Opera

Cover illustrations A collage of all opera production photographs printedin this catalogue

Published by Faber Music Ltd, April 2009

Bloomsbury House74–77 Great Russell StreetLondonWC1B 3DATel: +44(0)20 7908 5311/12Fax: +44(0)20 7908 5339promotion@fabermusic.comwww.fabermusic.com

Designed and edited by Lis Lomas Cover design by Lydia Merrills-Ashcroft

Every effort has been made to contact copyright holdersfor the photographs used in this catalogue. We will behappy to acknowledge any copyrights we have not beenable to trace in future editions

INTRODUCTION

This catalogue gives details ofoperas and dramatico-musicalworks published by Faber Music(listed alphabetically bycomposer).

The rights of performance,including broadcast, of all theseworks are controlled by thepublisher. Permission to performany work must be obtained inadvance from Faber Music or itsoverseas agents listed on page 44.

Inspection scores of any work willbe supplied on request.

Instrumentation is given in theform of figures and/orinstrumental abbreviations in theusual order of the score beginningwith woodwind and brass.Doubling is indicated by anequals sign within brackets.

A selection of books on operafrom Faber & Faber is given onpage 43.

CONTENTS BY COMPOSER

Thomas Adès 5-6

George Benjamin 7

Anne Boyd 8

Benjamin Britten 9-14

Francesco Cavalli 15-18

John Gay 19

Jonathan Harvey 20-22

Gustav Holst 23

Oliver Knussen 24-25

Minoru Miki 27

Nicholas Maw 26

Claudio Monteverdi 28-30

Wolfgang Amadeus Mozart 31

Dominic Muldowney 32

Modest Mussorgsky 32

Henry Purcell 33

Jean-Philippe Rameau 33

Torsten Rasch 34

Peter Sculthorpe 35

Humphrey Searle 36

Ralph Vaughan Williams 37

John Woolrich 38

INDEX 43

BOOKS ON OPERA FROM F&F 42

MUSICAL THEATRE 39-41

FABER MUSIC HIRE CONTACTS 44

ABBREVIATIONS

VOICES

VOICE TYPES ................................sopranocolS ......coloratura sopranodramS ....dramatic sopranohS ....................high sopranolyrS ................lyric sopranoM ................ mezzo sopranodM dramatic mezzo sopranolyrM ....lyric mezzo sopranoA ................alto or contraltocharA character contraltoTr ..................................trebleCT ....................countertenorT ....................................tenorbuffoT ................buffo tenorcharT ........character tenorhT ........................high tenorheldT ..............heldentenorlyrT ....................lyric tenorBar ..........................baritonehBar ..............high baritonelyrBar ..........lyric baritoneBBar ..............bass baritoneB ....................................bassbuffoB ................buffo basscharB ..........character bassnsr ..............non-singing role

INSTRUMENTAL

WOODWINDpicc ............................ piccolofl ...................................... fluteob .................................. oboebass ob .............. bass oboeca ...................... cor anglaiscl .............................. clarinetbcl .................. bass clarinetbsn .......................... bassoondbsn .......... double bassoonssax .... soprano saxophonetsax ........ tenor saxophonebsax .. baritone saxophone

BRASShn .................................. hornfl.hn .................... flugel hornptpt .......... piccolo trumpettpt .......................... trumpetatrbn ..........alto trombonetrbn ...................... trombonebtrbn .......... bass trombonescrt ............ soprano cornetcrts .......................... cornetsrcrt .............. repiano cornetbtuba .................. bass tubaeuph .................. euphoniumBar .......................... baritone

PERCUSSIONant.cym ....antique cymbalsBD ........................bass drumc.bell ........................cowbellcast ......................castanetsch.bl ..............chinese blockchic. ..........cym chic cymbalch.dr ..............chinese drumchtpl.bl chinese temple blockchimes ......wooden chimesch.ba ..................chime barscrot ..........................crotalescyms ..........pair of cymbalsglsp ..................glockenspielmcas ......................maracasmar ........................marimbamet.bl .............. metal blockmil.glsp military glockenspielriv.cym ............rivit cymbalSD ........................side drumsiz.cym ........ sizzle cymbalsusp.cym ..suspended cymbalt.bells ............tubular bellst.mil ........ tambour militairetab ................................tabortam-t ......................tam-tamtamb ..................tambourineTD ......................tenor drumtgl ............................triangletimb ........................timbalestpl.bl ..............temple block

vib ...................... vibraphonewdbl ..................wood blockxyl ........................xylophonexylrim ................xylorimba

STRINGSvln ................................violinvla ..................................violavlc .................................. cellodb ..................................bass

KEYBOARDScel ..............................celestahpd ..................harpsichordorg ................................organsynth ................synthesiserpno .............................. piano

OTHERSgtr ................................guitarbgtr .................... bass guitarharm .................. harmoniummand .................... mandolin

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THOMAS ADÈS POWDER HER FACE (1995) OP 14

Duration 115 minutes cl(I=ssax+barsax.II=asax+bcl.III=bcl+cbcl+swanee whistle) -hn.tpt.trbn - perc(1): hi-hat/2 susp.cym/SD/vibraslap/BD/washboard/cabaca/lion’s roar/cyms/pop gun/large fishing reel/t.bells/tam-t/flexatone/wdbl/3 brake drum/3 tpl.bl/BD+foot ped/bongo/2timb/siz.cym/guiro/rototom/electric bell/rattle/swanee whistle/crockery or wood.glass.shell.metal chimes crushed together/whip- harp - pno - accordion - 2 vln.vla.vlc.db

Cast: Duchess (dramS); Maid (hS); Electrician (T); Hotel

Manager (B)

Libretto: Philip Hensher (Eng)

Commissioned by Almeida Opera

FP: 1.7.95, Cheltenham Festival, Everyman Theatre, Cheltenham:Valdine Anderson/ Roger Bryson/Jill Gomez/Niall Morris/AlmeidaOpera/Brad CohenLibretto 0-571-51611-4 and vocal score 0-571-51730-7 on sale, fullscore and parts for hireRecordings: Gomez/Anderson/Morris/Bryson/Almeida Ensemble/Adès: EMI Classics 7243 5 56649 2 1DVD: Produced and directed for television by Margaret Williams:Digital Classics DC 10002

‘…a composer ofmasterful technique’SYNOPSIS1990: The Duchess surprises a Maid and an Electricianin the act of ridiculing her in her suite on the top floorof a West End hotel. Owing to their negligence, HerGrace’s coat is soiled. As she changes, all threeexpress unanimous admiration for Her Grace’s clothesand scent, and varying opinions about her Grace’scircumstances. An entrance ensues. 1934: The Duke isexpected at a large country house. Former ‘Debutanteof the Year’ Mrs Freeling awaits him eagerly as herdivorce is discussed by a Confidante and a LoungeLizard. His Grace’s recent affairs are a topic. A song is given and His Grace arrives. 1936:Fashionable interest in Mrs Freeling’s wedding to HisGrace in no way affected by her status as a famousdivorcee, a magnificent reception is thrown. Behind thescenes, a thoughtful Waitress prepares elaboratedishes. 1953: On one of her frequent visits to thecapital, Her Grace relaxes in the room of one ofLondon’s foremost hotels. She telephones for RoomService and gives the Waiter the friendly welcomewhich has earned her such popularity among the staff.1953: Meanwhile, His Grace entertains a friend athome after returning from a party. Her Grace isdiscussed and information revealed. 1955: As thehistoric divorce trial nears its close and the Judge’sconcluding remarks are awaited, Rubberneckersdiscuss the sensational aspects by which they havebeen attracted. A judgement is given and Her Grace

reacts. 1970: Her Grace grants an interview at herlovely home. She offers insights from her experience ofhealth, beauty, entertaining, millinery and Englishsociety. 1990: Her Grace receives two visits from theManager of the prestigious London hotel which hasbeen her home for over a decade. They finalise detailsof her forthcoming departure and in the interim, she reflects. She vacates the suite, whereupon it is made ready for the next occupant. ‘…one of the most striking new operas I have seenin years…a composer of masterful technique. Fromthe tango of the overture to the tango of the close,one is on the edge of one’s seat trying to catch asmuch as possible of the prolific, fast-altering, vividlyetched and instrumentally outrageous detail of ascore that is boiling with life.’The Sunday Times (Paul Driver)

‘…the tone of Firbankian camp is sly and subtle andelegantly wedded to Adès’s hugely colourful andvirtuosically inventive score, with its brilliant Jazz Agepastiche and homages to Berg and Stravinsky…’The Daily Telegraph (Rupert Christiansen)

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Chamber opera in two acts and eightscenes for four singers and 15 players

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THOMAS ADÈS THE TEMPEST (2003–04) OP 22

Duration 122 minutes3(II & III=picc.).3(III=ca).3(I & II=Bb, III in A=bcl).3(III=cbsn) -4.3.3(III=btrbn).1 - timp - perc(2/3) - upright pno - harp (act 3only) - strings (some basses with extensions to B)

Cast: Prospero (hBar); Ariel (hS); Caliban (T); Miranda (M);Ferdinand (T); King (T); Antonio (T); Stefano (B-Bar); Trinculo(CT); Sebastian (Bar); Gonzalo (BBar); The Court (SATB chorus)

Libretto: Meredith Oakes, after Shakespeare (Eng)

Commissioned by the Royal Opera House

FP: 10.2.04, Royal Opera House, London, UK: The RoyalOpera/Thomas Adès/dir. Tom CairnsLibretto 0-571-52337-4 and vocal score 0-571-5220-8 on sale, fullscore and parts for hireRecording: Simon Keenlyside/Cynthia Sieden/Ian Bostridge/KateRoyal/Toby Spence/Philip Langridge/Chorus and Orchestra of theRoyal Opera House: EMI: 5099969523427

‘…a resounding triumph’

The Tempest is inspired by Shakespeare’s play, ratherthan literally being based on every aspect of it. Thereare key images from the play as well as new material.From among the play’s many themes and possibleinterpretations, the opera focuses on the difficulty, andthe necessity, of mercy. The libretto uses contemporaryvocabulary. Its lines are short, rhythmic and rhymed orsemi-rhymed, echoing Shakespeare’s strophic songsmore than his blank verse. This choice reflects theplay’s magical, ritual, childlike elements, andacknowledges the traditional power of incantation insong. The operatic Prospero is the passionatelyvengeful man seen in the play, more than the wisedisconnected actor also seen there. Despite his near-omnipotence, he finds things out as he goes along, andexperiences contradictory emotions to the end. © Meredith Oakes‘…a resounding triumph for Adès…At the end, asCaliban reclaimed his island and Ariel’s wordlesssong quivered into silence, the audience burst intolong, loud, almost ecstatic applause… the musictakes off into an evocation of primeval magic andthe blend of human and supernatural such as hasnot been heard in English music since Tippett’s TheMidsummer Marriage…Adès does not shirk thetraditional big operatic moments. There is a thrillingand moving quintet of reconciliation and he giveseach of his main characters an imposing andimpressive aria…these are expressed in music ofextraordinary imaginative power…The Tempestshould be spell-binding and that is what Adès hasmade it… It’s a must.’The Sunday Telegraph (Michael Kennedy)

‘The music lifts you into the stratosphere, and youdon’t want to leave… Adès himself conducted,drawing a riot of color from the orchestra… A huge,stamping-and-shouting roar greeted the composerwhen he took his solo bow – a final storm of soundon the enchanted island.’The New Yorker (Alex Ross)

‘The wonderful quintet of healing begins with akernel of melody so pure, simple and English that itmight be John Dowland. The way it burgeons intosomething lofty and aspirational says more about thepossibilities of new beginnings than anything I knowin contemporary music.’The Independent (Edward Seckerson)

‘If you need proof that the hype surrounding Adès ismore than just hope and expectation, this is where tofind it’The Guardian (Erica Jeal)

Opera in three acts

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Martin and I wanted to tell our lyric tale in the mostdirect and authentic way possible, not an easy task inthe age of TV and cinema. Our solution – where thestory-telling as well as the multiple roles are sharedbetween just two singers – acknowledges at all timesthe artificial nature of sung drama, while stillpermitting dialogue and characterisation. Occasionally,particularly in heated moments, it approaches thenaturalistic. Martin’s text remains faithful to thetraditional myth of the Ratcatcher of Hamelin, though itevokes disturbing contemporary resonances too. It alsoreflects upon the power of music as well as itsexploitation in today’s world. This work was verymuch a collaborative undertaking, from the beginning.All those involved tonight in singing, playing anddirecting were in place – and closely consulted – beforea note of the score was written. The orchestrationemploys some highly unusual timbres, ranging frombass flute and cimbalom to banjo and basset-horns.The resultant sonority is often discreet and always, Ihope, transparent, so that the vocal lines can occupythe foreground without struggle. Above all I wanted toembed these lines as clearly as possible into theharmonic environment that surrounds them. In thisfusion, I believe, lies a crucial expressive resource onthe lyric stage.© George Benjamin

‘George Benjamin doles out his music in dark,powerful droplets…’Newsday (Justin Davidson)

‘Into the Little hill is a jewel-like piece of musictheatre… a remarkable soundworld in which complexcharacterisations and layers are thrillingly refined…The wealth of invention, remarkable textural ingenuityand particularly imaginative use of the instrumentsmark out the score as a miniature masterpiece.’The Independent (Lynne Walker)

