Opera Workshops. Ian Smith of Stornoway. Director Musical Director Stage Manager Lighting Designer and Board Operator

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Ian Smith of Stornoway Opera Workshops Director Musical Director Stage Manager Lighting Designer and Board Operator Mark Hathaway Oliver Rundell

1 Ian Smith of Stornoway Opera Workshops Director Musical Director Stage Manager Lighting Designer and Board Operator Mark Hathaway Oliver Rundell Bee George Andrew Wilson Thursday 8 and Saturday 11 December 2011 Alexander Gibson Opera Studio / 7.15pm There will be one fifteen minute interval.

3 Ian Smith of Stornoway Opera Workshops The Conservatoire would like to thank the Ian Smith of Stornoway Legacy for its generous provision as major supporters of the Opera Workshops. The Legacy aims to help young classical singers achieve their potential. The workshops are pivotal in the development of our singers training on the MMus (Opera) course at the Conservatoire. They broaden operatic horizons through the learning of new and varied repertoire, stage technique and ensemble skills. The Legacy commemorates the life, gifts and courage of an exceptional man, Ian Smith. He exercised his immense musical talents as a baritone and his considerable intellect in the musical, social and economic life of Stornoway and the Isle of Lewis - this despite suffering from serious health problems.

4 Mark Hathaway / Director Mark directs and teaches acting in the Opera and Vocal Studies departments at the Royal Conservatoire of Scotland. He directed Le nozze di Figaro In June 2010, and in March 2011, Mark will direct The Rape of Lucretia by Benjamin Britten. For Scottish Opera, Mark directed two operas for children by Julian Evans: The Minotaur and The Mystic Maiden of Loch Katrine, as well as a touring production of operatic scenes entitled Essential Scottish Opera, and two sets of scenes with students of the National Opera Studio performed with The Orchestra of Scottish Opera at the Theatre Royal, Glasgow. He was Assistant Director on all four operas in Wagner s Ring Cycle directed by Tim Albery, and has assisted on productions of Don Giovanni, La Traviata, Orfeo ed Euridice, Bluebeard s Castle, Erwartung, Semele, Tamerlano, Fidelio, The Death of Klinghoffer, A Night at the Chinese Opera, and The Secret Marriage. Mark has directed Education Projects inspired by Scottish Opera s productions of Die Walküre, Gotterdammerung, and A Night at the Chinese Opera. He currently leads workshops with Scottish Opera Education s programme for young adults called SO Connect. For Surrey Opera, Mark has directed Il Barbiere di Sivigla, L Elisir d Amore, Carmen, Orpheus in the Underworld, and The Beggar s Opera. Mark has also directed productions of Aida, La Traviata, The Magic Flute, Don Giovanni, Die Fledermaus, Dido and Aeneas, Iolanthe, The Gondoliers, The Little Sweep, and The Blind Beggar s Daughter by Geoffrey Bush. He was both performer and director in a double bill of operas La Serva Padrona by Pergolesi, and Il Servo Innamorato by Richard Gofton at venues in London and Buenos Aires. Mark has directed programmes of opera scenes at the Guildhall School of Music and Drama, and at the Royal Academy of Music.

5 Il Barbiere di Siviglia by Rossini Act One Count Almaviva Figaro, the barber Rosina Raoni Hübner de Barros Douglas Nairne Laura Margaret Smith Daniel Gonçalves Count Almaviva has fallen in love with a young woman, Rosina, who is under the protection of her elderly guardian, Dr Bartolo. Waiting outside Bartolo s house just before dawn, Count Almaviva encounters his former servant, Figaro, who now makes a living as a barber and general factotum. Here begins our scene. Hearing from Figaro that Dr Bartolo intends to marry Rosina, the Count enlists Figaro s help. However, the Count is keen to conceal his true identity, and decides to present himself as a poor student, Lindoro, in the hope that Rosina will love him for himself, not for his money and title. Figaro suggests the Count sing Rosina a love song. She returns his sentiments, but stops abruptly mid-sentence. Fearing the worst, the Count is desperate to gain access to Bartolo s house. Figaro is happy to help, but is keen to ensure that his efforts are rewarded financially. Figaro suggests that the Count disguise himself as a soldier - with the regiment in town, it will be easy to produce a billeting note that will gain the Count entry to Bartolo s home. To convince Bartolo that the soldier is no threat to Rosina, Figaro proposes that the Count pretend to be drunk. The Count and Figaro agree to meet later at Figaro s shop. Figaro will have the props, and the Count will bring plenty of money.

