 9 March at are welcome, except American Express performance for £5. Seats located within 9.30am (online, phone and in person) and Electron. Students must present ID on first three price bands. Tickets must be entering the performance. booked in person no later than 48 hours prior to performance. ID required for each ticket purchased. Subject to availability. Keep in touch

wno.org.uk Our website is the place to go to find out more about this season’s operas. You’ll find detailed casting information, plot summaries, videos, images, blogs and expert articles.

Facebook Join our lively Facebook community facebook.com/welshnationalopera

e-newsletter Sign-up for our regular e-newsletter and receive the latest news and exclusive content from behind the scenes at WNO wno.org.uk/register

Twitter Follow WNOtweet, our behind the scenes Twitter stream twitter.com/WNOtweet or twitter.com/OperaCenCymru

Phone If you have any questions about our productions and performances, call us on 029 2063 5030. The line is staffed Monday – Friday 9.30am – 5.30pm.

Photo: Escamillo’s dressing room 118 Welsh National Opera 2015/2016 Season 119

Season at a glance Autumn 2015

Opera Time Venue September Friday 11 I puritani 7pm Wales Millennium Centre, Cardiff Saturday 19 I puritani 7pm Wales Millennium Centre, Cardiff Sunday 27 Orlando 4pm Wales Millennium Centre, Cardiff

October Saturday 3 Orlando 7.15pm Wales Millennium Centre, Cardiff Sunday 4 I puritani 4pm Wales Millennium Centre, Cardiff Wednesday 7 Orlando 7.15pm Wales Millennium Centre, Cardiff Thursday 8 Sweeney Todd 7.30pm Wales Millennium Centre, Cardiff Friday 9 Sweeney Todd 7.30pm Wales Millennium Centre, Cardiff

Tuesday 13 I puritani 7pm Mayflower Theatre, Southampton Wednesday 14 Orlando 7.15pm Mayflower Theatre, Southampton Thursday 15 Sweeney Todd 7.15pm Mayflower Theatre, Southampton Friday 16 Sweeney Todd 7.15pm Mayflower Theatre, Southampton Saturday 17 Sweeney Todd 7.15pm Mayflower Theatre, Southampton

Tuesday 20 I puritani 7pm The Bristol Hippodrome Wednesday 21 Orlando 7.15pm The Bristol Hippodrome Thursday 22 Sweeney Todd 7.15pm The Bristol Hippodrome Friday 23 Sweeney Todd 7.15pm The Bristol Hippodrome Saturday 24 Sweeney Todd 7.15pm The Bristol Hippodromel

Tuesday 27 I puritani 7pm Venue Cymru, Llandudno Wednesday 28 Orlando 7.15pm Venue Cymru, Llandudno Thursday 29 Sweeney Todd 7.15pm Venue Cymru, Llandudno Friday 30 Sweeney Todd 7.15pm Venue Cymru, Llandudno Saturday 31 Sweeney Todd 7.15pm Venue Cymru, Llandudno

120 Welsh National Opera 2015/2016 Season Season at a glance | Autumn 2015 121

November Tuesday 3 I puritani 7pm New Theatre Oxford Wednesday 4 Orlando 7.15pm New Theatre Oxford Thursday 5 Sweeney Todd 7.15pm New Theatre Oxford Friday 6 Sweeney Todd 7.15pm New Theatre Oxford Saturday 7 Sweeney Todd 7.15pm New Theatre Oxford

Thursday 12 WNO Orchestra 7.30pm St David’s Hall, Cardiff

Friday 13 Sweeney Todd 7.15pm Liverpool Empire Theatre Saturday 14 Sweeney Todd 7.15pm Liverpool Empire Theatre

Tuesday 17 I puritani 7pm Birmingham Hippodrome Wednesday 18 Orlando 7.15pm Birmingham Hippodrome Thursday 19 Sweeney Todd 7.15pm Birmingham Hippodrome Friday 20 Sweeney Todd 7.15pm Birmingham Hippodrome Saturday 21 Sweeney Todd 7.15pm Birmingham Hippodrome

Tuesday 24 Sweeney Todd 7.30pm Wales Millennium Centre, Cardiff Wednesday 25 Sweeney Todd 7.30pm Wales Millennium Centre, Cardiff Thursday 26 Sweeney Todd 2.00pm Wales Millennium Centre, Cardiff Thursday 26 Sweeney Todd 7.30pm Wales Millennium Centre, Cardiff Friday 27 Sweeney Todd 7.30pm Wales Millennium Centre, Cardiff Saturday 28 Sweeney Todd 2pm Wales Millennium Centre, Cardiff Saturday 28 Sweeney Todd 7.30pm Wales Millennium Centre, Cardiff Sunday 29 Sweeney Todd 2pm Wales Millennium Centre, Cardiff

December Friday 18 A Christmas Carol 7.15pm Wales Millennium Centre, Cardiff Sunday 20 A Christmas Carol 4pm Wales Millennium Centre, Cardiff