‘The word setting is always pellucid and sometimeslyrical, the orchestration…luminous, subtle anddelicate. Most strikingly imaginative of all, however,is the way that Benjamin creates a world of sound,quite unlike any other.…it left me both stunned and elated. A masterpiece,no question.’The Telegraph (Rupert Christiansen)

‘It is a transcendentally beautiful piece, perfectlyscaled to Martin Crimp’s taut libretto…The Guardian (Andrew Clements)

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GEORGE BENJAMIN INTO THE LITTLE HILL (2006)

Duration 40 minutesfl(=picc + bfl).2 basset hn in F.cbcl - 2 crts.tenor trbn - cimbalom=perc(1): cyms/guiro/2 crot/whip - 2 vln.(II=mandolin).2 vla(II=banjo).2 vlc.db

Text: Martin Crimp (Eng)

Commissioned by the Festival d’Automne à Paris, withcontributions from the Ernst von Siemens Music Foundation;Opéra National de Paris; and Ensemble Modern, with contributionsfrom the Forberg-Schneider Foundation

FP: 22.11.06, Festival d’Automne, Paris, France: Anu Komsi/HilarySummers/Ensemble Modern/Franck Ollu/dir. Joël Jouanneau Score 0-571-53212-8 on sale, libretto 0-571-53149-0 on sale, andparts for hire Recording: Anu Komsi/Hilary Summers/Ensemble Modern/Frank Ollu, Nimbus: NI 5828

A lyric tale in two parts for soprano,contralto and ensemble of 15 players

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‘…by all accounts a blazingmasterpiece’The Guardian (Brian McMaster)

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ANNE BOYD THE LITTLE MERMAID (1946)

Duration 60 minutes7 wind instruments: (1 veryhigh; 4 medium; 2 low) - timp -perc(11): 2 susp.cym/gong/3xyl/cheng-cheng/2 glsp/3metals/bongos/BD/claves - pno- strings (min 3.2.2.2.1) -electronics

Cast: The Little Mermaid (S);The Grandmother (A); Witch of the Sea (A); Five Sisters (M & 2 A)

Libretto: Robin Lee after thestory by Hans Andersen (Eng)

Commissioned by New Music inAction with funds provided bythe Australia Council

FP: 26.9.81, WollogongTechnical College Auditorium,Australia: Wollongong Instituteof Higher EducationLarge score (fp) 0-571-55489-X,score (fp) 0-571-55488-1, vocalscore 0-571-50593-7 on sale, andparts for hire

By marrying contemporary music withHans Christian Andersen’s well-knownclassic fairytale, musically The LittleMermaid gains accessibility for chil-dren unfamiliar with opera. The storyof The Little Mermaid’s sacrifice forlove reveals to us life in three worlds –the subterranean world of the sea peo-ple with their strange myths and moralcodes against the tangible world of theland folk; together with the mysteriousunknown world of the heavens and theDaughters of the Air. The LittleMermaid’s experience of these threeworlds seems to reinforce the fragilityof life.

Opera in two acts

ANNE BOYD THE ROSE GARDEN (1972)

Duration 70 minutes2 fl(I=picc).afl - 2 gtr(I=elec.II=acoustic) - perc(6): glsp/3gong/timp/cel/crot/bongos/fingercyms/tom-t/t.bells/xyl/tam-t/vib - pno(=cel) -electronic tape

Cast: The Rose (S); TheSearcher, The Gateway, TheWarden (mimed roles); ChorusSATB

Libretto: Robin Hamilton (Eng)

FP: May 1972, University ofYork, UK: University ofYork/Dominic MuldowneyLarge score (fp) 0-571-55491-1,score (fp) 0-571-55490-3 on sale,and parts for hire

The Rose Garden is a ritual,concerned with the search forspiritual values and purpose in lifeand death. The Rose symbolizesthe achievement of an ideal; the

Searcher symbolizes all those whostrive for this achievement. TheGarden is the world, in which notonly is the Rose to be found butalso all the obstacles which willimpede the search for the Rose.

‘A profoundly beautiful work, atonce chaste and passionatelyeclectic… yet assembled in acogently personal way, thrilling inits long, sure control of time-spans…’The Financial Times (Andrew Porter)

Theatre piece in one act

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BENJAMIN BRITTEN CHURCH PARABLES

Duration 71 minutesfl(=picc) - hn - perc(1): 5 smalluntuned drums/5 small bells/large tuned gong - chamberorgan - harp - vla.db

Cast: Madwoman (T); Ferryman(Bar); Traveller (Bar); Spirit ofthe Boy (Tr); Leader of thePilgrims/Abbot (B); Chorus of

Pilgrims (3T, 3 Bar, 2B); 3 Assistants

Libretto: William Plomer after the Japanese Noh-play Sumidagawa (Eng)

FP: 9.6.64, Aldeburgh, UK: English Opera GroupFull score (cased) 0-571-50001-3, full score (paper) 0-571-50720-4 (O/P), rehearsal score (Eng/Ger) 0-571-50002-1,libretto (Eng) 0-571-0094-3 on sale, rehearsal score (French)for hire, parts for hireRecordings: Pears/Shirley-Quirk/Blackburn/English OperaGroup, London Records/Langridge/Allen/Saks/

Keenlyside/London Voices/Academy of St Martin in theFields/Mariner, Philips: 454-469-2

In Tokyo in 1956 Britten attended two performances ofthe 15th century Noh-play, The Sumida River, whichmade a profound impression on him. The simple story,the austerity, formalism and deliberate pace of theaction; the mixture of chanting, speech and singing; theall-male cast with a handful of instrumentalists – allthese offered what he described as a ‘totally newoperatic experience’. In collaboration with the poetWilliam Plomer he conceived the transplantation of theoriginal play to an English setting, presented along thelines of a medieval religious drama with plainsongtaking the place of the traditional ancient Japanesemusic. Monks and acolytes make up the cast of theParable which tells the most moving of stories: ademented mother seeks her lost son and finallydiscovers his grave by the side of the Curlew River.

THE BURNING FIERY FURNACE (1966) OP 77Second parable for church performance

CURLEW RIVER (1964) OP 71Parable for church performance

Duration 64 minutesfl(=picc) - hn.alto trbn - perc(1):5 small untuned drums/anvil(small untuned steel plate)/2tuned wdbl/lyra/glsp/babyloniandrum/multiple whip - chamberorgan (=small cyms) - harp(=little harp) - vla.db(=babylonian drum)

Cast: Nebuchadnezzar (T); Astrologer/the Abbot(Bar); Ananias (Bar); Misael (T); Azarias (B);Herald/Leader of Courtiers (Bar); Chorus ofCourtiers (3T, 2Bar, 2B); Attendants (Tr)

Libretto: William Plomer from the Book of Daniel(Eng), Ludwig Landgraf (Ger), Armand Bex (Fr)

FP: June 1966, Aldeburgh, UK: English Opera Group

Full score 0-571-50721-2 or 0-571-50681-X, rehearsal score(Eng/Ger) 0-571-50026-9, libretto 0-571-50088-9 on sale, partsfor hireRecording: Pears/Drake/Shirley-Quirk/Tear/Dean/Leeming/English Opera Group: London Records

In Britten’s second Parable the style of performancesustains the Noh tradition of Curlew River. Butcomposer and librettist have here found the source oftheir inspiration in the familiar Biblical story ofAnanias, Azarias and Misael. The music takes its pointof departure from the plainsong, Salus Aeterna, whichrecurs throughout a uniquely coloured score as asymbol of the Israelites’ integrity. The figure ofNebuchadnezzar, the cult of the ‘god of gold’, and theresistance movement of the three exiles evoke themesof clear, contemporary significance.

THE PRODIGAL SON (1968) OP 81Third parable for church performance

Duration 72 minutesafl(=fl) - hn.tpt - perc(1): 5 smalluntuned drums/ch.cym/conicalgourd rattle/large untuned gong/wdbl - perc(on stage): smalldrum/cyms/tamb/sistrum/smallbell-lyra - chamber organ - harp -vla.db

Cast: The Tempter/Abbot(T); theFather(BBar); the Elder Son(Bar); the YoungerSon(T); Chorus of Servants(3T, 3 Bar, 2B); 5 YoungServants (Tr)

Libretto: William Plomer from the New Testament

(Eng); Hans Keller (Ger)

FP: 10.6.68, Aldeburgh, UK: English Opera Group Full score 0-571-50682-8, rehearsal score (Eng/Ger) 0-571-50231-8, libretto 0-571-50270-9 on sale, parts for hireRecording: Pears/Drake/Shirley-Quirk/Tear/Dean/Leeming/English Opera Group: London Records

Of all the parables in the New Testament, none has hadquite such a universal and ever-renewed appeal as thatof the Prodigal Son. With its unforgettable climax ofreward and rejoicing being lavished not upon virtuouscorrectness but upon a sinner, this parable celebratesthe triumph of forgiveness.

BENJAMIN BRITTEN DEATH IN VENICE (1973) OP 88

Duration 145 minutes2(=picc).2.2(II=bcl).2 - 2221 - timp - perc(5): 2 SD/2TD/2 BD/tuned drum/3 tom-t/3 ch.dr/small drum/cyms/2 susp.cym/pair small cym/tamb/wdbl/tgl/2whip/2 tunedgong/2 tam-t/wind machine/bells/belltree/crot/vib/2 glsp/2 xyl/mar - pno - harp - strings

Cast: Gustav von Aschenbach (T); the traveller/multiple role(B-Bar); the voice of Apollo (CT); Smallroles from SATB chorus (4S, 3C, sT, 2Bar, BBar, B)Dancers: Polish mother, Tadzio her son, her 2daughters, Governess, Jaschiu, children, strollingplayers/beach attendants

Libretto: Myfanwy Piper based on the short story byThomas Mann (Eng); Claus Henneberg & Hans Keller (Ger)

FP: 16.6.73, Aldeburgh Festival, UK: English OperaCompanyFull score (cased) (Eng/Ger) 0-571-50533-3, vocal score(Eng/Ger) 50514 7, chorus part (Eng/Ger) 0-571-56823-8,libretto (Eng) 0-571-51453-7 on sale, full score andparts for hireRecording: Langridge/Opie/Chank/BBC Singers/City of London Sinfonia/Hickox, Chandos

‘…a great opera.’Death in Venice was Britten’s last opera, theculmination of the composer’s unique contribution totwentieth-century operatic repertoire. The ageingnovelist, Gustav von Aschenbach, seeks inspiration forhis work in Venice and becomes infatuated by thebeauty of a boy he sees on the beach. Tormented byguilt and unable to confess his love, he dies as the cityis ravaged by plague.

‘Benjamin Britten has once again proved theimpossible. Thomas Mann’s Death in Venice, acompressed and intense story, an artist’s innermonologue, lacking conversation, has against allodds become a great opera.’The Guardian (Edward Greenfield)

‘Britten’s consummate skill as an opera composerhas never been more apparent. In scene after scenehe establishes atmosphere and dramatic points withuncanny rapidity and sureness of touch.’The Observer (Peter Heyworth)

‘Mrs Piper’s libretto succeeds brilliantly in drawingscenes and dialogues from a narrative of virtualinterior soliloquy… Above all the music has a unityof purpose, obtained by continual development of afew simple yet subtle motives, which pulls the operatogether not dogmatically but with the effortlessblossoming of a masterly improvisation.’The Times (William Mann)

Opera in two acts based on the short story by Thomas Mann

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BENJAMIN BRITTEN THE GOLDEN VANITY (1971) OP 78

SYNOPSISThe boys march on and form two groups, thoserepresenting The Golden Vanity and thoserepresenting the enemy ship ‘The Turkish Galilee’.The Golden Vanity is riding the Lowland Sea with acargo of silver and gold when it comes across themarauding vessel. The ship floundering andvulnerable from a blast from the pirate ship, the cabinboy asks the captain what his reward would be if hewere to sink The Turkish Galilee. The captain offershim the hand of his ‘pretty little daughter who livesupon the shore’. The cabin boy dives into the waterand swims over the the enemy ship, boring three holesin the side. As The Turkish Galilee begins to sink, theboy returns to The Golden Vanity but the rascallycaptain and bosun refuse to let him back on and to

honour their promise. Finally, the crew throw him arope, but he dies on reaching the deck. He is buried atsea amid much sorrow and remorse. His voice can beheard evermore over the spot where he died.

‘The simplicity, both dramatic and musical, spellspure magic… This is a parlour game translated,capturing in music all of a child’s excitement in acharade.’The Guardian (Edward Greenfield)

‘Skirling clashes of tones and semitones like stiffbreezes, and becalmed murmuring ostinatos, andbold chordal shouts. The vocal writing is entirelycharacteristic - already my head is ringing with thethree-part chords that Britten sets to “the Lowland,Lowland Sea”…’The Times (William Mann)

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Duration 17 minutespno - drum

Cast: 3 Tr, 2 A soloists, Tr/A chorus

Libretto: Colin Graham (Eng)/Ger/French

FP: 3.6.67, Aldeburgh Festival, UK: Vienna Boys ChoirVocal score (Eng/Ger) 0-571-50106-0, chorus part (Eng/Ger) 0-571-50107-9 on sale, French translation vocal score (fp) 0-571-55492-X on saleRecording: The Wandsworth School Boys’ Choir, Russell Burgess/Benjamin Britten, Decca 436397-2

‘The simplicity, both dramatic and musical, spells pure magic…’

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BENJAMIN BRITTEN OWEN WINGRAVE (1971) OP 85

‘…one of the most challenging andnecessary works of the late 20thcentury.’