6 Alcina by Handel Act One Bradamante Melisso, Bradamante s adviser Morgana Alcina, an enchantress Ruggiero Laura Margaret Smith Daniel O Connor Elinor Rolfe Johnson Jane Evelyn Jonathan Cooke Jon-Luke Kirton Queen Alcina has magic powers. She has cast a spell upon a young man called Ruggiero, causing him to fall deeply in love with her. Disguised as a man, Ruggiero s fiancée, Bradamante, travels with her adviser, Melisso, to Alcina s island to seek her lost love. They get caught in a storm, and are forced to land on a deserted beach. As they walk through the forest, they encounter Morgana, Alcina s sister, who instantly falls in love with the disguised Bradamante. The Queen and Ruggiero arrive. Alcina sings of her passion for Ruggiero, and orders him to lead the visitors on a tour of the palace gardens, to show them the places where she and Ruggiero first expressed their love.

7 Owen Wingrave by Britten Act One Coyle Lechmere Owen Wingrave Miss Wingrave Bartholomew Lawrence Jonathan Cooke Jon Stainsby Deboragh Abbott Daniel Gonçalves The Wingraves have a family history deeply rooted in the military. Owen Wingrave is studying at Coyle s military cramming establishment in Bayswater, London. Coyle is giving Owen and Lechmere a lesson in battle tactics, with reference to Napoleon s victory over the allies at Telnitz. Owen is scornful of Lechmere s eagerness to go to war. Owen tells Coyle that he cannot be a soldier, and that he despises a soldier s life. Coyle demands that Owen change his attitude, and warns him that his family will disapprove. Nevertheless, he agrees to break the news to Owen s Aunt, Miss Wingrave. Owen is in Hyde Park reading poetry. He is convinced that he has shown strength rather than weakness in making his decision. Coyle visits Miss Wingrave in her London flat, which overlooks Hyde Park. She is disgusted at Owen s contempt for family tradition. She tells Coyle to send Owen to the ancestral home at Paramore, where the family will straighten him out. Owen displays an increasing confidence in his conviction that war is wrong. He reads aloud from his poetry book.

8 Carmen by Bizet Act Three Mercedes Frasquita Carmen Catriona Morison Jessica Leary Laura Margaret Smith Caroline James The gypsy girl, Carmen, has been arrested for starting a fight in the cigarette factory. The soldier ordered to guard her, Don José, sets her free. He is arrested and forced to serve time in prison. Carmen sees this as a heroic act of self-sacrifice, and falls in love with Don José. José leaves the army, and joins Carmen and the gypsies in the mountains. Carmen realizes that she has misjudged José he is spineless and weak. She ends their relationship. He refuses to go, and she fears she will never be rid of him. In this scene, Carmen s friends turn the cards to seek their fortune. Carmen joins them for one game the cards foretell her death, and the death of Don José. Interval

9 Don Pasquale by Donizetti Act One Norina Dr Malatesta Jessica Leary Daniel O Connor Jon-Luke Kirton Ernesto has refused to marry the woman that his uncle, Don Pasquale, recommends, and as a result has been disinherited. Don Pasquale decides to marry in order to produce his own heir. He hears from his physician, Dr. Malatesta, that a suitable bride has been found: Malatesta s sister. Dr. Malatesta has formed a plan designed to persuade Don Pasquale to allow Norina and Ernesto to marry. Norina anxiously awaits his arrival. Norina receives a letter from Ernesto, in which she learns that Ernesto is to be disinherited, and plans to leave not only Rome, but Europe altogether. Malatesta arrives to explain the plan, but Norina interrupts him, handing him Ernesto s letter. Malatesta reassures her, saying that he can adapt his plan: Norina shall play the part of Malatesta s demure sister. After a mock wedding, the quiet, dutiful convent girl will transform into a loud, demanding, nightmare of a wife. Pasquale will be only too pleased to be free of her, and allow her to marry Ernesto. In their duet, Norina and Malatesta discuss her strategy. La Clemenza di Tito by Mozart Act Two Sesto Annio Catriona Morison Laura Margaret Smith Geoffrey Tanti Sesto, friend and adviser to Emperor Tito, is in love with Vitellia. Angry with Tito for rejecting her, Vitellia persuades Sesto to kill the Emperor. Sesto whips up rebellion against Tito, and observes the death of the Emperor in the ensuing riot. In this scene, Sesto is wracked with guilt. He is convinced that Tito is dead. Sesto s friend, Annio, brings good news: he has just seen the Emperor alive. Sesto mistrusts Annio, and confesses that he himself instigated the riot against Tito. Annio is shocked at Sesto s disloyalty. Sesto resolves to leave Rome, and live out the rest of his days in shameful penitence. In his aria, Annio persuades Sesto to stay, advising him to make amends to Tito through long and dedicated service.

