CELEBR AT I NG BR I T T EN ’ S CEN T ENA RY
Emerging Artists Opera Workshop
Bath Philharmonia and Frome Festival present
Benjamin Britten
THE TURN OF THE SCREW
An Opera in Prologue and Two Acts
Libretto by Myfanwy Piper after the story by Henry James
Cooper Hall, Frome
5 and 6th July 2013
th
Performance 20.00
St Swithin’s Church, Bath
20th July 2013
Performance 19.30
CAST
(in order of appearance)
To be adorned...
Prologue/Quint
Adam Sullivan
The Governess
Sarah Forbes
Mrs Grose
Anne Braley
Miles Catrin Lewis
Flora
Daisy Brown
Children’s Dog
Topsy
Miss Jessel Catherine Carter
Director Morag McLaren
Conductor Jason Thornton
The duration of tonight’s performance is 101 minutes
with a 20-minute interval at the end of ACT 1
5 Catherine Hill | Frome | BA11 1BY | e: [email protected]
www.annettegabbedey.com | t: 01373 454145
A WA R M W E L C O M E
FA NTASY V ERSUS R EALI T Y
TO COOPER HALL
I would like to welcome our regular supporters and new
During the rehearsal process, we have been incredibly
visitors to Cooper Hall as part of this year’s Frome Festival. The
fortunate to have had generous and constructive input and
Cooper Hall Foundation is delighted to give ongoing support
support from eminent bass baritone John Shirley-Quirk,
to the festival by donating the use of our performance space
whose first-hand experience of working with Benjamin Britten
for a series of events, including this evening’s production of
has proved invaluable. There is an opportunity to see John in
Benjamin Britten’s opera, Turn of the Screw (TOTS!).
action at Cooper Hall on Wednesday 10th July from 14.00-16.00
when he will be leading a workshop for five young professional
TOTS is a piece I am familiar with, having studied and
With its undertones of homosexuality, sexual repression and
performed the role of The Governess many years ago as
corruption of innocence, one can see why the story resonated
an opera student at the RNCM. It was my introduction to
with Benjamin Britten. The narrative parallels with Peter Grimes,
Britten’s operas, and since that enlightening experience, has
Billy Budd and Death in Venice are striking. Britten had a
ranked as a personal favourite. The balance and power of the
knack of tapping the potential for psychological horror, self-
music and drama are totally integrated. The characters in the
recrimination and complexity of character within his operas.
narrative are psychologically complex – not one-dimensional,
singers, focusing on Britten’s repertoire.
predictable or stereotypical, as in many operas. Furthermore,
Myfanwy Piper’s beautifully woven libretto keys into the
it is a dramatically charged ensemble piece, which we hope
inherent ambiguity of TOTS. The economy and integration
fact, the only way I have been able to shift my position from
As a child, I believed in the supernatural, wholeheartedly.
will be intensified in our intimate performance space.
of her text with the music is superbly structured. Britten’s
educationalist to director is by recognising that there is little
Fuelled and rapt by my Granny’s vivid story-telling huddled
difference between them.
around her fire on a Saturday night – the thrill and suspense of
I am thrilled to be making my directorial debut with this
piece. Initially, I was nervous about taking on the role – in
horror was seductively enticing. The key question of course,
Jason Thornton’s enthusiastic response to the suggestion of
as with all ghost stories, hovers around the concept of belief –
putting on a production of TOTS at Cooper Hall has resulted in
fantasy versus reality. Are the ghosts real, or a figment of
our collaboration with Bath Philharmonia and Frome Festival –
an overactive imagination? Of course, as an adult I realised
typifying the organic way Cooper Hall seems to be developing
there was no such thing as ghosts. That was until we arrived at
a life and momentum all of its own.
Selwood Manor ...