SYNOPSISAt Coyle’s cramming establishment in London, Owenand his friend Lechmere are learning the strategy ofbattle. At the end of the lesson, Owen declares that hecannot go through with a military career. Coyle isangry but agrees to break the news to the Wingravefamily for whom soldiering has been a way of life fordecades. At their haunted country house, Paramore,Owen is rounded on by his aunt and Miss Wingrave,his fiancée Kate Julian and her mother. The elderlyhead of the family, Sir Philip Wingrave, who fought atBhurtpore, is similarly outraged. In the Prologue toAct Two, a ballad singer narrates the tale of the youngWingrave boy killed by his brutal father for refusing tofight over an argument with a friend. Sir Philipdisowns Owen, depriving him of his inheritance. Katehumiliates Owen by flirting with Lechmere. Aftereveryone has gone to bed, Owen, left alone, reflects onhis predicament and reaffirms his passionate belief inpeace. Kate comes looking for him. She taunts himwith cowardice and dares him to sleep in the hauntedroom. Owen agrees and Kate locks him in. Lechmereis concerned for Owen’s welfare and alerts Coyle.Kate is heard sobbing from the doorway of the hauntedroom. The family rush to the scene. Sir Philip pushesthe door open to find Owen dead on the floor. Theballad singer’s voice is heard once more.

‘Britten has packed his most skilful craftsmanship intoOwen Wingrave. He uses a handful of musicaltechniques; among them, a percussive motifrepresenting the military tradition of the Wingravefamily, and a sequence of plain chords that recallBilly Budd for the pacifist beliefs of Owen himself.’The Financial Times (Gillian Widdicombe)

‘One needs hardly emphasise how many threadsfrom the deepest of Britten’s preoccupations,formulated in wholly characteristic dramatic and musical images, are drawn together as theopera moves to its ironic close. These are majorpreoccupations and this is a major theatrical work, inwhich they are again pressed home withconsummate art.’The Listener (Donald Mitchell)

Opera in two acts based on the short story by Henry James

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Duration 106 minutes2(II=picc).2.2(II=bcl+Ebcl).2(II=cbsn) - 2221 - timp - perc(3):SD/2TD/BD/wdbl/whip/2 susp.cym/cyms/smallgong/tom-t/vib/xyl/tamb - pno - harp - strings

Cast: Owen Wingrave (Bar); Spencer Coyle (B-Bar);Lechmere(T); Miss Wingrave(S); Mrs Coyle(S); Mrs Julian(S);Kate(MS); General Sir Philip Wingrave (T); Ballad Singer (T)

Libretto: Myfanwy Piper based on the short story by HenryJames (Eng); Claus Henneberg and Karl Robert Marz (Ger)

FP: May 1971, BBC Television: First staged performance: May1973, Royal Opera House, Covent GardenStudy score 0-571-51542-8, vocal score (Eng/Ger) 0-571-50502-3,libretto (eng) 0-571-50299-7 on sale, full score and parts for hireRecordings: Luxon/Shirley-Quirk/Douglas Fisher/Harper/Vyvyan/Baker/Pears/Wandsworth School Byos Choir/ECO/Britten, London RecordsColeman-Wright/Opie/Gilchrist/Connell/Watson/Fox/Helen/Leggate/Tiffin Boys Choir/City of London Sinfonia/Hickox,Chandos: CHAN 10473(2)

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BENJAMIN BRITTEN OWEN WINGRAVE (reduced orch.) (1971/2007)

Opera in two acts based on the short story by Henry Jamesreduced orchestration by David Matthews (2007)Duration 106 minutes1(=picc).1(=ca).1(=bcl).1(=cbsn) - 1110 - perc(2): timp/glsp/xyl/vib/tuned bell/tamb/cyms/susp.cym/whip/wdbl/2 gong/2 SD/TD/tom-t/BD - pno - strings

Cast: Owen Wingrave (Bar), Spencer Coyle (B-Bar), Lechmere(T), Miss Wingrave (S), Mrs Coyle (S), Mrs Julian (S), Kate(MS), General Sir Philip Wingrave (T), Ballad Singer (T)

Libretto: Myfanwy Piper based on the short story by HenryJames (Eng); Claus Henneberg and Karl Robert Marz (Ger)

Commissioned by The Royal Opera House

FP: 23.4.07, Linbury Theatre, Royal Opera House, Covent Garden,London: City of London Sinfonia/Rory MacDonaldScore and parts for hire

‘…perfectly effective… ’

Benjamin Britten’s deep commitment to pacifism, somovingly evident in War Requiem, is also the centraltheme of Owen Wingrave. Set in England in 1895, theopera tells of a young man’s rebellion against themilitary traditions of his family. In fighting for hispacifist ideals he proves himself as brave a soldier asany of his forebears.

‘…Owen Wingrave comes across as swifter andmeatier than before – in no small part due to a newchamber orchestration by David Matthews, one ofBritten’s former assistants. Matthews’s version isactually an improvement on the original because wehear all the essentials of the instrumental score inbetter profile, while being able to hear every word…’Financial Times (Andrew Clark)

‘Richocheting brass and clattering timpani delineatedboth Owen’s struggle and the forces of reaction thathem him in, while sensual strings and the sound ofBritten’s beloved gamelan conveyed the vision ofpeace that drives Owen on.’The Guardian (Tim Ashley)

‘…a new reduced orchestration by David Matthewswhich sounded perfectly effective in a small theatresuch as the Linbury Studio. Rory MacDonaldconducted the members of the City of LondonSinfonia with flair, and Britten would have beendelighted at the ease with which the singerscommunicated the text over the orchestra – withoutbenefit of surtitles.’The Daily Telegraph (Rupert Christiansen)

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BENJAMIN BRITTEN PAUL BUNYAN (1940/74) OP 17

‘One of those early works ofgenius…’

Paul Bunyan was Britten’s first work for the musicaltheatre, written for performance in New York in 1941.(It was subsequently withdrawn until its revival in1976). From the start it was conceived for youngsingers and players to perform: there are big choruses,and many small parts rather than a few star roles. Itsaction moves swiftly, and its music is deliberatelyeclectic in style. Spoken dialogue is interspersed withcatchy set numbers and there are narrative ballads –sung with guitar – to link the scenes. The work is aparable of the development of the American continentfrom virgin forest to civilization. Paul Bunyan, thefolklore hero of the lumbermen, is the guiding spirit,heard but not seen. The human characters are sharplydrawn as prototype figures: Helson, the man of brawn,but no brain; Inkslinger, the man of speculativeintelligence; Slim, the successful charmer who marriesthe boss’ daughter. Although often light-hearted, PaulBunyan is at heart a deeply serious, tender, poeticwork, the obvious precursor to Peter Grimes andBritten’s other operas – a brilliant collaboration and aclassic of the stage, which remained unperformed forfar too long.

‘It is a marvelous libretto… and his brilliance wasmatched by Britten’s music, which absorbed theidioms of Gershwin, Cole Porter, Western countrymusic and of Kurt Weill. The resulting score isdazzling in its imaginativeness and invention,touching and prophetic of Peter Grimes… A workthat has genius written all over it.’Opera Magazine, (Michael Kennedy)

‘One of those early works of genius – like Mozart’sIdomeneo – whose youthful freshness andabundance of invention set an audience’s spiritsoaring… what matters is the general vision ofunspoiled nature and men harnessing (and spoiling)that nature, of first love and first grief, of dreams,ambitions and compromises that life imposes. Andwhat matters most of all is the world of lyrical, joy-giving music that Britten creates.’The New Yorker (Andrew Porter)

Operetta in two actsbased on the story of the American folk hero Paul BunyanDuration 114 minutes2(II=picc).1.2(II=asax).bcl.1 - 2221 - timp(=susp.cym) - perc(1):susp.cym/tgl/SD/TD/glsp/gong/BD+cym/cyms/wdbl/xyl/tamb/vib - pno(=cel) - harp - strings (on stage vln.gtr.db)

Cast: Voice of Paul Bunyan (spoken role); Johnny Inkslinger (T);Hot Biscuit Slim (T); Sam Sharkey (T); Ben Benny (B); HelHelson (Bar); John Shears (Bar); Fido, a dog (hS); 2 cats -Moppet and Poppet (2 M); Ballad singer (T or Bar). Small rolesfrom SATB Chorus: 4 Young Trees (2 S, 2 T); 3 Wild Geese (S, 2M); 4 Swedes (2 T, 2 Bar); Western Union Boy (T); Quartet of theDefeated (contralto, T, Bar, B); 4 Cronies (4 Bar) spoken roles:Heron; Moon; Wind; Beetle; Squirrel (Libretto (Eng) by WHAuden; Erich Fried (Ger)

FP: 5.5.41, Brander Matthews Hall, New York, USA: unknown

FP: (revised edition) 4.6.76, Aldeburgh Festival, The Maltings,Snape: English Music Theatre/Steuart BedfordFull score 0-571-50680-1, vocal score 0-571-50538-4, chorus part 0-571-50610-0, libretto 0-571-51938-5 on sale, parts for hireRecordings: Allen/Brown/McKeel/Ramos/Allison/Chorus and orchestra of the Plymouth Music Series, Brunelle: VCD 7592492

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FRANCISCO CAVALLI L’EGISTO (1643)

Opera in three acts with prologuePerforming edition realized by Raymond Leppard Duration 135 minutes2 hpd - harp - 2 lute - chitarrone (or gtr) - gtr - flue organ - stringsOff stage: 2 fl.2 ob.ca.2 bsn

Cast: Principals - Clori (S); Lidio (Bar or CT); Egisto (T);Climene (M); Ipparco (Bar); Dema (T - travesty role) - Smallroles: Bellezza (S); Volupia (M); Amor (S); Venus (S); Apollo(Bar); 4 Heroines (3 S, M); 4 Seasons (4 S); In Prologue - LaNotte (Bar); L’Aurora (S)

Libretto: Giovanni Faustini (Ital) English by Geoffrey Dunn andRaymond Leppard. German by Karl Robert Marz

FP of this version: 1.8.74, Santa Fe, USA: Santa Fe OperaCompany/Raymond LeppardVocal score (Ital/Ger/Eng) 0-571-50532-5 , chorus part 0-571- 50396-9, libretto 0-571-50647-X on sale, full score and partsfor hire

‘…elegant in its multiplefusions of tragedy andwhimsy, heroism andintimacy, reality and illusion’

L’Egisto was composed to a libretto by GiovanniFaustini, who provided Cavalli with some of his bestwritten texts and best constructed plots. The opera resembles the Shakespearean pastoralcomedy, with two pairs of lovers brought finallytogether after considerable vicissitudes. An un-Shakespearean element, characteristic of early Italianopera, is the participation of the Gods in this drama,for it is their rivalries that control the fortunes of thehuman protagonists.

‘Musically the opera flows with Cavalli’s distinctiveblend of recitative and arioso yielding to moreformal aria. Its emotional range is both broader anddeeper than many other Cavalli opera (one istempted to draw parallels here with Mozartianopera), notably in Egisto’s extended mad scene andthe encounters between the lovers. This is a marvelous work, broad in its range ofpassions, inspired in its melodic flights, elegant in itsmultiple fusions of tragedy and whimsy, heroism andintimacy, reality and illusion.’Los Angeles Times (Martin Bernheimer)

‘The opera is a charmer… Cavalli is never at a lossfor ingratiating tunes, and Mr Leppard has clothedthem all in a luscious harmonic framework that isrich in textural variety and full of ingenious theatricalgestures.’New York Times (Peter G Davis)

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FRANCISCO CAVALLI LA CALISTO (1651)

Opera in two acts with prologueEdition one: by Raymond LeppardEdition two: by Alvaro TorrenteDuration 120 minutes2 hpd - harp - 2 lute - chitarrone - gtr - flue organ - strings

Cast: Giove (B); Mercurio (Bar); Calisto (S); Endimione (CT);Diana (M); Linfea (T-travesty role); Satirino (S); Pane (B);Sylvano (BBar); Giunone (S); Echo (S); In prologue: La Natura(M); L’Eternita (S); Il Destino (S); Chorus: SATB

Libretto: Giovanni Faustini (Ital) with Eng & Ger translations byRaymond Leppard

FP of edition one: 25.5.70, Glyndebourne, Sussex, UK:Glyndebourne Festival Opera/Raymond Leppard

FP of edition two: 23.9.08, Royal Opera House, Covent Garden,London: cond. Ivor Bolton/co-prod. with BayerischeStaatsoper/dir. David AldenChorus part (Ital/Eng/Ger) 0-571-50396-9, vocal score(fp) 0-571-50395-0 on sale, full score and parts for hireRecordings: Cotrubas/Bowman/Baker/Glyndebourne FestivalChorus/LPO/Leppard, Universal Classics

‘…one exquisitely beautifulnumber after another…’

Cavalli was acknowledged, after Monteverdi’s death, tobe the foremost operatic composer in Italy, celebratedthroughout Europe. La Calisto was first performed inVenice in 1651 and its first modern performance was atGlyndebourne in 1970 in Raymond Leppard’sperforming edition.

