New Opera of Gaiman's Coraline Hits the London

Total Page：16

File Type：pdf, Size：1020Kb

MEDIA RELEASE NEW OPERA OF GAIMAN’S CORALINE HITS THE LONDON STAGE Victorian Opera’s first co-commission and co-production with Royal Opera House, Covent Garden, an adaptation of Neil Gaiman’s much-loved novella Coraline, has opened to raft of four-star reviews and a sold-out season at London’s Barbican Centre. The new opera will be staged in Melbourne as part of Victorian Opera’s Season 2019 with full details to be announced in late-September. Time Out London described the production as “a clever dark comedy about the end of childhood with a few good scares thrown in”, and The Stage noted the “sharply drawn production” was “magical” and that “young Gaiman aficionados will love it.” The Guardian wrote the “creepy adaptation of Neil Gaiman's tale will turn kids on to opera” while “terrific performances and special effects ensure children in the audience love Mark-Anthony Turnage’s take on the cult novella.” Highlighting Victorian Opera’s expanding horizons and ongoing commitment to making new opera, Coraline marks the company’s first co-production in Europe; between Royal Opera House, Covent Garden (UK), Folkoperan (Sweden), Opéra de Lille (France) and Theater Freiberg (Germany). Contact: Scott Whinfield, Media & Communications Executive E: [email protected] P: 03 9012 6653 M: 0412 534 730 MEDIA RELEASE Victorian Opera has a proud history of creating new opera, and opera created specifically for children and families such as the company’s Season 2018 opener The Magic Pudding – The Opera. Andrew Snell, Victorian Opera’s Managing Director, said: “Victorian Opera is delighted to be working with Royal Opera House, Covent Garden on our first co-commission and co-production, and to bring Coraline to Melbourne for its Australian premiere as part of our Season 2019. As the new opera sold out weeks before its London season opened, Melbourne audiences should book early to avoid disappointment!” The opera is composed by Mark-Anthony Turnage, one of today’s leading composers, acclaimed internationally for works including Greek, The Silver Tassie and Anna Nicole, his first Covent Garden commission. Coraline marks Turnage’s second Covent Garden commission and reunites him with Aletta Collins who also directed Anna Nicole. After its publication in 2002 Coraline swept up numerous awards, including Nebula and Hugo awards for Best Novella, and was adapted into a successful 3D stop-motion film directed by Henry Selick, which was nominated for the Best Animated Feature Oscar in 2009. Full details of Victorian Opera’s production will be announced in late-September 2018 via victorianopera.com.au Photo credit: Dominic Sedgwick, Harry Nicoll and Gillian Keith as Ghost Child 3, 2 and 1, Mary Bevan as Coraline, Kitty Whately as Other Mother (C) ROH. Photo by Stephen Cummiskey Contact: Scott Whinfield, Media & Communications Executive E: [email protected] P: 03 9012 6653 M: 0412 534 730 .