Presenting an opera with orchestra in our inaugural year has been
an ambitious undertaking. Inspired by the backdrop of Selwood
Manor and its beautiful grounds, the temptation of staging this
evocative Victorian ghost story set in an English country estate
proved irresistible. It seemed timely that we were able to pay
tribute to Benjamin Britten in the year of his centenary.
instrumental colouring in the orchestration creates atmosphere
There have been many film and theatre interpretations of TOTS
and sub-text. The action of the scenes is juxtaposed with the
since Henry James wrote his Gothic novella during the golden
instrumental variations, driving the tension of the opera to its
age of The Victorian Ghost Story. Henry took the genre to new
dramatic climax. It is a deliberately provocative and tantalising
heights. His use of ambiguity and suggestion preoccupied
piece – challenging and unsettling the audience to its bitter end.
and polarised his readers at the time it was published in 1898,
and for generations to come. It certainly caused a literary stir
way beyond his expectation and lifetime. Undoubtedly, his
Morag McLaren
familiarity with, and exposure to, his brother William’s ground-
Founder and Creative Director
breaking work in the emerging field of psychology and his keen
The Cooper Hall Foundation
interest in the paranormal (during the 1890s, William was
President of The Society for Psychical Research), must have
fuelled and generated many of the themes Henry explored, in
what he described as his “little pot boiler” of a piece.
PROGRAMME NOTES
THE MUSIC
THE TURN OF THE SCREW
I was fortunate to meet Britten on one occasion, and his generosity
The Henry James story had long appealed to Britten, though
The Turn of the Screw is a rare example of Britten combining
The juxtaposition of contrasting styles constantly reinforces
and courtesy were remarkable. It was at the first London
it is perhaps a strange choice for an opera. It is very short
serialism with tonality. Pure serialism, using an unchanging
the tension; the simplicity of the children’s nursery rhymes,
performance of The Golden Vanity, a piece written for the Vienna
and two of the central characters, the ghosts, do not speak.
sequence of the 12 semitones in the octave, was very much
the pastoral beauty of Bly, the seductive intrusions of the
Boys’ Choir. I somehow managed to get backstage at the first
He turned to Myfanwy Piper, the wife of John Piper who had
in vogue at this time but it was foreign to Britten’s way of
ghosts, the torment of the Governess (whose name is never
interval, score in hand, to get his autograph. He refused, telling
designed many of his operas, to produce a libretto. By creating
working. However, he uses the progression of semitones to
revealed). This tension builds throughout the opera until a
me that I must first listen to the work and then come back if I still
extended singing roles for Quint and Miss Jessel, giving them
great dramatic effect as he moves through the Interludes and
state of extreme crisis is created by three twelve-note chords
thought it worthwhile! After the concert he lined the choristers
words which are always poised between the enigmatic and
Scenes that make up the opera.
in the final Variation, destroying any sense of tonality.
up and made them sign my score before doing so himself and
the specific, Piper solved the problem of length. Despite their
discussing how he had gone about the process of composition!
apparent reality, the words and music of the ghosts still leave
The Theme which follows the Prologue clearly presents all
The final scene moves gently over a repeated bass line, a
their existence open to question. This ambiguity cleverly
12 semitones but never loses sight of the basic tonality of
stately and calm passacaglia only interrupted by Quint’s A flat
draws the audience into the conspiracy. Do the conversations
A. The 15 Interludes which then introduce each Scene are
interjections, jarring with the reasoned pleas of the Governess. But
with the children actually happen or are they simply the
all variations on the Theme. However, as he moves through
the bass note of A persists and Quint’s final attempts to gain the
fevered imaginings of the Governess?
various keys, A remains the tonal centre apart from the music
boy are forced away from A flat into the A that proves his downfall.
BACKGROUND
Britten’s influence on 20th-century music and in particular on
English opera is now undisputed; but this was not always so.
Indeed, he was facing growing criticism in musical circles after
the mixed reception of his opera Gloriana, written to celebrate
the Coronation, and it was in this climate that he composed
The Turn of the Screw. Despite the blows to his confidence
and a severe attack of bursitis, which meant that he had to
write with his left hand, the work (commissioned for the 1954
Venice Biennale) progressed swiftly.
of the two ghosts, Quint and Miss Jessel, which centres on
Britten had a reputation for being a difficult person to work
A flat, creating enormous musical tension.
