PLG at the Purcell Room - Roberto Gerhard commemoration
Feb
3
6:30 PM18:30

PLG at the Purcell Room - Roberto Gerhard commemoration

DOMINIC DEGAVINO - solo piano

MIMI DOULTON - soprano

GIAN CARLO SUSANI - guitar

BROMPTON QUARTET -

MARIA GILICEL - violin/tba piano

Beethoven: Piano Sonata in E flat, Op 81a (Les Adieux)

Schoenberg: Fantasy for violin and piano, Op. 47 (1949)

Gerhard: Cantares for soprano and guitar (1956) and Fantasia for solo guitar (1957)

Alex Tay - LSO/Panufnik Symposium Composer commission: Fantasy for solo piano (World Premiere)

Gerhard: Dances from Don Quixote for solo piano (1947)

Maconchy: String Quartet No. 4 (1942-43)

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Opera Prelude: Living the high life
Feb
4
10:00 AM10:00

Opera Prelude: Living the high life

This lecture looks at the history of high soprano roles alongside key interpreters who have inspired me as I train: from Edita Gruberova and Lucia Popp's legendary super Fs as the Queen of the Night, to the extended ranges of Audrey Luna and Mado Robin - who could sing the C above a high C! This historical overview will be interspersed with personal anecdotes from my first encounters with this repertoire, covering a breadth of music from Mozart and Donizetti, via Sullivan to Jonathan Dove and Thomas Ades.

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Britain after Britten - a lecture recital
Mar
27
10:00 AM10:00

Britain after Britten - a lecture recital

‘We never seem to get over looking for the next Benjamin Britten. It’s a stupid game’ - Robert Saxton, Professor of Composition at the Guildhall School of Music & Drama and teacher of Thomas Ades.

Benjamin Britten famously only had one student. Despite this, his legacy remains unavoidable for the contemporary British composer, with the premiere of Peter Grimes in 1945 kickstarting a revival of the British opera scene. This lecture will look at different forms of British opera post Peter Grimes, featuring both composers who revered Britten and those who tried to escape his shadow. We will begin with works created in Britten’s lifetime by Vaughan Williams and Tippett, and continuing to explore right up to works of this decade by George Benjamin and Roxanna Panufnik.

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PLG at the Purcell Room - Roberto Gerhard commemoration
Mar
31
6:30 PM18:30

PLG at the Purcell Room - Roberto Gerhard commemoration

MARIA GILICEL - violin

BROMPTON QUARTET -

SASHA SAVALONI - solo guitar

MEERA MAHARAJ - solo flute

ANNA ASTESANO - harp

MIMI DOULTON - soprano

Francisco Coll : Four Iberian Miniatures (violin/piano) (UK Premiere)

Gerhard: String Quartet No.2 (1961-62)

Falla: Le Tombeau de Debussy for solo guitar (1920)

Bethany Morgan Williams (LSO/Panufnik Composer): Commission for violin/piano (World Premiere)

Alwyn: Naiades for flute and harp (1973)

Tippett: The Blue Guitar for solo guitar (1983)

Mompou: Four Songs

Gerhard: Libra for guitar, flute, clarinet, violin, percussion, piano (1968)

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Engender: Open Studio
Jul
14
4:00 PM16:00

Engender: Open Studio

Samantha Fernando and JL Williams are developing a new opera examining the dynamics of power, war, migration and environmental tragedy, and will present a selection of their initial ideas in this work-in-progress sharing.

This Engender event is part of a series of Open Studios that take place throughout the weekend. It is a chance to get an insight into how opera is developed, and to see up close how emerging and established women opera-makers work.

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Myth as Inspiration: a contemporary perspective
Jul
8
7:15 PM19:15

Myth as Inspiration: a contemporary perspective

A selection of musical works inspired by Greek Mythology which reflects upon the narrative of Life and Death. Our exploration of these themes begins with Manos Hadjidakis’ lyrically beautiful Song of Eurydice, then turns to two of Iannis Xenakis’ eerie masterpieces, Kottos and Charisma. We close with the première of a new song cycle by Dimitrios Rontsis, based on Homeric Hymns. In between the performances, research scholar at Oriel College Oxford, Tom McConnell, will provide fresh insight into the breadth and depth of this widely-celebrated and inspiring tradition.

Free entry, booking essential.

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Gluck: Bauci e Filemone / Orfeo
May
31
7:30 PM19:30

Gluck: Bauci e Filemone / Orfeo

as part of the Choir of the Mozartists

Performers

  • Orchestra of The Mozartists

  • Ian Page conductor

  • John Wilkie director *

  • Rebecca Bottone soprano, Bauci, Amore

  • Lena Belkina mezzo-soprano, Filemone, soprano, Orfeo *

  • Gwilym Bowen tenor, Giove

  • Kiandra Howarth soprano, Euridice *

  • Choir of The Mozartists

  • Classical Opera

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Gluck: Bauci e Filemone / Orfeo
May
29
7:30 PM19:30

Gluck: Bauci e Filemone / Orfeo

as part of the Choir of the Mozartists

Performers

  • Orchestra of The Mozartists

  • Ian Page conductor

  • John Wilkie director *

  • Rebecca Bottone soprano, Bauci, Amore

  • Lena Belkina mezzo-soprano, Filemone, soprano, Orfeo *

  • Gwilym Bowen tenor, Giove

  • Kiandra Howarth soprano, Euridice *

  • Choir of The Mozartists

  • Classical Opera

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Britain after Britten - a lecture recital
May
14
10:30 AM10:30

Britain after Britten - a lecture recital

accompanied by Natalie Burch

‘We never seem to get over looking for the next Benjamin Britten. It’s a stupid game’ - Robert Saxton, Professor of Composition at the Guildhall School of Music & Drama and teacher of Thomas Ades.

Benjamin Britten famously only had one student. Despite this, his legacy remains unavoidable for the contemporary British composer, with the premiere of Peter Grimes in 1945 kickstarting a revival of the British opera scene. This lecture will look at different forms of British opera post Peter Grimes, featuring both composers who revered Britten and those who tried to escape his shadow. We will begin with works created in Britten’s lifetime by Vaughan Williams and Tippett, and continuing to explore right up to works of this decade by George Benjamin and Roxanna Panufnik.

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Opera Prelude: Tantrums and Tiaras
Apr
9
10:30 AM10:30

Opera Prelude: Tantrums and Tiaras

Nigel Bates was Principal Percussionist of the Royal Opera House Orchestra, Covent Garden. In this talk, he takes a look at the history, architecture and life backstage at London's Royal Opera House Covent Garden and the tribulations and triumphs of working with the Royal Opera and the Royal Ballet companies. Simply putting on the performances is not enough - there has to be encouragement for the audience to spend quite large amounts of money to attend a performance.  He will discuss the way artistic inspirations, the people involved and the unique building all function together to create world-class opera and ballet in a unique environment. Nigel’s talk will be interspersed by live performances from our young artists. 

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