122 Welsh National Opera 2015/2016 Season 123

Season at a glance Spring 2016

Opera Time Venue January Friday 15 WNO Orchestra 7.30pm St David’s Hall, Cardiff

February Saturday 13 The Barber Of Seville 7.15pm Wales Millennium Centre, Cardiff Wednesday 17 The Barber Of Seville 7.15pm Wales Millennium Centre, Cardiff Thursday 18 The Marriage of Figaro 7pm Wales Millennium Centre, Cardiff Friday 19 The Barber Of Seville 7.15pm Wales Millennium Centre, Cardiff Saturday 20 The Marriage of Figaro 7pm Wales Millennium Centre, Cardiff Sunday 21 Figaro Gets a Divorce 4pm Wales Millennium Centre, Cardiff Tuesday 23 The Barber Of Seville 7.15pm Wales Millennium Centre, Cardiff Wednesday 24 The Marriage of Figaro 7pm Wales Millennium Centre, Cardiff Thursday 25 The Barber Of Seville 7.15pm Wales Millennium Centre, Cardiff Friday 26 The Marriage of Figaro 7pm Wales Millennium Centre, Cardiff Saturday 27 Figaro Gets a Divorce 7.15pm Wales Millennium Centre, Cardiff

March Tuesday 1 The Barber Of Seville 7.15pm Birmingham Hippodrome Wednesday 2 The Marriage of Figaro 7pm Birmingham Hippodrome Thursday 3 Figaro Gets a Divorce 7.15pm Birmingham Hippodrome Friday 4 The Barber Of Seville 7.15pm Birmingham Hippodrome Saturday 5 The Marriage of Figaro 7pm Birmingham Hippodrome

Tuesday 8 The Barber Of Seville 7.15pm Venue Cymru, Llandudno Wednesday 9 The Marriage of Figaro 7pm Venue Cymru, Llandudno Thursday 10 Figaro Gets a Divorce 7.15pm Venue Cymru, Llandudno Friday 11 The Barber Of Seville 7.15pm Venue Cymru, Llandudno Saturday 12 The Marriage of Figaro 7pm Venue Cymru, Llandudno 124 Welsh National Opera 2015/2016 Season Season at a glance | Spring 2016 125

Tuesday 15 The Barber Of Seville 7.15pm The Bristol Hippodrome Wednesday 16 The Marriage of Figaro 7pm The Bristol Hippodrome Thursday 17 Figaro Gets a Divorce 7.15pm The Bristol Hippodrome Friday 18 The Barber Of Seville 7.15pm The Bristol Hippodrome Saturday 19 The Marriage of Figaro 7pm The Bristol Hippodrome

Tuesday 22 The Barber Of Seville 7.15pm Mayflower Theatre, Southampton Wednesday 23 The Marriage of Figaro 7pm Mayflower Theatre, Southampton Thursday 24 Figaro Gets a Divorce 7.15pm Mayflower Theatre, Southampton Saturday 26 The Marriage of Figaro 7pm Mayflower Theatre, Southampton

Tuesday 29 The Barber Of Seville 7.15pm Milton Keynes Theatre Wednesday 30 The Marriage of Figaro 7pm Milton Keynes Theatre Thursday 31 Figaro Gets a Divorce 7.15pm Milton Keynes Theatre

April Friday 1 The Barber Of Seville 7.15pm Milton Keynes Theatre Saturday 2 The Marriage of Figaro 7pm Milton Keynes Theatre

Tuesday 5 The Barber Of Seville 7.15pm Theatre Royal Plymouth Wednesday 6 The Marriage of Figaro 7pm Theatre Royal Plymouth Thursday 7 Figaro Gets a Divorce 7.15pm Theatre Royal Plymouth Friday 8 The Barber Of Seville 7.15pm Theatre Royal Plymouth Saturday 9 The Marriage of Figaro 7pm Theatre Royal Plymouth

126 Welsh National Opera 2015/2016 Season Season at a glance | Summer 2016 127

Season at a glance Summer 2016

Opera Time Venue May Sunday 1 WNO Orchestra 7.30pm St David’s Hall, Cardiff

Friday 13 In Parenthesis 7.15pm Wales Millennium Centre, Cardiff Saturday 21 In Parenthesis 7.15pm Wales Millennium Centre, Cardiff Thursday 26 Cavalleria rusticana & Pagliacci 7.15pm Wales Millennium Centre, Cardiff Sunday 29 Cavalleria rusticana & Pagliacci 4pm Wales Millennium Centre, Cardiff

June Wednesday 1 Cavalleria rusticana & Pagliacci 7.15pm Wales Millennium Centre, Cardiff Friday 3 In Parenthesis 7.15pm Wales Millennium Centre, Cardiff Saturday 4 Cavalleria rusticana & Pagliacci 7.15pm Wales Millennium Centre, Cardiff

Thursday 9 Cavalleria rusticana & Pagliacci 7.15pm Birmingham Hippodrome Friday 10 In Parenthesis 7.15pm Birmingham Hippodrome Saturday 11 Cavalleria rusticana & Pagliacci 7.15pm Birmingham Hippodrome

Wednesday 29 In Parenthesis 7.30pm Royal Opera House, London*

July Friday 1 In Parenthesis 7.30pm Royal Opera House, London*

*Performances go on sale in 2016, please visit roh.org.uk for details. 128

We are immensely grateful to our supporters. As we approach our 70th year, there is no more fitting time to say a special thank you. Your support has made it possible for us to become the artistic force we are today.

It’s also time to look forward. We want to go further. We need you to help us towards even greater success over the next 70 years.

Support us by becoming a WNO Partner.

Join us Contact: Sally-Ann Bird on 029 2063 5015 or [email protected]

wno.org.uk/partners

The information printed in this brochure is printed in good faith and all information is correct at the time of going to press. WNO reserves the right to alter the programme or casting without prior notice.

Image credits: Photo of David Pountney by Nick Treharne, photo on page 77 by Gareth Iwan Jones, all other photos by Matt Stuart. wno.org.uk