Paul Dowbekin
with, forging strong friendships which could be ended
seemingly on a whim. It is clear from the single-mindedness
The Theme flows smoothly into Scene 1, and Variation1/Scene 2
Salutemus
he showed in composing this opera when under physical and
follow the same pattern. But as the story deepens, so the boundary
www.salutemus.co.uk
emotional attack that his driving force was to compose. What
between Scenes and Variations becomes less clear. Variation 2
is apparent time and again in his letters is that he depends on
grows out of the preceding Scene before turning towards the
the friendships he formed to support him; but any divergence
Scene which will follow. What remains constant is the way in which
from the route that he saw was not to be tolerated.
the Variations prepare the emotions – tranquillity, fear, turbulence,
innocence, horror – for the next turn of the screw.
TOTS SYNOPSIS
ACT TWO
THE PROLOGUE
Colloquy and Soliloquy – Quint and Miss Jessel challenge and taunt
uncomfortable. Quint’s voice is heard – warning and threatening
each other. Miss Jessel’s bitterness and Quint’s hypnotic power
Miles ... the candle suddenly and inexplicably goes out.
The Window – The children happily sing and play together
over her is revealed; as is their attraction and hold over both Miles
outside. As The Governess leaves the house to join them,
and Flora. Alone and in anguish, The Governess is tormented by the
Quint – Quint coaxes Miles to steal the letter The Governess
A young, inexperienced governess is offered a position at Bly,
she sees the same strange figure from the tower through the
apparent evil that exists at Bly, not knowing which way to turn.
has written. Miles takes it from her desk to his room.
a large country house, and home to orphaned children Miles
window. In her fright she describes the apparition to Mrs Grose
and Flora. She is employed by the children’s uncle and guardian,
and urges her to identify who this person is. It appears to be
The Bells – Miles, Flora, The Governess and Mrs Grose go to
The Piano – Miles performs prodigiously on the piano. The
who stipulates emphatically that she is to “take responsibility
the master’s former valet, Peter Quint – a charismatic character
Church. The children sing a psalm-like song and Mrs Grose is
Governess is held in rapt awe. Mrs Grose drifts off to sleep.
for everything” and must not contact or bother him with
who was “free with everyone” – with “lovely Miss Jessel”
charmed by their portrayal of innocence, and is oblivious to
Meanwhile, Flora slips away to the lake. When the Governess and
any problems which may arise. Smitten with the handsome
(the previous Governess) and with “little Master Miles”.
any suspicions The Governess now has about their intentions
Mrs Grose realise Flora has disappeared, they go in search of her.
and behaviour.
The Governess sees the spectre of Miss Jessel by the lake next to
A narrator frames the story that is about to unfold …
and imposing guardian, she accepts his terms, in spite of her
apprehension and doubts.
ACT ONE
The Journey – En route to Bly, The Governess expresses her
Flora whilst Mrs Grose sees nothing. The Governess tries to get
Mrs Grose reveals that after Miss Jessel left Bly and “went
away to die”, Quint too had died in a mysterious accident
Believing the children to be corrupted by Quint and Miss Jessel,
Flora to admit that Miss Jessel is present, but to no avail. Instead,
and “struck his head on the icy road”. Overwhelmed by these
The Governess expresses her growing mistrust of the
she furiously turns against The Governess, claiming she “can’t see
awful events, The Governess is convinced that Quint has
children to Mrs Grose, who suggests she writes to their
anything, anybody, anything, nobody, nothing”.
returned to claim Miles and pledges to protect the children.
guardian regarding her concerns. At first, The Governess is
adamant that she won’t resort to communicating with her
Mrs Grose, by this stage angry with The Governess,
responsibility she has agreed to take on in her new post.