Copy Link

Recommended publications

Event Planner Guide 2020 Contents
EVENT PLANNER GUIDE 2020 CONTENTS WELCOME TEAM BUILDING 17 TRANSPORT 46 TO LONDON 4 – Getting around London 48 – How we can help 5 SECTOR INSIGHTS 19 – Elizabeth Line 50 – London at a glance 6 – Tech London 20 – Tube map 54 – Financial London 21 – Creative London 22 DISCOVER – Medical London 23 YOUR LONDON 8 – Urban London 24 – New London 9 – Luxury London 10 – Royal London 11 PARTNER INDEX 26 – Sustainable London 12 – Cultural London 14 THE TOWER ROOM 44 – Leafy Greater London 15 – Value London 16 Opening its doors after an impressive renovation... This urban sanctuary, situated in the heart of Mayfair, offers 307 contemporary rooms and suites, luxurious amenities and exquisite drinking and dining options overseen by Michelin-starred chef, Jason Atherton. Four flexible meeting spaces, including a Ballroom with capacity up to 700, offer a stunning setting for any event, from intimate meetings to banquet-style 2 Event Planner Guide 2020 3 thebiltmoremayfair.com parties and weddings. WELCOME TO LONDON Thanks for taking the time to consider London for your next event. Whether you’re looking for a new high-tech So why not bring your delegates to the capital space or a historic building with more than and let them enjoy all that we have to offer. How we can help Stay connected Register for updates As London’s official convention conventionbureau.london conventionbureau.london/register: 2,000 years of history, we’re delighted to bureau, we’re here to help you conventionbureau@ find out what’s happening in introduce you to the best hotels and venues, Please use this Event Planner Guide as a create a world-class experience for londonandpartners.com London with our monthly event as well as the DMCs who can help you achieve practical index and inspiration – and contact your delegates.
[Show full text]
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
[Show full text]
BAM and New York City Opera Present US Premiere of Anna Nicole, an Opera by Mark-Anthony Turnage with Libretto by Richard Thomas—September 17 to 28
BAM and New York City Opera present US premiere of Anna Nicole, an opera by Mark-Anthony Turnage with libretto by Richard Thomas—September 17 to 28 Anna Nicole launches BAM 2013 Next Wave Festival American Express is the BAM 2013 Next Wave Festival Sponsor BAM and New York City Opera present Anna Nicole Composed by Mark-Anthony Turnage Libretto by Richard Thomas Directed by Richard Jones Conducted by Steven Sloane Scenic design by Miriam Buether Costume design by Nicky Gillibrand Lighting design by Mimi Jordan Sherin & D.M. Wood Choreography by Aletta Collins Line producer and Soloist Casting by Elaine Padmore Additional Casting by Telsey + Company, Tiffany Little Canfield, CSA Anna Nicole was commissioned by the Royal Opera House, Covent Garden, London, and premiered there in February 2011 BAM Howard Gilman Opera House (30 Lafayette Ave) Sep 17–28 at 7:30pm Tickets: $25, 50, 75, 100, 125, 150 (weekday); $35, 60, 85, 115, 145, 175 (weekend) Master Class: Lyrics, Libretto, and Luck with Richard Thomas Sep 12 at 3pm, BAM Fisher Leavitt Workshop (321 Ashland Pl) Tickets: $25 Talk: The Making of Anna Nicole, with Mark-Anthony Turnage, Richard Thomas, and Richard Jones, moderated by Elaine Padmore. Sept 16 at 7pm, BAMcafé (30 Lafayette Ave) Tickets: $15 ($7.50 for Friends of BAM) Anna Nicole: An Opening Affair, Sep 17, post-show celebration Tickets: BAM Patron Services, 718.636.4182 or [email protected] Brooklyn, NY/Aug 8, 2013—The 2013 Next Wave Festival launches with the Brooklyn Academy of Music (BAM) and New York City Opera co-production of Anna Nicole, an opera by composer Mark- Anthony Turnage and librettist Richard Thomas based on the flamboyant life and tragic death of Anna Nicole Smith.
[Show full text]
Now We Are 126! Highlights of Our 3 125Th Anniversary
Issue 5 School logo Sept 2006 Inside this issue: Recent Visits 2 Now We Are 126! Highlights of our 3 125th Anniversary Alumni profiles 4 School News 6 Recent News of 8 Former Students Messages from 9 Alumni Noticeboard 10 Fundraising 11 A lot can happen in 12 just one year In Memoriam 14 Forthcoming 16 Performances Kim Begley, Deborah Hawksley, Robert Hayward, Gweneth-Ann Jeffers, Ian Kennedy, Celeste Lazarenko, Louise Mott, Anne-Marie Owens, Rudolf Piernay, Sarah Redgwick, Tim Robinson, Victoria Simmons, Mark Stone, David Stout, Adrian Thompson and Julie Unwin (in alphabetical order) performing Serenade to Music by Ralph Vaughan Williams at the Guildhall on Founders’ Day, 27 September 2005 Since its founding in 1880, the Guildhall School has stood as a vibrant showcase for the City of London's commitment to education and the arts. To celebrate the School's 125th anniversary, an ambitious programme spanning 18 months of activity began in January 2005. British premières, international tours, special exhibits, key conferences, unique events and new publications have all played a part in the celebrations. The anniversary year has also seen a range of new and exciting partnerships, lectures and masterclasses, and several gala events have been hosted, featuring some of the Guildhall School's illustrious alumni. For details of the other highlights of the year, turn to page 3 Priority booking for members of the Guildhall Circle Members of the Guildhall Circle are able to book tickets, by post, prior to their going on sale to the public. Below are the priority booking dates for the Autumn productions (see back cover for further show information).
[Show full text]
ACM LONDON: ARTS in CONTEXT – Spring 2014 [Note: This Is a Preliminary Syllabus, Prepared During the Summer and Autumn Months of 2012 and Updated in Spring 2013
