CHOThe magazinRe of Opera HoUlland Park | AuStumn 2019 CHORUS AUTUMN 2019 page 2 Discovery matinee Dates On Sunday 21 June, we will be hosting our first Discovery matinee. This performance of Rigoletto will be aa relaxed performance with Touch for your Tour, audio-description and accessible ticket pricing, to allow newcomers to calendar Dates for your diary discover opera. 2020 Season at a glance February 27 Young Artists’ Circle Launch The Gore London ● Eugene Onegin, 7.30pm YA Young Artists performance ● Rigoletto, 7.30pm ● Discovery matinee, 2pm March ● The Merry Widow , 7.30pm 11 Young Artists Masterclass with Amanda Roocroft Pushkin House ● Margot la Rouge / Le Villi, 7.30pm 18 Monstrous and sublime: Verdi's Rigoletto Italian Cultural Institute ● Royal Ballet School, 7.00pm ● matinee, 2pm 25 Supporters’ Spring Reception Chris Beetles Gallery ● Pirates of Penzance , 7.30pm 31 Waltz, schmaltz, cash and champagne: Lehár's The Merry Widow Mathiessen Gallery May June 30 Eugene Onegin Dress Rehearsal Opera Holland Park Theatre Mon Tues Weds Thur Fri Sat Sun June 4 Rigoletto Dress Rehearsal Opera Holland Park Theatre 1 2 345 6 7 ● ● ● 9 Pre-show Talk with Lada Valešová Opera Holland Park Theatre 8 ●9 ●10 ●11 ●12 ●13 14 18 Pre-show Talk with Dane Lam Opera Holland Park Theatre 15 16 17 18 YA 19 20 21 23 Pre-show Talk with Professor Jeremy Black Opera Holland Park ● ● ● ● ● Theatre 22 ●23 ●24 ●25 ●26 ●27 28 29 30 July 16 The Merry Widow Dress Rehearsal Opera Holland Park Theatre 17 Margot la Rouge / Le Villi Dress Rehearsal Opera Holland Park Theatre July 23 Pre-show Talk with Martin Lloyd-Evans Opera Holland Park Theatre Mon Tues Weds Thur Fri Sat Sun 30 Pre-show Talk with Tim Ashley Opera Holland Park Theatre 1 ●2 ●3 ●4◗ 5 678910 11 12 13 14 15 16 17 ●18 19 Opera Holland Park 20 ●21 ●22 ●23 ●24 ●25 26 Christmas Concert 2019 27 ●28 ●29 ●30 ●31 Toast the festive season with Opera Holland Park at our Christmas Concert on Saturday 7 December, 7pm , at St August Columba's Church in the heart of Knightsbridge. The evening features sacred and seasonal music, songs and Mon Tues Weds Thur Fri Sat Sun arias performed the Opera Holland Park Chorus and principal ●1 2 singers, and celebrity guest readings. 3 ●4 ●5 ●6 ●7 ●8 9 Tickets from £25 (including a festive drink). Call 0300 999 1000 or visit www.operahollandpark.com to book. CHORUS AUTUMN 2019 page 3 Members of the Opera Holland Park Chorus in Iolanta at Opera Holland Park © Ali Wright s another summer fades away, and the shortening formats to hospitals, care homes, shelters and days become colder, it’s time once again to reflect schools. oAn the season just past and to look forward to the one to come. It is thanks to your ongoing support of Opera Holland Park that we are able to keep expanding the range and The 2019 Season saw artistic achievements on stage quality of the work we do, reaching new people and reach new heights. There was plenty to celebrate staging ever more successful productions. We hope offstage too. The Season opened in June with Manon that you enjoyed the 2019 Season as much as we did, Lescaut and Un ballo in maschera , which delivered and we look forward to sharing more of our work with thrilling five-star performances. The Schools’ Matinee you soon. performance given by the 2019 Young Artists received a rock star-worthy standing ovation. James Clutton Director of Opera Michael Volpe General Director July brought Provençal heat to the park – not inappropriate for our production of L’arlesiana – and the Season ended with some unforgettable singing from the cast of our double bill. Few who heard it will forget the power and emotion of the Iolanta love duet, performed by Natalya Romaniw and David Butt Philip. Contents Amidst all this, over 1,500 people came along to our 4 This be the Verse Robert Thicknesse casts best-attended Open Day ever. a merciless eye on opera’s mothers and fathers As successful a season as 2019 was, our attention is already focused on the forthcoming months. We 8 Fatal Contagion Anna Picard looks at the recently announced the cast and creatives for the 2020 relationship between dance and opera Season, which features numerous company debuts and 12 Opera Holland Park Young Artists alumni. In 10 2019 Season in review Quotes, statistics December we will present our second Christmas and images reflecting on our summer of Concert at St Columba’s Church in Knightsbridge, opera in Holland Park featuring festive favourites performed by the Opera 12 Into the Light Michael Volpe reflects on our Holland Park Chorus and principals, and hosted by newly released film, Into the Light Penny Smith. 