‘The libretto by Giovanni Faustini is cynical,irreverent, and hilariously amusing. We see Jupiterenamoured of Calisto, one of Diana’s chastedevotees; when she repulses him he assumes theshape of Diana and successfully seduces her. Wesee the real Diana overcome her votive chastitythrough love for the shepherd Endymion. Linfea,another of her nymphs, more elderly, likewisesuccumbs to the predatory lusts of Pan and hissatyrs. Juno arrives full of righteous indignation,recognizes her husband even when disguised asDiana, and soon transforms Calisto into a little bear.Jupiter rescues her from this metamorphosis andtranslates her into the constellation of Ursa Minor,taking her up to heaven on an ample and comfortable couch… La Calisto gives us oneexquisitely beautiful number after another, justifyingthose experts who have pointed to Cavalli’s depth ofdramatic characterization.’The Times (WIlliam Mann)

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FRANCESCO CAVALLI L’ORIONE (1653)

Opera in three actsPerforming edition realized by Raymond LeppardDuration 125 minutes2 hpd - harp - 3 lute - gtr - flue organ - strings

Cast: Diana (M-S), Aurora (M-S), Filotero (Bar), Orione (T), Titon(B), Vulcan (B), Venus (S), Amore (S), Apollo (T) - Small roles:Amorettino (S), 2 Nymphs (2S), Eolo (S), Giove (T), Sterope (T),Nettuno (Bar), Bronte (B), Chorus (SS)

Libretto: Francesco Melosio (Ital); English translation byRaymond Leppard

FP: July 1983, Santa Fe, USA: Sante Fe Opera/Raymond LeppardVocal score (Ital/Eng), chorus part (Ital/Eng), full score and partsfor hire

‘…a charmingly acid study ofsexual jealousy that gives the godsfeet of clay, hearts of gold andeyes green with envy.’

L’Orione was first performed in Milan in 1653. Its firstmodern production was given by Santa Fe Opera, NewMexico, in Raymond Leppard’s performing edition, thefourth of his imaginative Cavalli editions which havebrought a major 17th century operatic composer intothe modern theatre. Orion, though mostly mortal, claims descent from Jove,Mercury and Neptune. Blinded by Dionysus for anamorous misadventure on Chios, he swims to Delos toregain his sight. Here, his propensity for amorousintrigue leads him into trouble, and eventually, bydecree of Destiny, he is transformed into the greatconstellation that bears his name.

‘Cavalli, the composer, shines through the centurieswith undiminished lyrical and comic brilliance… Thisis a charmingly acid study of sexual jealousy thatgives the gods feet of clay, hearts of gold and eyesgreen with envy.’The Daily Mail

‘The score is remarkably varied with plenty ofhumorous touches yet capable of rising to sustainedexpressiveness… Mr Leppard is concerned withrecreating the work using contemporary resources.This reconstruction succeeds brilliantly and makes fora wholly delightful evening.’

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FRANCESCO CAVALLI L’ORMINDO (1644)

Opera in two actsEdited by Raymond LeppardDuration 135 minutes2 hpd - harp - 2 lute - theorbo - gtr - flue organ - strings

Cast: Ormindo (T); Amida (Bar); Nerillo (M); Sicle (M); Melide(M); Erice (T-travesty role); Erisbe (S); Mirinda (M); Ariadeno(B); Osmano (Bar)

Libretto: Giovanni Faustini (Ital). English by Geoffrey Dunn.German by Jani Strasser

FP of this version: 16.6.67, Glyndebourne, Sussex, UK:Glyndebourne Festival Opera/Raymond LeppardVocal score 0-571-500366-6 and libretto 0-571-50117-6 on sale, fullscore and parts for hire Recording: Howells/Garcianz/Wakefield/Runge/Bork/Cuenod/Berbie/David/Glyndebourne Festival Opera/LPO/Leppard, Decca

L’Ormindo is one of Cavalli’s finest operas, with aparticularly bold and effective dramatic structure. Itbegins as a comedy and ends as a tragedy, thetransition being achieved most skillfully by bothlibrettist and composer. Two young officers, Ormindo and Amida, are both inlove with Erisbe, the young wife of King Ariadeno ofMarocco. When Amida is discovered to be faithless, thelight-hearted lovers’ triangle is no longer possible.Ormindo is summoned overseas and Erisbe impulsivelyagrees to sail with him; they are caught and throwninto prison, where resigned to their fate they drinkpoison. On seeing their bodies Ariadeno finds hisvindictive anger turning to remorse. But a sleepingdraught has been exchanged for the poison; the loversare revived and Ariadeno, overjoyed, relinquishes hisqueen and his crown to Ormindo.

‘The more attentively one listens, the more rewardingthis score becomes. One hangs more upon wordsand music, upon melody which so faithfully illuminesfeeling. The vocal ornament is used forcommunication, not display; there is a purpose ineverything Leppard has written. He conducts aglowing interpretation. In short, Ormindo is arevelation, and one of the most exciting things thatGlyndebourne has done.’The Financial Times (Andrew Porter)

‘…a glowing interpretation…’

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JOHN GAY THE BEGGARS OPERA (1728)

Ballad opera in two acts with a prologueArranged by Raymond Leppard (1963)Duration 100 minutes1(=picc).0.0.1 - 1100 - perc(3): SD/2 tamb/TD/chains/BD/jingles/bell/coconut shells/ch.bars/t.bells/barrels/whip/claves - 2 gtr - harp - concertina

Cast: Peachum (Bar); Filch (T or Bar); Mrs Peachum(M); Polly (S); Macheath (T or Bar); Mat (T or Bar);Jenny (S); Lucy (M); Lockit (T or Bar); Mrs Trapes (S);Boy (Tr)

Libretto: John Gay

FP of this version: 1963, Royal Shakespeare CompanyShort score and parts for hire

The Beggar’s Opera – that high-spirited musical playabout highwaymen, thieves, whores and two lovingyoung women – has delighted audiences for two and ahalf centuries. Each generation has adapted the play and arrangedthe songs to suit its own requirements. For thecelebrated Royal Shakespeare Company productionin 1963, the musical arrangements were prepared byRaymond Leppard. It was a future of this productionthat all the musicians were to be on the stage,participating in the action. Using a handful ofinstrumentalists, Leppard has provided a set of skilfularrangements, telling in their simplicity and whichallow the songs to emerge from the spoken dialogueas part of a single dramatic flow.

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‘True to Gay’s spirit anddazzling as a piece oftheatre…Leppard’s touchis light and wonderfullyingenious.’

The New Yorker

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JONATHAN HARVEY INQUEST OF LOVE (1991/2)

Opera in two actsDuration 135 minutes3(II=afl+picc.III=picc).2(II=ca).3(II=Ebcl+asax.III=bcl).2.cbsn -4331 - perc(3): vib/glsp/crot/t.bells/5 susp.cym/2 gong/tam-t/2tgl/2 timp/4 tom-t/bongos/logdrum/2 SD/mcas/bamboo cluster/guiro/5 tpl.bl/2 wdbl/claves/sandblocks/guard’s whistle/BD/cyms/rototom - 2 harp - 3 synth (2 DX7, 1 SY77) - stringsElectronics: 1 effects unit, 1 ring modulation unit, stereo taperecorder (pre-recorded tape), mixer and amplification withdiffusion into the auditorium

Cast: Abbot (B); Ann (S); John (Bar); Elspeth (S); Philia (M); thePsychopomp (S); Josh (T) Semi-chorus and ‘one-line’ characters:SSATBB, Chorus of monks (B & Bar)

Libretto: Jonathan Harvey and David Rudkin (Eng)

Commissioned by the English National Opera

FP: 5.6.93, Coliseum, London: English National Opera/Mark Elder/David PountneyLibretto 0-571-51411-1 on sale, full score, vocal score and parts for hire

‘…a stirring and beautifuladventure’

The composer writes: ‘The opera is concerned with thethemes of the understanding of suffering and therelease from suffering. The central protagonistscomprise a triangle of lovers – John; Ann who isbetrothed to him; and Ann’s elder sister Elspeth. In ActI John and Ann’s wedding is interrupted by murder.This disruption of love by violence is viewedsuccessively from the standpoint of each of the threemain protagonists. Act II shows life after death, wherethe characters gradually discover the hidden reasonsbehind this tragic and violent event. The process ofdiscovery acts as a healing force, uniting what wasseparated and isolated, and enabling love to triumphover death.

‘…a stirring and beautiful adventure. He has writtensome of the most ardent love music sinceMessiaen’s, and love music finds its place in theopera. There is also music of pain and despair. Bellsounds, chants, choruses, electronics, swellingharmonies, sharp-focus solo lines fill the theatre withdeep, ever-changing ever-stirring music.’The Observer (Andrew Porter)

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JONATHAN HARVEY PASSION AND RESURRECTION (1981)

Church opera in 12 scenesDuration 90 minutes0000 - 1121 - perc(2): timp/t.bells/BD/2 gong/2 tpl.bl/largesusp.cym/bronze sheet/vib/crot/tam-t/SD/bongos/rototom - 7 vln.vla.2 vlc.2 db - large organ

Cast: Principals - Jesus (Bar); Mary Magdalene (S); Second Mary(S); Third Mary (M); Pilate (T); Caiaphas (B); Judas (BBar);Priest (Bar) - Small Roles: 2 Angels (2 Tr); Peter (B); John (T);Good Thief (B); Procula (C); Procula’s Maid (S); Thief (T);Servant Girl (S); Annas (B); Chorus: SATB

Libretto: Michael Wadsworth (Benedictine Latin Church Dramas)

Commissioned by Martin Neary

The FP was filmed for a television documentary first shown onBBC1 on Easter Day 1982

FP: 21.3.81, Winchester Cathedral, UK: Waynfleet Singers/Cathedral Choir/Music Projects/Sweeney/Burrows/Mottram/Hardy/Walmsley-Clarke/Hirst/NearyVocal score 0-571-50616-X on sale, full score and parts for hireRecordings: BBC Singers/Sinfonia 21/Martin Neary: SargassoSCD28052

‘…effortless musical subtletyand elegance’

This sacred music-drama is designed to involve bothprofessional musicians (singers and instrumentalists)and non-professionals (chorus andaudience/congregation). Its text derives from twomedieval mystery plays, portraying with vividdirectness the events surrounding the arrest of Jesusof Nazareth, his death and resurrection. The musicalscore reflects this provenance, growing out ofplainsong, austere for the Passion and flowering withlyrical declamation for the Resurrection.

‘Passion and Resurrection is a work of stunningsimplicity – simplicity not of means but of the endthey serve. The drama grows directly out of thecommunion liturgy… The basis of the score isplainsong; the voice parts, especially in the scenesof Jesus’ arrest, trial and death, are extensions of it,and at three points plainsong hymns are sung by theaudience/congregation, while organ and orchestrasurround the unison chant with a vast pulsating haloof chord-clusters. Harvey’s involvement of all theparticipants is no mere nod to the middle ages but iscentral to the spirit and purpose of the work.’The Sunday Times (David Cairns)

‘… a cunning blend of simple dramatic imagery andapparently effortless musical subtlety and elegance.’The Observer (Stephen Walsh)

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JONATHAN HARVEY WAGNER DREAM (2007)

Duration 105 minutes1121 - 1111 - perc(2): mar/crot/t.bells/2 Tibetan bells/2 gong/cym/tam-t/spring coil/vibraslap/guiro/maraca/mark tree/glass chimes/bamboo cluster/mark tree/susp.cym/SD/4 tom-t/BD/4 wdbl/3 bowls/2 high drums/tgl - harp - elec keyboard - 4 vln.2 vla.2vlc.db - electronics Electronics (2 operators): 8 or 6 channel system/digital mixer

Cast: Vairochana (B); Ananda (T); Prakriti (S); Mother of Prakriti(M); Buddha (Bar); Old Brahmin (B); pit chorus (4 singers -SATB)/stage chorus (2 singers - TB), Actors: Wagner; Cosima;Betty; Dr. Keppler; Carrie Pringle

Libretto: Jean-Claude Carriere (Eng)

Commissioned by De Nederlandse Opera and Holland Festival,Amsterdam, Grand Théâtre de la Ville de Luxembourg and IRCAMParis

FP: 28.4.07, Grand Théâtre de Luxembourg, Luxembourg; soloistsof The Netherlands Opera/Ictus Ensemble/IRCAM/MartynBrabbinsLibretto, full score, vocal score and parts for hire, electronicsavailable from IRCAM

‘…A fascinating idea realised with great skill…’