10 Pelléas and Mélisande by Debussy Act One Scene One Mélisande Golaud Elinor Rolfe Johnson Bartholomew Lawrence Caroline James A forest. Mélisande removes her crown and drops it into a pool of water. Out hunting, Prince Golaud loses his way while pursuing a wild boar. He hears Mélisande crying, and is struck by her beauty. He offers to retrieve her crown, but she becomes angry and threatens to throw herself in the water. Mélisande notices grey hairs in Golaud s hair and beard. She feels cold; Golaud urges her to go with him. They leave together. Act Two Scene One Pelléas Mélisande Daniel O Connor Elinor Rolfe Johnson Caroline James Mélisande has married Golaud. She has since met his younger half-brother, Pelléas. Pelléas leads Mélisande to one of his favourite places. Pelléas tells her that the water has healing properties, and could, in days gone by, restore sight to the blind. Mélisande is enchanted by the place, and trying to touch the water, she notices that her hands are ill. Playfully she removes her wedding ring. She tosses it high in the air. Slipping through her fingers, the ring falls in the water, and sinks. They cannot retrieve the ring. Mélisande asks Pelléas what she should tell Golaud. The truth says Pelléas, the truth.

11 Der Rosenkavalier by Strauss Final Scene Sophie Octavian Marschallin Faninal Servant Jessica Leary Catriona Morison Deboragh Abbott Jon Stainsby Joseph Oparamanuike Geoffrey Tanti The Marschallin has been having an affair with the young Count, Octavian. Despite having never met her, Baron Ochs is engaged to Sophie, the daughter of the rich but untitled Faninal. When asked by Baron Ochs to recommend a young man to take the traditional silver rose to his fiancée, the Marschallin suggests Octavian. When Octavian and Sophie meet, they instantly fall in love. On first meeting, Sophie finds Baron Ochs crude and boorish. After a great many disguises and a good deal of intrigue, Baron Ochs finally breaks off his engagement to Sophie. Here begins our scene. The Marschallin is saddened at having to give up Octavian, and is dismissive of Octavian s attempts to part amicably. When Octavian pays the Marschallin such close attention, Sophie becomes jealous. Finally, the Marschallin speaks directly to Sophie. As a gesture of conciliation, she resolves to invite Sophie s father, Faninal, to ride with her in her carriage, thus forming a connection that will elevate Faninal in society. The Marschallin leaves. Alone for the first time, the young lovers are nervous. When the Marschallin returns with Faninal, she demonstrates with just two words - Ja, ja - that she is willing to relinquish her hold on Octavian. Alone again, Octavian and Sophie fall into each other s arms.

12 Coming soon... Prokofiev s Betrothal in a Monastery A Royal Conservatoire and Scottish Opera co-production Fri 20 and Sat 21 January 2012 / Theatre Royal Glasgow Thurs 26 and Sat 28 January 2012 / Festival Theatre Edinburgh 7.15pm / Rodula Gaitanou Timothy Dean Jamie Vartan Simon Corder Director Conductor Designer Lighting Designer Now in its seventh successful year, our ambitious winter collaboration with Scottish Opera is an important opportunity for the Company to provide support, encouragement and hands-on experience for students at the start of their professional careers. Prokofiev brings this farce to life with a brilliantly witty and lyrical score that is filled with unforgettable melodies, touching soliloquys and passionate arias. Performers from the Royal Conservatoire of Scotland s opera programme perform with The Orchestra of Scottish Opera, who also act as mentors for the Conservatoire s young musicians. Scottish Opera s senior specialist artisans and technicians also work with the Conservatoire s costume makers, set builders and lighting and stage technicians throughout the process of creating this production. Opera Scenes Tues 13 March 2012 / 7.15pm / 8 ( 6) Wed 14 March 2012 / 2pm / 8 ( 6) A varied programme of simply staged opera scenes. Join us in an exciting new performing space at the Scottish Opera Technical Centre, just behind our new Speirs Locks Studios. Tickets

ACT 1. Montague and his wife have not seen their son Romeo for quite some time and decide to ask Benvolio where he could be.

ACT 1. Montague and his wife have not seen their son Romeo for quite some time and decide to ask Benvolio where he could be. Play summary Act 1 Scene 1: ACT 1 A quarrel starts between the servants of the two households. Escalus, the prince of Verona, has already warned them that if they should fight in the streets again they