14 2020 Season Introducing the Alongside that, we have just premiered a new film Opera Holland Park 2020 Season focusing on mental health; Into The Light , in which three military veterans experience opera for the first 18 Booking information Everything you need to time. We are also launching Opera on Film, an initiative know ahead of Priority Booking designed to open our work to those community members who cannot attend the theatre. The project begins with a live video recording of Un ballo in Cover image: Anne Sophie Duprels as Amelia in Un ballo in maschera maschera that will be made available in a variety of at Opera Holland Park © Ali Wright CHORUS AUTUMN 2019 page 4 This be the Verse Julia Sporsén as Gilda with CHORUS AUTUMN 2019 page 5 the late, great Robert Poulton as Rigoletto, in Lindsay Kemp's 2011 production of Rigoletto . Robert Thicknesse casts a merciless eye on opera’s mothers and fathers. he poet Philip Larkin was no great opera fan, but passions, rightly concluded that Bringing Up Baby his well-known views on the effects of parenting would make a deeply unsatisfactory storyline. The cTould serve very well as the art form’s vision or occasional couple is permitted a visit to the family- mission statement. Next year’s Opera Holland Park planning department – see Mozart’s Papagenic playlist is as good an illustration as any: Rigoletto is carry-on – though this is better understood as an opera ’s unrivalled Guide to Successful Parenting ; anticipation of copious quantities of copulation. Eugene Onegin features an entertainingly bungling mother, and as for the others – well, there has to be Opera ’s main aim, then, as it plots its hapless heroes’ some reason how those young things got that way. future, is to stop them at all costs from exercising their genetic duty. Young women must be killed off Traditionally in opera it’s dad who does most of the before they are fertilised, or at least die in childbirth, heavy lifting when it comes to ensuring the beloved like Debussy’s M élisande. The best possible outcome offspring’s life is grim, miserable and short. Sons or is what the tabloids might call a ‘horrific double daughters, it’s all the same. For every Gilda, tragedy’ wherein the dewy-eyed lovebirds cop it infantilised and imprisoned by her peculiar papa, together in some improbable inferno. Here, Wagner is Rigoletto, there’s a Don Carlos, dobbed into the your go-to guy for top soap solutions: Tristan, Inquisition for strappado by gloomy dad King Phil. eschewing medical attention for a superficial flesh- For every Iphigenia chucked on the barbie by a father wound, goes gangrenous and necrotic, while Isolde brown-nosing the gods, there’s an Idamante similarly checks out with a Tantric musical climax. Brünnhilde basted. But let’s hear it for the distressing effects of tells Hagen the best place to impale her beloved mothers, too: they may often be subtler in their Siegfried (also her nephew) then commits suttee. As methods – indeed, they sometimes seem able to to Senta and the Flying Dutchman: well, nobody really wield their baleful spells from beyond the grave – but knows what happens there, but it’s not pretty. they are no slouches when it comes to scuppering the life-chances of their brood. But to get back to our parental moutons . Despite a slew of memorable progenitors in Baroque opera – There’s a strong case that all operatic tenors’ social Nero’s mama Agrippina, for example, or the and sexual problems can be traced back to their magnificent Medea – it was Giuseppe Verdi who mothers. Most of them are Italian, after all. At the established the system that would prefigure the fundamentalist end of this radical mothers’ insights of Freud. Verdi ran up an impressive nine movement, we have Trovatore ’s Manfredo, driven to operas in which parents and children are intimately madness and fratricide by Azucena’s mood-swings, involved in each other’s ruin and/or death. Among and Don Jos é reduced from ardent lover to these, La forza del destino has a pleasing mutuality, blubbering infant by an emasculating missive from the father’s death the proximate cause of the violent the old mater, telepathically twitching the apron extinction of his entire clan. Il trovatore extends the strings from her distant hovel. generational conflict, beginning with the ‘wrong’ baby (i.e. her own son) killed by a girl wracked with guilt Still, it’s hard to deny there are fewer actively and shame about her own mother’s fiery demise at destructive mothers on the stage. The reason for this the stake. The rest of the action is the logical is basically structural. Opera has a highly equivocal hecatomb of violence required to straighten out the attitude to reproduction, and therefore, alas, to whole mess.