SYNOPSIS One morning after an unusually angry altercation withhis wife, Wagner suffers a heart attack and passesaway. Buddhism teaches that the state of mind at themoment of death is crucial to one’s future incarnation‘the most important mind of one’s whole life’. It alsoteaches that one experiences a sequence of encountersin which choices are offered. Vairochana, a buddha, isWagner’s ‘guide’ who clarifies the choices and Wagnereventually decides that his failure to compose thenoble Die Sieger must be remedied. He therefore‘creates’ the opera – and it happens. From time to timeWagner intervenes and reacts to this show, which onlyhe can see.The opera Wagner creates in his dying dream featuresPrakriti, a barmaid in an untouchable's tavern, whofalls in love with Ananda, a young monk. Prakriti’smother encourages her daughter’s desires and Prakritiand Ananda fall increasingly under love’s spell.Prakriti approaches the Buddha and asks him directlyif she can be with Ananda, and though sympathetic toher desires, he informs her that this is not permitted.After a heart-rending crisis Prakriti decides to join theOrder as a sister and is welcomed by Ananda andBuddha. The crowd celebrates the miraculous moment.Out of his dream, Wagner is reconciled with Cosimaand asks for her forgiveness. Under Vairochana’sguidance, Wagner peacefully passes away.© Jonathan Harvey

‘A fascinating idea realised with great skill, WagnerDream joins the lengthening list of opera by Britishcomposers that urgently need staging here.’The Guardian (Andrew Clements)

‘Wagner Dream, Jonathan Harvey’s new opera,embraces so fully his long-held philosophical andBuddhist pre-occupations that it must count as one ofthis British composer’s most self-defining works.’The Sunday Telegraph (John Allison)

Opera in 9 scenes

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GUSTAV HOLST THE WANDERING SCHOLAR (1929–30) OP 50

Chamber opera in one actEdited by Benjamin Britten and Imogen HolstDuration 30 minutes1.picc.1.ca.2.2 - 2000 - strings

1(=picc).1(=ca).1.1 - 1000 - perc(1):SD/TD/timp/BD/tamb/susp.cym - harp - strings

Cast: Louis, a farmer (Bar); Alison, his wife (S); Father Philippe(B); Pierre, a wandering scholar (T)

Libretto: Clifford Bax

FP: 31.1.34, David Lewis Theatre, Liverpool, UK: University ofLiverpool Music SocietyStudy score 0-571- 50391-8 and vocal score 0-571-50012-9 on sale,parts for hire

This characterful chamber opera was one of Holst’slast compositions. The libretto is founded on anincident in Helen Waddell’s book, The WanderingScholars. The scene is set in the kitchen of a Frenchfarmhouse on an April afternoon in the thirteenthcentury; the farmer’s wife is taking advantage of herhusband’s absence to flirt with the lusty parish priest.A poor scholar begs for a meal and is rudely turnedaway at the door; when he later returns with thefarmer, he quick-wittedly catches out the guilty pair,enjoys a good meal and goes on his way with thepriest’s cloak to keep him warm.

‘… Like Savitri, The Wandering Scholar is swift-footed and spare of frame. Clifford Bax’s libretto isshapely and amusing, and Holst’s pungent musicsomehow contrives to give it the flavour of a bawdyepigram.’The Observer (Edmund Tracey)

‘These melodies retain a certain popular flavour andyet they have real dramatic bite; they are enlivenedby vivid turns of phrase, by surprising cross-currentsand Holst’s characteristically asymmetrical rhythms tomake a witty, compact and attractive work.’The Musical Times (Robert Henderson)

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‘…a witty, compact and attractive work…’

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OLIVER KNUSSEN HIGGLETY PIGGLETY POP! (1984–90) OP 21

‘…full of clever andbeautiful things…’

This companion piece to Where the Wild Things Are(see p 25) was commissioned by the BBC forGlyndebourne. Whereas the earlier work recounts theadventures of the boy Max, this second fantasy operahas, as its heroine, the dog Jennie.

‘The adventures of Jennie the Sealyham terrier whoabandons the home where she has ‘everything’ andends up as Leading Lady of the Mother Goose WorldTheatre, performing alongside a Pig, a Cat and asplendidly sizeable Lion, are traced with parodic witand the use of mock suspense and neat surprise…The piece is even more accessible to youngaudiences than its predecessor, with no fewerintimations to adults.’The Sunday Times (Paul Driver)

‘The piece is full of clever and beautiful things; theearly scenes proceed lamost in convulsions oforchestral brilliance within a marvellously clear andanimated world whose chief references, sometimesexplicit, are to Ravel and Stravinsky. The scene withthe pig is deliciously rich in bass gruntings; that withthe milkman cat mixes Marx brothers dialogue with asophisticated recreation of low musical gags.’The Times (Paul Griffiths)

‘Knussen and Sendak engage in a good deal ofintellectual wisecracking which proved to begenuinely amusing. Both the plot (with its subtleexploration of the nature of experience) and themusic (with its quotations, pastiches and burlesques)wore their cleverness with pride.’The Musical Times (Anthony Marks)

‘A miracle of balance, masterly in the ease andflexibility of its dramatic processes, wonderfullycharacterized, and touching in the emotionaldiscoveries just below its surface.’The Guardian (Tom Sutcliffe)

Fantasy opera in one act (9 scenes)Duration 60 minutes3(III=picc).1.ca.3(III=bcl).2(II=cbsn) - 4030 - perc(4): vib/5susp.cym/timp/cast/bells/ch.cym/slidewhistle/xyl/2 tgl/tamb/2tpl.bl/mcas/tam-t/3 ratchet/whip/cyms/anvils/glsp/SD/sleighbells/siz.cym/football whistle/wind machine/BD/vibraslap(offstage): 7 bells/3 anvils/football whistle/SD - pno - cel - harp -strings (6.6.4.4.4)

Cast: Jennie (M); Potted Plant/Baby/Mother Goose (S); Rhoda/voice of Baby’s Mother (S); cat-Milkman/high voice of Ash Tree(T); Pig-in-Sandwich-Boards (BBar); Lion(BBar)

Libretto: Maurice Sendak

Commissioned by the BBC for Glyndebourne

FP: (incomplete) 5.8.85, Glyndebourne Festival Opera, UK: LondonSinfonietta/Oliver Knussen

FP: (complete) 3.2.91, Barbican Centre, London: LondonSymphony Orchestra/Oliver KnussenLibretto 0-571-50829-4 on sale, full score, vocal score and parts forhire

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OLIVER KNUSSEN WHERE THE WILD THINGS ARE (1979–83) OP 20

Fantasy opera in one act (9 scenes)Duration 40 minutes3(III=picc).1.ca.3(III=Ebcl).1.cbsn - 4030 - perc(4) - harp - pno (2 players) - strings (12 vln.4 vla.4 vlc.4 db)

Cast: Max a small boy (S); Mama (M); Wild Things - Tzippy (M);Wild Thing with Beard (T); Wild Thing with Horns (Bar); RoosterWild Thing (BBar); Bull Wild Thing (B); Goat Wild Thing (mime) All the Wild Things may be played by dancers on stage withsingers (amplified) on stage. The sung roles of Mama and Tzippymay be taken by the same singer.

Libretto: Maurice Sendak after his picture book of the samename. Claus Henneberg (Ger)

Commissioned by Opèra National, Brussels

FP: 28.11.80, Brussels, Belgiium: Brussels National Opera/RonaldZollman

FP: (final version) 9.1.84, National Theatre, London, UK:Glyndebourne Opera/London Sinfonietta/Oliver KnussenLibretto 0-571-50829-4 on sale, full score, vocal score and parts forhireRecording: Saffer/King/Gillett/Hayes/Wilson-Johnson/Richardson,Deutsche Grammophon 469 556-2

‘…Knussen is a wizard with sound’

Commissioned by the Opera National, Brussels, this isa work specifically conceived to be played by an operacompany to children (and the young-at-heart of anyage) in the fantasy opera tradition of Hansel andGretel and L’Enfant et les sortilèges. It has enjoyedmultiple productions in the UK, USA and Europe andis available on commercial video in a double bill withHigglety Pigglety Pop!

SYNOPSISScene one - MaxMax, a small boy in a white wolf suit is playing in thehallway outside his room, stalking his toy soldiers,ambushing his teddy bear from his ‘Jungle’ tent clothstrung up across the hall and being thoroughly, happilynaughty!

Scene two - MamaAs he lies on the floor pretending to be dead, he isfrightened by the shadow of something making strangenioses. It turns out to be his Mama and her wheezyold vacuum cleaner. She scolds Maz but he continuesto be naughty and defy her and is sent to bed withouthis supper.

Scene three - Max’s RoomHe sulks and begins to think of terrible revenge. Alittle sail-boat appears and Max climbs in. He is allalone at sea moving through days and nights until, asdawn approaches, a huge sea monster rears up fromthe water but it sinks slowly down again at Max’scommand. An island comes into view with palm trees,a plateau and a large cave.

Scene four - The Wild ThingsMax moors his boat and then hears distant rumblingnoises. Wild Things hurtle out of the cave shoutingrude things at Max and making wicked fun of him.Max howls at them and then stares into their yelloweyes, silencing and controlling them. Max takes stockof his surroundings but every time a Wild Thing stealsup on him it is frozen back into submission with hismagic stare.

Scenes five and six - Coronation and Wild RumpusThe forest thickens and the sea disappears. The WildThings form a procession and then crown Max ‘King ofall Wild Things’. The Wild Rumpus begins.

Scene seven - Max aloneHe takes off his crown, sits by himself and dreams ofhome, his Mama and a hot supper. Then he gets up,tiptoes past the sleeping Wild Things and makes hisway to the edge of the island to summon his boatagain.

Scene eight - PartingThe Wild Things wake up, one by one, and rush to theboat after Max muttering and making threateninggestures. The are very angry that he should want toleave them, but the boat pulls away from the shore andMax is once more alone at sea, sailing back throughnights and days.

‘Knussen is a wizard with sound… The music isextraordinarily pictorial; it has a capacity to light upevents in, as it were, the inner eye.’The Observer (Peter Heyworth)

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NICHOLAS MAW SOPHIE’S CHOICE (2001)

‘…magnificent music…’

Sophie's Choice is based a novel by William Styronpublished in 1979. It concerns a young AmericanSoutherner, an aspiring writer, who befriends theJewish Nathan Landau and his beautiful lover Sophie,a Polish (but non-Jewish) survivor of the Naziconcentration camps.

Sophie shares a tempestuous relationship withNathan, and into their lives comes Stingo, a youngwould-be novelist who observes the destructiverelationship while gradually becoming a part of ithimself. What we learn of the enigmatic Sophie andher experiences in Poland under the Nazis is tosurprose, shock and finally provoke a heart-achingsympathy as the truth of her choice is revealed.Sophie’s Choice is a dramatic psychologicalexploration of intense tenderness, alongside thecruellest of pain.

‘Sophie’s Choice is masterful and simply one of themost compelling operas I have seen. It already hasthe air of an oft-performed work, not a newly-commissioned piece. Maw’s sense of dramaticpacing is felt at every moment and he outstrips everyother composer working today. His dialogue is easilyunderstood yet remains profound. Nunn’s production

– one of the most expensive mounted by the operahouse – is astonishing… Despite its four hours,including a 30-minute interval, the performance isthe right length and does not drag at all. Theaudience, which included Chelsea Clinton andMadonna, gave a tremendous ovation at the curtain,with the most applause going to Maw.’The Sunday Times (Paul Driver)

‘… the opera has magnificent music, ferventlydelivered by the Royal Opera House Orchestraunder Simon Rattle’s white-hot direction. The firsthalf-hour is deceptively calm; almost VaughanWilliams reborn. Then Maw conjures beguilinglysensuous or exuberantly high-spirited ensembles…But it is the searing orchestral interludes towards theend that really hit the spot. Maw’s “traditional” style– tonal, but laced with killer discords – may oncehave exasperated the avant-garde. But these dayswe can only be grateful that someone is writingoperatic music worthy of comparison with Britten andBerg… I strongly recommend it. Maw’s opera has abigness of sonority, passion, ambition and spiritualitythat sends it soaring above the work of hiscontemporaries.’The Times (Richard Morrison)

opera in four acts

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Duration 200 minutes3(II=afl.III=picc).3(III=ca). 3(II=bcl.III=Ebcl).3(III=cbsn) - 5331- timp - perc(2/3):SD/TD/BD/tam-t/susp.cym/cyms/tgl/wdbl/whip/bongos/tamb/vib - cel - harp - strings

Cast: Narrator (BBar); Sophie Zawitowska (M); Nathan Landau(hBar); Stingo (T); SATB chorus

Libretto: Nicholas Maw based on the book by William Styron

Commissioned by BBC Radio 3 in association with the RoyalOpera House, Covent Garden

FP: 7.12.02, UK, Royal Opera House, Covent Garden, London: TheRoyal Opera/Sir Simon RattleLibretto 0-571-52126-6, vocal score 0-571-52125-8 on sale, fullscore, and parts for hire

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MINORU MIKI AN ACTOR’S REVENGE (1979)

Opera in two acts with prologue andepilogueDuration 135 minutes (outside Japan): 2(I=picc.II=afl+picc).0.1(=bcl).0 -1010 - perc(3):Japanese gong/sho-gon or kin or bell/tam-t/susp.cym/tgl/3chtpl.bl/6 wdbl/hyoshigi or hardwooden slabs/tsuke-ita or hardwooden board with wooden slat/binzasura or guiro/timp/SD/4drums/bongo/hard wdbl/rototom/untuned timp - harp - vln.vla.vlc

(in Japan) 2(I=nohkan.II=afl+nohkan).0.1(=bcl).0 - 1010 -perc(3): Japanese gong/sho-gong or kin/tam-t/susp.cym/rin/3 mokugyo/3 mokusho/3 wdbl/hyoshigi(ki)/tsuke-ita/binzasara/timp/SD/4 drum/2 shime-daiko/o-tsuzumi/ko-tsuzumi/o-daiko-koto(20 string) - strings

Cast: Yukinojo (T); Kikunojo (BBar); Lord Dobe (B);Kawaguchiya (T); Hiromiya (Bar); Lady Namiji (S); the Shogun(T); Haima (Bar); Nagauta singer (T)

Chorus: TTBB, SATB (ad lib)

Libretto: James Kirkup (English with German and Japanesetranslations)

FP: 5.10.79, Old Vic Theatre, London: English MusicTheatre/Steuart BedfordVocal score 0-571-50695-X, libretto 0-571-50589-9 on sale, full scoreand parts for hire

‘…Miki is a dramaticcomposer of real flair.’