ACM LONDON: ARTS IN CONTEXT – Spring 2014 [Note: this is a preliminary syllabus, prepared during the summer and autumn months of 2012 and updated in spring 2013. It will be developed with a great deal more specificity nearer the spring term of 2014 as theatre bookings fall into place] Course: Theatre in London: the Art of Adaptation Instructor: Steven Marc Weiss, PhD Associate Professor of Theatre Arts Coe College, Cedar Rapids, Iowa e-mail: [email protected] phone: Course Description: This course will provide both an in-depth examination of the astonishing variety of theatre offerings available in London during each seven-week term and an equally penetrating look at the literary (or other) source materials that, directly or indirectly, inspired each production. As we consider various ways in which most theatrical productions are developed—either based on other source material or on writers’ original ideas—our ongoing focus of study will be on the intertextuality between the page (drama) and the stage (theatre). “Adaptation” is the key concept underlying the investigation, and the term will be broadly defined to include: (1) how playwrights sometimes adapt non-dramatic source materials (historical events, narrative fiction, etc.) into dramatic texts; (2) how theatre collaborators sometimes attempt to adapt for viable stage production dramatic source material from another medium (film, for instance); (3) how playwrights sometimes adapt existing, older playtexts to craft more contemporary “versions” of them; (4) how contemporary playwrights sometimes, either consciously or inadvertently, alter playtexts they “translate” from other languages; (5) how theatrical practitioners “translate” words on a page into action on the stage after carefully studying the texts for clues that will help them conceptualize and eventually actualize productions based on those clues; and (6) how playtexts are, by necessity, “adapted” by directors, designers and actors to “work” for the space(s) in which they are presented.
[Show full text]
Playing Shakespeare with Deutsche Bank Production of Twelfth Night
2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh.
[Show full text]
What's New in London for 2016 Attractions
What’s new in London for 2016 Lumiere London, 14 – 17 January 2016. Credit - Janet Echelman. Attractions ZSL London Zoo - Land of the Lions ZSL London Zoo, opening spring 2016 Land of the Lions will provide state-of-the-art facilities for a breeding group of endangered Asiatic lions, of which only 400 remain in the wild. Giving millions of people the chance to get up-close to the big cats, visitors to Land of the Lions will be able to see just how closely humans and lions live in the Gir Forest, with tantalising glimpses of the lions’ habitat appearing throughout a bustling Indian ‘village’. For more information contact Rebecca Blanchard on 020 7449 6236 / [email protected] Arcelor Mittal Orbit giant slide Queen Elizabeth Olympic Park, opening spring 2016 Anish Kapoor has invited Belgian artist Carsten Höller to create a giant slide for the ArcelorMittal Orbit. This is a unique collaboration between two of the world’s leading artists and will be a major new art installation for the capital. The slide will be the world’s longest and tallest tunnel slide, measuring approximately 178m long and will be 76m high. There will be transparent sections on the slide so you can marvel at the view. For more information contact Victoria Coombes on 020 7421 2500 / [email protected] New Tate Modern Southbank, 17 June 2016 The new Tate Modern will be unveiled with a complete re-hang, bringing together much-loved works from the collection with new acquisitions made for the nation since Tate Modern first opened in 2000.
[Show full text]
Document.Pdf
LONDON IS EVOLVING A CITY OF COLLIDING FORCES A CULTURAL CITY A CITY FOR CHALLENGERS AND EXPLORERS A CITY TO MOVE FORWARD WELCOME TO GRESHAM ST PAUL’S MOVE FORWARD THIS IS S T PA U L' S B WOW FACTOR Gresham St Paul’s has something a little different — unparalleled proximity to the global icon that is St Paul’s Cathedral. The building has a privileged location between some of London’s most prominent cultural landmarks, vibrant amenity and a global financial centre. An unofficial logo, St Paul’s Cathedral is our compass point for central London, marking the meeting point of cultural and commercial life in the city. Gresham St Paul’s enjoys A GLOBAL exceptional proximity to this icon. ICON A busy streetscape 340 St Paul’s receives over 1.5m visitors each year years as London’s most recognisable centrepiece 3 minute walk from Gresham St Paul’s View of the Cathedral from the 8th floor of Gresham St Paul’s 4 5 Barbican Centre GRESHAM ST PAUL'S Bank of England St Paul's Cathedral Liverpool St / Moorgate St Paul’s CUTTING EDGE Tate Modern The world’s most popular art museum is connected to St Paul’s by the Millennium Bridge CULTURE 8 Some of London’s leading cultural institutions are just a lunch break away. And there is more to come. A number of high-profile new cultural projects are set to open in 8 the immediate area, including the new Museum of London world-class cultural venues form the opening at West Smithfield Market in the coming years Culture Mile, all within and new concert hall for the London Symphony Orchestra.
[Show full text]
Copyright Marilyn J. La Vine © 2007 New York –
Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening.
[Show full text]
Types & Forms of Theatres
THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
[Show full text]
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence.
[Show full text]
Aldwych-House-Brochure.Pdf
Executive summary • An iconic flagship in the heart of Midtown • This imposing building invested with period grandeur, has been brought to life in an exciting and modern manner • A powerful and dramatic entrance hall with 9 storey atrium creates a backdrop to this efficient and modern office • A total of 142,696 sq ft of new lettings have taken place leaving just 31,164 sq ft available • A space to dwell… 4,209 – 31,164 SQ FT 4 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 5 Aldwych House • MoreySmith designed reception • Full height (9 storey) central atrium fusing a modern which provides a light, modern, interior with imposing spacious circulation area 1920s architecture • Floors are served by a newly refurbished lightwell on the west side and a dramatically lit internal Aldwych House totals 174,000 atrium to the east from lower sq ft over lower ground to 8th ground to 3rd floor floors with a 65m frontage • An extensive timber roof terrace onto historic Aldwych around a glazed roof area • Showers, cycle storage and a drying room are located in the basement with easy access from the rear of the building • The ROKA restaurant is on the ground floor 6 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 7 8 | ALDWYCHHOUSE.COM Floorplate Typical upper floor c. 18,000 sq ft Typical upper floor CGI with sample fit-out 10 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 11 Floorplate Typical upper floor with suite fit-out 12 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 13 SOHO TOTTENHAM COURT ROAD MIDTOWN | LONDON Aldwych House, now transformed as part of the dynamic re-generation of this vibrant eclectic midtown destination, stands tall and COVENT GARDEN commanding on the north of the double crescent of Aldwych.
[Show full text]