An Actor’s Revenge is based on the same story byOtokichi Mikami as the celebrated film by KonIchikawa. Set in 18th-century Japan, it tells of howYukinojo, a famous Kabuki actor, exacts revenge on thecorrupt magistrate and his associates who wereearlier responsible for the death of his parents, and ofthe poignant love that gradually develops between himand the magistrate’s daughter. The main action isframed by a prologue and epilogue set in a Buddhistmonastery to which Yukinojo has retired and where herelives in memory the events of the past. Theconception of the opera is directly influenced by thetraditions of the Japanese Kabuki theatre, and Miki’sscore, integrating musical ideas that have their originsin both Western and Oriental techniques, makes thisan altogether exceptional opera, bridging East andWest.

‘James Kirkup’s excellent libretto of child-likedirectness is epigrammatic rather than rhapsodic inits poetic set-pieces… Minoru Miki’s music centersaround the voice parts. There is little ensemble;voices are used in a generally smooth conjunct stylewhich is paralleled in all ages, all cultures… Miki isa dramatic composer of real flair.’The Guardian (Hugo Cole)

‘A score of an exact, sophisticated and self-effacingskill, not only in its blend of Eastern and Westernelements, but in the way in which is slowly andcompellingly marshals its power. Precisely reflectingthe tradition in which the opera has been conceived,it is music in which every gesture tells, its lean, subtlyrefined idiom trenchantly accommodating the utmostferocity and the utmost pathos.’ Daily Telegraph (Robert Henderson)

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CLAUDIO MONTEVERDI L’INCORONAZIONE DI POPPEA (1642)

Opera in two acts with a prologuePerforming edition realized by Raymond Leppard Duration 150 minutes 2 tpt - 2 hpd - harp - lute(chitarrone) - gtr - flue organ - reedorgan - strings

Cast: Principals: Poppea (S); Nerone (T); Ottavia (S); Drusilla(S); Arnalta (contralto); Ottone (BBar); Seneca (B)

Small roles: Valetto (T); Damigella (S); Lucano (T); Pallade(S); Liberto (Bar); 2 Soldiers (T & Bar); Littore (B); InPrologue - La Fortuna (S); La Virtu (S); Amore (hS); Chorus:TTB

Libretto: Francesco Busenello (Italian). English (TheCoronation of Poppea) by Geoffrey Dunn. German (DieKrönung der Poppea) by Reinhold Rudiger and Karl RobertMarz

FP of this version: 29.6.62, Glyndebourne, Sussex, UK:Glyndebourne Festival OperaVocal score (fp) 0-571-50011-0, chorus part 0-571-50550-3,libretto 0-571-50743-3 on sale, full score and parts for hire

L’incoronazione de Poppea was Monteverdi’s lastwork, written in 1642 when he was seventy-five. Theextraordinary beauty of its music, its penetratingemotional power and brilliant dramatic imaginationmake it one of the world’s greatest operas. Thispractical performing edition by Raymond Leppard hasbrought the work to major opera houses throughoutthe world.

‘My admiration for Raymond Leppard’s edition growsat each hearing… His continuo-based realizationalone can allow the freedom of declamation whichthe work needs – support, varied, colourful andalways apt, but never dictating to the vividly dramaticutterance of the singers.’Financial Times (Andrew Porter)

‘Raymond Leppard’s scholarly but far from academicrealization of melody and bass line – all that hassurvived – is a miracle of empathy and fertility ofimagination.’Daily Telegraph (Peter Stadlen)

‘a miracle of empathy andfertility of imagination…’

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CLAUDIO MONTEVERDI L’ORFEO (1607)

Opera in two acts with a prologueEdited by Raymond LeppardDuration 135 minutes 2 sopranino recorder - 2 cornetti.2 tpt.atrbn.2 ttrbn.2 btrbn -2 hpd - harp - 2 lute(=chitarrone) - gtr - flue organ - reedorgan - strings

Cast: Orfeo (T); Euridice (S); Messagera (M);Speranza/Shepherdess (contralto); Caronte (B);Plutone/Shepherd (B); Prosperina/Shepherdess (S); Apollo(S); Shepherd/Spirit/Echo (T); Shepherd/Spirit (T); InPrologue: La Musica (S)

Text: Alessandro Striggio (Italian with English and Germantranslations)

FP of this edition: 1965, Sadler’s Wells Opera Company,London, UKFull score, vocal score and parts for hire

‘…extraordinary beauty’

In February 1607 a court official in Mantua wrote tohis brother: ‘Tomorrow will be performed a piecewhich will be unique, because all the performers speakmusically’. The piece was L’Orfeo, described by itscreators as a Musical Fable, and recognized now as thefirst masterpiece of the new genre of opera. RaymondLeppard’s performing edition uses the instrumentslisted in the original score.

‘The boldness in this performance was whollyjustified by the extraordinary beauty and interest ofthe score in Raymond Leppard’s realization. MrLeppard makes wonderfully imaginative use of harp,flue organ and the lute and chitarrone that lend adistinctive, buoyant yet pensive character to theorchestral palette.’Daily Telegraph (Martin Cooper)

‘Throughout, Mr Leppard, without resorting to theinapt orchestrations which bedevil most earlierMonteverdi performing-editions, has enhanced thewords, and the song, with beautiful, eloquentsounds.’Financial Times (Andrew Porter)

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Opera in two acts withprologuePerforming edition realized by RaymondLeppardDuration 165 minutes 0.2.ca.0.2 - 0.0.atrbn.2 trbn.btrbn.0 - 2 hpd - harp - 3lute - gtr - flue organ - reed organ - strings

Cast: Principals: Ulisse (Bar); Penelope (M);Telemachus (T); Euryclea (M); Eumaeus (T); Antinous(B); Amphinomus (T); Pisander (T); Iro (T); Giove (T);Giunone (S); Nettuno (B)

Small roles: Melanto (S); Eurymachus (S); Minerva(s): In Prologue - L’Umana Fragilita (contralto); IlTempo (B); La Fortuna (S); L’Amore (S); Chorus: SATB

Libretto: Giacomo Badoaro (Italian). English (TheReturn of Ulysses) by Geoffrey Dunn. German (DieHeimkehr des Odysseus) by Horst Goerges and H.Gutheim

FP of this edition: July 1972, Glyndebourne:Glyndebourne Festival OperaFull score, vocal score and parts for hire

‘… spontaneous, andinstantly communicative…’

Ulysses, the second of Monteverdi’s three survivingoperas, was composed in 1641 for performance inVenice. The story, taken directly from the Odyssey, hasa stark, epic quality. Its focus is directed to thecharacters themselves, probing the inner aspects ofthe human drama, against the background conflict ofthe Olympians who control human destiny.

‘A restored masterpiece of opera, spontaneous, andinstantly communicative, deeply emotional and richboth in melodic invention and in all those ingenuitiesof design and device that we think of as typicallyMonteverdian. What is most remarkable in the operais the freedom and natural ease of the vocal writingas it moves from declamation to formal song. Eachcharacter comes to life in musical terms, while fortheir confrontations Monteverdi draws on hismadrigal techniques of half a century… all thepotent theatrical magic finally yields to the simplestand deepest emotions of humanity and truth.’The Sunday Times (Desmond Shawe-Taylor)

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CLAUDIO MONTEVERDI IL RITORNO D’ULISSE IN PATRIA (1641)

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WOLFGANG AMADEUS MOZART THE MAGIC FLUTE (1791)

Opera in two acts KV 620English translation by Andrew PorterDuration 130 minutes2(=picc).2.2(=basset hn).2 - 2230 - timp - glsp - strings

Cast: Sarastro (B); Tamino (T); Queen of the Night (S); Pamina(S); Papageno (B); Papagena S); Monostatos (T); 3 Ladies (2 S, M);3 boys (3 S); Spokesman (B); 3 Priests (T, B, spoken role); 2 Menin Armour (T, B); 3 Slaves (spoken roles) Chorus: SATB

Translation commissioned by Opera Theater of St Louis

FP: 16.3.01, Kent State University, USA: Kent State UniversityVocal score 0-571-50733-6, chorus part 0-571-50894-4 and libretto 0-571-50842-1 on sale, full score and parts on hire by arrangementwith Baerenreiter-Alkor Edition, Kassel

‘Tasteful, literate, eminentlysingable and remarkably faithfulto the spirit of the original…’

Chicago Tribune

Over recent years Andrew Porter has made a majorcontribution to opera in English by his brilliant singingtranslations of Mozart and other repertoire operas. Histranslation of The Magic Flute is universally regardedas the most lucid and ‘musical’ version of the textcurrently available for English-language performance.It is published in the New Mozart Edition vocal score,without doubt the best and most reliable publishededition of the work. Major opera companies in the UK,USA, Canada and Australia have regularly used thistranslation, and it has also proved immenselysuccessful in student and amateur productions. Thefull score and orchestral parts are published byBaerenreiter/Alkor Edition. They are available in UK,Australia, New Zealand, South Africa, Hong Kong andSingapore through Faber Music, and in USA andCanada through Schott/EAMDLLC

‘The new translation by Andrew Porter was sotextually and musically right, so deftly projected, wewere drawn into the play until it played us… Againsta strong familiarity with other principal versions,Porter’s new translation passed every rigid test. Histext was more natural, more faithful, in manyinstances more poetic. Above all, it suited the musicand the voices. The proof was that the cast spokeand sung it with utter security.’San Francisco Chronicle

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DOMINIC MULDOWNEY VOLUPTUOUS TANGO

Opera Bouffe in 11 scenes2 singers, male chorus and pre-recordedsoundDuration 57 minutespre-recorded sound

Cast: Filippo Tommaso Marinetti (T or Bar);Isadora Duncan (M); Chorus (2 T & 2 Bar)

Libretto: David Zane Mairowitz (English)Script, performing score and pre-recorded sound-carrier for hire

‘What began life for radio – composer DominicMuldowney’s The Voluptuous Tango won a Prix Italiain 1997 – has now been transformed into veryeffective music theatre. Muldowney’s exploration of afictional encounter in Paris in 1932 between theItalian futurist and fascist Filippo Marinetti and thedancer Isadora Duncan uses the Habanera fromBizet’s Carmen as its musical starting point, but thengradually expands to take in other tangos as theemotional temperature rises and the confrontationreaches its literal and metaphorical climax. The textby David Zane Marowitz is very funny. Marinetti pliesIsadora, who is hunting for a genius to father her

next child, with recipes from his Futurist Cookbook.Their conversation switchbacks from mussels toMussolini, but the dancer is repelled, and after thegastronomic foreplay Marinetti resorts to the FuturistManifesto of Love-Making with equally unsuccessfulresults. There’s a lot of speech, but Muldowney alsogives both of them set-piece songs, numbers whichhover between Eisler and Sondheim. The staging uses the electronic soundtrack realizedby Ian Dearden, with its collages of tangos and streetnoises, which formed the basis for the radio versionbut the voices – Marinetti, Duncan and a malechorus of four, who represent Marinetti’s unspokenthoughts – are live; Di Trevis’ production also addeda pair of dancers who act out the manoeuvringsbetween the ill-matched couple. It was brilliantlyrealized – Richard Morris as a transcendentallyarrogant Marinetti, Jenna Russell as Isadora, withNicholas Johnson and Isabel Baquero as the poker-faced dancers – and a lot of fun too; Muldowney andTrevis have transformed The Voluptuous Tango in atheatre piece that will wear very well.’The Guardian (Andrew Clements)

MODEST MUSSORGSKY MARRIAGE (1868)

Opera in one act 4 scenesOrchestration by Oliver Knussen and Colin MatthewsDuration 35 minutes2121 - 2000 - strings

Cast: Podkolyosin (B); Stepan (B); Fyolka (M);Kochkaryov (T) Libretto: Nicolai Gogol (Russian).English by Stephen Oliver

FP: 12.12.81, Bloomsbury Theatre, London, UK:Nexus Opera/Divertimenti/Lionel FriendVocal score, full score and parts for hire

One of Mussorgsky’s many uncompleted projects was afull-length opera based on Gogol’s play, Marriage. Thefirst act was completed, however, in vocal score andwas published posthumously under the supervision ofRimsky-Korsakov. Fortunately, this stands well on itsown as a one-act comedy. Over the years there havebeen various orchestrations, but this version is the firstfor the reduced forces of a chamber orchestra, and thefirst to adhere scrupulously to Mussorgsky’s originaltext.

SYNOPSISThe idle bachelor Podkolyosin attempts to find a wife.He currently leads a chaotic life, with his poor servant,Stepan, constantly at his beck and call.A marriage broker, Fyokla Ivanovna, arrives to givePodkolyosin details of a girl she has chosen for him.However, he is more interested in her dowry. Fyokla suggests that he can’t afford to be fussy withhis poor looks and greying hair! UnexpectedlyKochkaryov, Podkolyosin’s best friend, turns up and isangry to see the marriage broker. He complains thatshe has married him off to a troublesome, bossywoman. He sends her away, and decides to take overthe match-making duties himself. He paints anidealistic and hassle-free picture of married life for hisfriend.

‘Colin Matthews and Oliver Knussen have brightlydistinguished and coloured Mussorgsky’s variousboldnesses without altering a note of the original orobscuring a word of Stephen Oliver’s skilfultranslation. The piece demonstrably stands up andwould make a neat double bill with Stravinsky’sPushkin comedy, Mavra, or better still, Walton’sChekov setting, The Bear.The Sunday Times (Bayan Northcott)

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HENRY PURCELL KING ARTHUR (1691)

JEAN-PHILIPPE RAMEAU DARDANUS (1739)

Tragédie en Musique in fiveactsPerforming edition by Raymond LeppardDuration 150 minutes2(=picc).4.0.4 - 2000 - 2 hpd - flue organ - strings

Cast: Teucer (BBar); Iphise (S); Anténor (BBar);Isménor (B); Dardanus (T); Venus (S)

Small roles: 3 Attendants upon Venus (S, contralto,B); Phrigienne (S); Songe (B) chorus: SATB

Libretto: Le Clerc de la Bruère (French). Germanby Claus Henneberg

FP of this version: October 1980, L’Opera de Paris,FranceChorus part (French) 0-571-50809-X on sale, fullscore and parts for hire

Dardanus was the third – and arguably the greatest –of all Rameau’s six Tragédies en musique. It was firstperformed in 1739 and substantially rewritten for itssecond revival in 1744. This performing edition is basedon the 1744 version while incorporating from theearlier version elements of exceptional dramaticquality.

SYNOPSISThe plot revolves around the love of Dardanus and

Iphise, daughter of Teucer, king of the Phrygians.Teucer is at war with Dardanus and has enlisted the help of a neighbouring king, Anténor, promising him thehand of Iphise as the reward for success. Dardanus iscaptured after he and Iphise have declared their love.Helped by Venus, he escapes from prison and savesboth the Phrygians and his rival from a monster sentby Neptune. Anténor acknowledges his lesser claim toIphise, and Venus descends from the heavens to blessthe pair and proclaim love’s power.

Opera in one act withprologue and epiloguePerforming edition realized by Philip LedgerDuration 120 minutes 2201 - 0200 - timp - strings

Cast: Merlin (B); Arthur (Bar); Emmeline (S);Oswald (T); Guillamar (BBar); Philidel (S);Grimbald (BBar)

Small roles: Aurelius (T); Matilda (contralto); Cupid(S); Shepherd (T); 2 Shepherdesses (2 S); 2 Syrens(2 S); Sylvan (T); 3 Drunken Soldiers (2 T, Bar);Conon (spoken role); Britannia (silent role);Chorus: SATB

Libretto: John Dryden adapted by Colin Graham.German (König Arthur) by Karl Robert Marz

FP: October 1970, Norwich: English Opera GroupChorus score 0-571-50250-8 on sale, full score, vocalscore and parts for hire

King Arthur was first performed, with great success, in1691 at the Dorset Gardens Theatre in London. It couldnever have been called an opera: in Dryden’s original itwas a splendid but unwieldy play with a great deal of

music, very littleof which wasactually integrat-ed in the drama.It was revived inone adaptationor another untilthe middle of thenineteenth centu-ry, when itbecame a muse-um piece: anational treasurefor its music cer-tainly, but out-side the scope ofthe professionalstage. This performingversion preserves the framework of Dryden’s originalplay, with all its wit and fantasy, while pruning andreordering the text, and integrating music and dramamore closely. It is the first adaptation devised forperformance in the contemporary theatre, so thatmodern audiences may enjoy Purcell’s remarkablescore in the theatrical context for which he intended it.

34

TORSTEN RASCH ROTTER (2007)

Duration 160 minutes3(II=alto fl, III=picc).3(III=ca).3(III=Ebcl).bcl(=cbcl).3(III=cbsn)- 4331 - timp - perc(2) - accordion - harmonium - cel - harp -strings

Cast: Rotter (BBar); Fleischer/Kunde/Maschke/Polizist(T);Lackner(T); Stridde/Tetzner/2nd Arbeiter (Bar); Ehm/Kutz/3rdArbeiter (B); Rotmaler/Der Vorsitzende (B); Elisabeth (M); FrauRotter (contralto); Fräulein Berthold (colS);Grabow/Kloppenburg/1st Arbeiter (T); Das Radio (S); Die altenkinder/Arbeiter/Die Mitglieder der ökonomischen kommission;SATB chorus

Libretto: Katharina Thalbach & Christoph Schwandt, afterThomas Brasch (Ger)

Commissioned by Oper Köln

FP: 23.2.08, Cologne Opera House, Cologne, Germany: CologneOpera/Hermann BäumerFull score, vocal score and parts for hire

…never afraid to hark backto tonal expressiveness…’

Rotter displays Germany’s recent monstrous past asbackground landscape to a feverish vision of a man whois both culprit and victim. He can only function whenprotected by the community and crumbles whenrequired to be an individual…

‘Lackner is a sensualist and opportunist, whereasRotter is concerned only with is political career, nomatter which way the wind blows. He is a kindredspirit of Heinrich Mann’s ‘Man of Straw’. Rotter whogrew up in the Weimar Republic in straitenedcircumstances, serves the Nazis just as he served

Weimar socialism. Although he survives an attack ofschizophrenia that nearly cleanses him, he cannotescape his nature and battles on… Brasch had thestory of a particular man in mind, yet the generalbackground of German history is critical. The scenewith the sexually willing Elisabeth, in which Thalbachimparted outlines of Hitler to the repressed Rotter,was one of the many allusions and associations.Momme Röhrbein’s unit set, a railway station, asymbol of coming and going, was filled by Thalbachwith many powerful images… the visual power of herwork is seductive.Torsten Rasch, a native of Dresden and composer ofthe cycle Mein Herz Brennt, devoted himself to filmmusic during the many years he spent in Japan, andthe genre’s influence can also be felt here. He isnever afraid to hark back to tonal expressiveness,and his music is often attractive and easy to listen to.’Opera Magazine (Thomas Lluys)

Opera in two acts

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35

PETER SCULTHORPE THE RITES OF PASSAGE (1972/73)

Theatre work for soloists, chorus,orchestra and dancersDuration 105 minutesInstrumentation and singers: Rites: perc(4): - pno (withopt tape echo), SATB chorus, dancers

Chorales: 2 tuba - perc(3): - pno(with opt tape echo) - 6vlc.4 db, SATB chorus Libretto: Aboriginal, from SouthernAranda Poems

Text: Aboriginal, from Southern Aranda Poems

Commissioned by the Australian Opera

FP: 27.9.74, Opera House, Sydney/Jaap Flier: AustralianOpera Chorus/Geoffrey Arnold/Australian DanceTheatre/Elizabethan Trust Sydney Orchestra/JohnHopkinsScore and parts for hire

‘…a lasting masterpiece.’

Rites of Passage is a return to the idea of drama asritual. The title refers to Arnold van Gennep’s LesRites de Passage, an anthropological work concernedwith the ceremonies which occur at the time oftransition from one status to another, e.g at childbirth,puberty, marriage and death. The rites and choralesboth have a parallel life-affirming message; the text ofthe chorales is a hymn of praise to imperitans amor,the love that orders and unites the universe, while therites are concerned with the progression from dying inone stage of one’s existence to being reborn in another. The instrumental timbres are carefully chosen tocomplement the ritualistic nature of the work. A dark,richly sonorous texture is punctuated by the clear andbrilliant injections from the higher pitched percussion.The musical material in the different chorales isclosely related, and motivic connections between therites and chorales help to create a strong sense ofunity in this profound and ultimately optimistic work.

‘There have been many attempts to write anAustralian opera. None has succeeded as Sculthorpehas… It comes across with a strong immediacy ofemotional conviction. Beneath that, you can sense adepth and density of thought and experience whichsuggests a lasting masterpiece.’The Bulletin (Brian Hoad)

‘The real success of Rites of Passage is that it puts back into one work all the elements of greattheatre over the past 25 centuries. Ritual, dance,chant, speech and songs are all purposefullyintegrated into the work’s conception and structure. Itis a noble and somewhat overwhelming work –overwhelming simply because it is so unlike anyother opera we have ever seen. It harks back to bothGreek drama and the earliest of Christian religiousdrama.’The National Times (Kevin Kemp)

36

HUMPHREY SEARLE HAMLET (1965–68) OP 48

Opera in three actsDuration 155 minutes2(=picc).2.2(I=asax.II=bcl).2(II=cbsn) - 4.2.(2).3.1 - timp -perc(4): timp/TD/SD/BD/cyms/4 tam-t/xyl/glsp/vib/whip/bell - pno(=cel) - org - cimbalom - harp - strings

Cast (principals): Hamlet (Bar); Claudius (T); Laertes (T);Polonius (B-Bar); Gertrude (M-S); Horatio (Bar); Marcellus(B); Ophelius (S); Ghost/Player King (B)

Cast (small roles): Rosencranz (T); Guildenstern (B); FirstPlayer/Lucianus (T); Player Queen (S); Cornelius (T);Voltimand (Bar); Fortinbras (T or Bar); Osric (T); Captain(Bar); Gentleman (Bar); Sailor (Bar); Gravedigger (B);Priest (B); Chorus (TTBB) (off-stage)

Libretto: Humphrey Searle after Shakespeare (Eng)

FP: 5.3.68, Hamburg State Opera House, Germany:Hamburg State OperaFull score, vocal score and parts for hire

Hamlet was Humphrey Searle’s 3rd opera. The workfollows the action of the Shakespearian play veryclosely and uses Shakespeare’s own text throughout,including all the great soliloquies. The composer hasexpressed the drama through music which is alwaysapt, often romantic in feeling, and the set pieces, theGhost scene, Ophelia’s Mad Scene, the Duel and theFuneral March, are vividly realised.

‘Searle’s musical setting employs his by now familiarpost-Schoenberg romantic idiom: it seems intrinsically apt for a play which appeals tothe romantic as well as the post-Freudian in moderntimes. In pace and timbre and response to situation,Searle is dynamic, flamboyant, fanciful, thoughcareful about word audibility.’The Times (William Mann)

‘Searle’s opera is an important and highly successfulinterpretation of Shakespeare in modern musicallanguage, meeting the demands of the stage forclarity and intelligibility. The instrumentation is verysubtle, providing the listener with dark colours aswell as sounds of glass-like transparency. The vocalwriting is predominantly of an arioso style,passionate in expression, and broadening into nearfolk-song for Ophelia’s mad scene.’Kieler Nachrichten

‘Searle is dynamic,flamboyant, fanciful…’

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RALPH VAUGHAN WILLIAMS HUGH THE DROVER (1910/14)

Romantic ballad opera in two actsSubtitle: Love in the Stocks2(I=picc).2.2.2 - 4231 - timp - perc(2): SD/BD/cyms/tgl/bells - harp -strings On stage: Cornet(=tpt).BD.picc.2 SD(tabor).bugle Off stage:horn(s).tuba or trbn (ad lib)

Hugh the Drover (T); Mary (S); Aunt Jane (C); The Turnkey (T); TheConstable (B); John the Butcher (BBar); A Sergeant (hBar); AShowman (hBar); A Ballad Seller (T); SATB Chorus (including variousminor roles); non-singing characters

Libretto: Harold Child (Eng)

FP: 14.7.24, His Majesty’s Theatre, London, UK: British National OperaCompany/Malcolm Sargent

SYNOPSISAct I - Setting: The outskirts of the townA fair is taking place; the people of the town haveturned out; vendors hawk their wares. A showmanpresents an effigy of Napoleon Bonaparte and rousesthe crowd to a fever-pitch of patriotic zeal.Mary, the daughter of the local constable, appears withher aunt. Her father wants to marry her to John thebutcher, a crass, overbearing man whom she does notlove. When John roughly takes Mary’s arm to walkthrough the fairgrounds with her, she resists. Hethreatens her in turn, but when a troop of morris menpasses through, the crowd follows along and John ispulled along with them, leaving Mary alone with heraunt.As Mary sings of her dreams of freedom, a young manappears and tells her of his life on the open road. He isHugh the Drover, a driver of animals, who makes hisliving by providing horses for the army. Mary isfascinated by his words, and Hugh tells her that he wasfated to love her. The two declare their love for eachother and embrace.The crowd returns and the showman organizes aprizefight, inviting all the men to challenge John thebutcher. Hugh agrees to box, but only if the prize isMary herself. He beats John in the match, only to haveJohn spitefully accuse him of being a French spy. Thecrowd turns against Hugh and he is led off to thestocks.Act II - Setting: The town squareIt is early morning. A troop of soldiers has been sentfor, to take Hugh into custody. Meanwhile, he remains aprisoner in the stocks.Mary stealthily comes to rescue him, having stolen thekey to the stocks from her father. She frees him, butbefore they can escape, they hear John and hiscomrades approaching. Each refuses to leave withoutthe other, and they both get into the stocks (which are

large enough to hold two), draping Hugh’s cloak overtheir bodies. When they are exposed, Mary’s fatherdisowns her and John refuses to marry her.The soldiers arrive, and their sergeant recognizesHugh as an old friend who once saved his life. Insteadof arresting him, they acclaim him as a loyal Briton –but take John the butcher for a soldier and march offwith him.Hugh and Mary reaffirm their love. Hugh asks Mary tojoin him, and she at first is hesitant, as is Aunt Jane tolose her. However, Mary finally says 'yes', and she andHugh bid the town farewell to begin their life together.

‘…for sheer tunefulness it is hard toresist…

The Independent (Stephen Johnson)

JOHN WOOLRICH IN THE HOUSE OF CROSSED DESIRES (1995–96)

Duration 90 minutescl(=Ebcl+bcl+ssax) - trbn - perc(2): SD/BD/BD+ped/dozen moretin cans/hi-hat/susp.cym/2 tpl.bl/wdbl/pair of coconuts/claves/whip/4 ant.cym/4 whistles/3 sets of chains/4 handbells/tunedgongs/tam-t/crot/guero/vibraslap/log drum/waterphone/marktree/3 scaffold bars/1 scaffold foot/flexatone - pno(=cel+chamberorgan) - db

Libretto: Marina Warner (Eng)

Commissioned jointly by the Cheltenham International Festival ofMusic and Music Theatre Wales with funds provided by the ArtsCouncil of Wales

FP: 6.7.96, Cheltenham Festival, Everyman Theatre, Cheltenham,UK: Music Theatre of Wales/Michael RaffertyLibretto 0-571-51713-7 on sale, full score and parts for hire

‘…brisk, and quick to changefrom humour to poignancy’

SYNOPSISIn a distant city famous for witchcraft, behind the frontof a barber’s shop, Cosmo, a powerful old alchemistand wizard, pursues his arcane knowledge. Hismysterious house has many floors and chambers, andhe lives there with his ward, Corallina, whom heintends to marry as soon as she is old enough.Meanwhile, he keeps her disguised as a boy, so nobodyelse will notice her and take her from him. Corallinaloves her uncle-guardian, who has cared for her sinceshe was orphaned, but she also chafes against hercaptivity.One day, Luca, a likely lad and a student of medicine,calls by the barber’s shop and sense and adventure.When he stays behind and peeps, he sees the mysteryof the house of the crossed desires. But when themagical transformations begin, they draw the youngpeople into a series of terrible ordeals. In the House of Crossed Desires is inspired by thecomic, metaphysical romance The Golden Ass, writtenby Lucius Apuleius in the second century, and afounding text of the fairy tale. Marina Warner hasinterwoven this Hellenistic story with masks andcharacters and motifs from the tradition of theCommedia dell’arte. Cosmo is inspired by the stockfigure of Pantaleone the old man in love, Luca and Corallina by Harlequin andColumbine, Sloper by the figure Mezzetin, who serveshis master, but never reliably, Greasy Joan follows in the footsteps of many a terrible bawd, orRuffiana. The libretto plays with mistaken identities,mismatched lovers, lost children, poisonings, spells,improbabilities and happy endings in full, ruefulcommitment to the contrivances of art as the weaponof last resort.

‘Warner’s libretto is well paced, funny and touching;it neatly finds new ways to tell old truths about loveand bewilderment. Woolrich’s music, too, is brisk,and quick to change from humour to poignancy…’Times Literary Supplement (Paul Griffiths), 12 July 1996

chamber opera in two acts for fourfemale voices and ensemble

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MUSICAL THEATRE

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MUSICAL THEATRE

JJOOHHNN DDAANNKKWWOORRTTHHSWEENEY AGONISTES (1965)Melodrama in one act for voices andjazz ensemble

Duration 25 minutesclarinet(=bcl+tsax) - tpt - drum kit - perc(1):mar/glsp/phone bell/xyl/timp/mcas - pno - db

Cast: Dusty, Doris; Sweeney, Klipstein, Krumpaker,Wauchope, Horsfall

Text: TS Eliot (Eng)

FP: June 1965, Homage to TS Eliot, Globe Theatre,London, UK

Full score, vocal score and parts for hire

CCAARRLL DDAAVVIISSALICE IN WONDERLAND (2005)Musical

Duration 116 minutesfl(=picc).bsn - tpt in C - timp - perc: vibes/xyl/susp.cym/finger.cym/tgl/tamb/guiro/tom-t/markchimes/flexatone/swanee whistle/2 tpl.bl/tam-t/SD/BD - pno (=cel) - synth - vc

Cast: Alice (M-S); Jane (nsr); White Rabbit (Bar);Duck/Lory/Eaglet/Dodo/Crab/Crab's child/Magpie/Canary (ensemble roles); Hedgehog/Lizard/GuineaPig/Squirrel (non-singing roles); Caterpillar (B-Bar); Pigeon (nsr); Fish (T); Frog (Bar); Cook (B);Duchess (C); Cheshire Cat (high voice); MarchHare (Bar); Mad Hatter (Bar); Dormouse (T); 3Card Gardeners (T, Bar, B); Queen of Hearts (highS); King of Hearts (T); Executioner (B); Knave ofHearts (nsr);Gryphon (Bar);Mock Turtle (B-Bar)

FP: 28.11.05, West Yorkshire Playhouse, Leeds,UK: West Yorkshire Playhouse/Dir. Ian Brown

Score and parts for hire

THE MERMAID (1983/2003)Musical based on the fairytale by HansChristian Andersen

Duration 120 minutesoptional obbligato (vln/fl/cl/asax) - perc: drumkit/thundersheet/tam-t/bell tree/tgl/ad lib Latin perc(optional: timp/BD) - gtr - pno/synth - bass (stringor electric). Obbligato parts: versions available forC instruments, Bb instruments and a singletransposed part for vln, fl, cl and asax

Text: Hiawyn Oram (Eng)Vocal score 0-571-52100-2 on sale or hire, vocal

40

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HHOOWWAARRDD GGOOOODDAALLLLAll musical performance materials available fromthe composer; rights licensed by Faber Music HireDept

CATWALK (1994)Musical show

Commissioned and first performed by the ArtsEducational School Tring Park

FP: 1994, Arts Educational School, Tring Park,Hertfordshire, UK: Members of the Arts

Educational School

DAYS OF HOPE (1991)Musical theatre

2 guitars - pno - db

FP: 14.8.90, The Newman Rooms, Oxford, UK: TimHardy/Nicola Scott/Phyllida Hancock/KiranHocking/Nicholas Caunter/William Relton/dir. byJohn Retallack

THE DREAMING (2001)Musical show

cl(=ssax).recorder - perc - 2 keyboards - db

Text: Charles Hart

FP: August 2001, Northcott Theatre, Exeter, UK:National Youth Music Theatre

Choreography by Leah Hausman, with Suzy Bolt,Based on A Midsummer Night's Dream by William

Shakespeare

GIRLFRIENDS (1986)Musical show

ob.cl.ssax.asax - tpt - pno - keyboard - vlc.db

Girlfriends was originally commissioned andpremiered by the Oldham Coliseum in May 1986

Howard wrote the music and lyrics based on thebook he had written in collaboration with RichardCurtis and John Retallack

FP: May, 1986, Oldham Coleseum Theatre, UK:(cast included) Maria Friedman/JennaRussell/Carla Mendonca

THE KISSING-DANCE (1999)Musical in Two Acts

tpt - pno - keyboard - accordion - vln.vlc.db

Text: Charles Hart (lyricist)

FP: 1998, Brighton Festival, UK: National YouthMusic Theatrett

SILAS MARNER (1993)Musical show

Text: Howard Goodall (adaptation of George Eliot'snovel, Silas Marner)

Silas Marner was commissioned for the SalisburyFestival in 1993

FP: (full scale prod) December 1994, Bull Ring,

Birmingham, UK: City of Birmingham TouringOpera/Simon Halsey/dir. Graham Vick

A WINTER’S TALE (2005)Musical show

cornet - perc - accordion - acoustic gtr - harp - steelpans (tenor + cello) - pno - opt keyboard (if nosteel pans) - vln.vlc.db

Commissioned by the Sage Gateshead

Text: Book by William Shakespeare, HowardGoodall and Nick Stimson

FP: 7.12.05, The Sage Gateshead, Gateshead, UK:dir. Nick Stimson

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TTHHEE FFAABBEERR PPOOCCKKEETT GGUUIIDDEE TTOOHHAAYYDDNN by Richard Wigmore ISBN: 9780571234127Format: A format paperback, price: £8.99

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Books are available to purchase through Faber& Faber’s own website:

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BOOKS ON OPERA FROM FABER & FABER

42

INDEX BY WORK NAME

43

An Actor’s Revenge, p 27

The Beggars Opera, p 19

The Burning Fiery Furnace, p 9

Curlew River, p 9

La Calisto, p 16

Dardanus, p 33

Death in Venice, p 10

L’Egisto, p 15

The Golden Vanity, p 11

Hamlet, p 36

Higglety Pigglety Pop!, p 24

Hugh the Drover, p 37

In the House of Crossed Desires, p 38

L’Incoronazione di Poppea, p 28

Inquest of Love, p 20

Into the Little Hill, p 7

King Arthur, p 33

The Little Mermaid, p 8

The Magic Flute, p 31

Marriage, p 32

L’Orfeo, p 29

L’Orione, p 17

L’Ormindo, p 18

Owen Wingrave, p 12

Owen Wingrave (reduction), p 13

Passion and Resurrection, p 21

Paul Bunyan, p 14

Powder Her Face, p 5

The Prodigal Son, p 9

The Rites of Passage, p 35

Il Ritorno D’Ulisse in Patria, p 30

The Rose Garden, p 8

Rotter, p 34

Sophie’s Choice, p 26

The Tempest, p 6

Voluptuous Tango, p 32

Wagner Dream, p 22

The Wandering Scholar, p 23

Where the Wild Things Are, p 25

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France/LuxembourgEditions Henry Lemoine27 boulevard BeaumarchaisF-75004 Paris, FranceTel: +33 1 5668 8665Fax: +33 1 5668 9066Email: orchestre@editions-lemoine.fr

Germany/Austria/SwitzerlandAlkor-Edition Kassel GmbHHeinrich-Schütz-Allee 35D-34131 Kassel, GermanyTel: +49 561 3105 288/289Fax: +49 561 31806 80Email: alkor@baerenreiter.com

HungaryEditio Musica BudapestVictor Hugo utca 11-15Budapest 1132, HungaryTelephone: +36 1 2361 113Fax: +36 1 2361 101Email: hire@emb.hu

IsraelSamuel Lewis, 4/43 El-AlStreet, Herzlia 46588, IsraelTelephone: +972 9 955 3017Email: samlewis@zahav.net.il

ItalyUniversal Music PublishingRicordi S.r.l., UfficioNoleggio, via Liguria 4, fr.Sesto Ulteriano, 20098, S.Giuliano Milanese, Milano,ItalyTel: +39 02 98813 4213-4220Fax: +39 2 98813 4258Email: rental.ricordi@umusic.com

JapanSchott Music Co. Ltd.Kasuga Bldg. 2-9-3,Iidabashi,, Chiyoda-ku,Tokyo 102-0072Tel: (03) 3263-6530Fax: (03) 3263-6672Email: info@schottjapan.com

Netherlands (not opera orballet)Albersen Verhuur bvFijnjekade 160, 2521 DS DenHaag, NetherlandsTelephone: +31 70 345 08 65Fax: +31 70 361 45 28Email: verhuur@albersen.nl

Netherlands (opera &ballet only)Auteursbureau ALMO bvbaJan Van Rijswijcklaan 282B-2020 Antwerp, BelgiumTel: +32 3 260 6810Fax: +32 3 216 9532Email: veerle@almo.beWebsite: www.almo.be

NorwayNorsk Musikforlag A/SSchweigaardsgate 34F (POBox 1499), N-1090, Oslo,NorwayTel: +47 23 00 20 10Email: hire@musikforlaget.no

South AfricaAccent Music CC12th Floor, DevonshireHouse, 49 Jorissen Street,BraamfonteinJohannesburg, South AfricaTel: +27 11 339 1431Fax: +27 11 339 7365Email: aemdon@mweb.za

SpainMonge y Boceta Asoc.Music. S.L., C/ Goya nº 103,2º Dcha., 28009 Madrid,SpainTel: +34 91 431 6505/67Fax: +34 91 577 9166Email: myb@mongeyboceta.com

SwedenGehrmans Musikförlag ABBilda distribution,Vretensborgsvägen 28, 12630 Hägersten, SwedenTel: +46 8 610 06 00Fax: +46 8 610 06 25Email: orkester@gehrmans.se

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