The Lesson – The Governess carries on with normal life at
employer, wanting to keep her promise of not bothering him.
protectively leads Flora back to the house. Left alone, The
However, driven by her infatuation with the guardian, she
Bly; teaching the children and trying to keep up with the
However, after a confrontational conversation with Miles,
Governess feels betrayed and a failure.
resolves to have courage and rise to the challenge.
precocious Miles in his Latin lessons. She is impressed with
with great reluctance and regret she decides she has no
his ability. Flora, however, is bored and disruptive. When The
option but to write and relinquish her post at Bly.
concerns about the unusual domestic circumstances and
The Welcome – On arrival, when greeted by Miles, Flora and
Governess asks Miles to continue with his Latin, and not be
the welcoming housekeeper, Mrs Grose, The Governess’s
distracted, he shares his own sad song, Malo.
Miles – After a restless and troubled night with Flora, Mrs Grose
is packed and ready to leave Bly with the child. She discloses
Miss Jessel – The Governess enters the School Room to write
that The Governess’s letter was never sent to their guardian –
the letter and pack up her things for leaving. She is stopped in
concluding that Miles must have taken it. Alone with Miles,
The Lake – The Governess sits by the lake with Flora as she
her tracks by the sight of Miss Jessel sitting at her desk. Whilst
The Governess challenges him, urging him to acknowledge
recites the names of all the seas in the world, comparing the
Miss Jessel bemoans her tragic fate, claiming revenge, The
the existence of Quint and confess to taking the letter. Quint
The Letter – The Governess receives a letter, informing her that
lake at Bly to the Dead Sea. This unsettles The Governess. Flora
Governess stands her ground, finds renewed resilience, and
appears, silencing Miles. Miles eventually blurts out “Peter
Miles has been dismissed from school for causing “an injury
sings a lullaby to her doll and The Governess sees a strange
decides not to leave Bly after all. She will stay and save the
Quint, you devil!”, whereby Quint disappears in a final farewell.
to his friends”. She and Mrs Grose are united in their disbelief,
woman appear, then disappear, on the other side of the lake.
children from the evil influences at the house. She writes to the
seeing Miles as “an angel”, and conspire to ignore the letter.
Assuming this is the ghost of Miss Jessel, come to claim Flora,
guardian, informing him of the unfortunate situation at Bly.
reservations are alleviated. She is comforted by Mrs Grose and
entranced by Bly and the adorable children.
triumphant that she has saved Miles. However, as Quint
The Governess hurries Flora back to the safety of the house.
The Tower – The Governess takes stock of her time at Bly,
The Governess, believing she has exorcised Quint, is
The Bedroom – Miles is in his room, unable to sleep or settle.
vanishes, Miles falls into The Governess’s arms, dead. As The
so far. Her initial doubts and worry about the letter are “all
At Night – Quint beckons to Miles in the night, enticing him out
The Governess enters and tries to engage him in a conversation
Governess begins to realise what has happened, she expresses
vanished now”. She feels blissfully at home. Her reverie,
of bed and into the grounds. Miss Jessel appears, calling to Flora.
where he will admit to the presence of the ghosts. She tells
her lamentation in Miles’s song, Malo.
however, is abruptly interrupted as she glimpses a strange,
Entranced by the ghosts and echoing their words, the children
him that she has written to his guardian. Miles is restless and
male figure on the tower.
are drawn away from the house as if under their spell until The
Governess and Mrs Grose rush out and take them back indoors.
THE COOPER HALL
EMERGING ARTISTS
OPER A WORKSHOP
Most of the cast for this production have been drawn from vocal
experience – an opportunity to hone and shape some of their
QUINT
T H E G OV E R N E S S
workshops where we explore physicality, emotional expression
professional performance skills in a supportive environment.
Adam L Sullivan
Sarah Forbes
and creative choice in singing. The aim of this work is to discover
We were further encouraged by the positive response we
Tenor
Soprano
tools that can facilitate and support the integration of vocal
received from the audience that evening, and the idea of
technique and dramatic interpretation – a key skill for singers.
putting on a complete opera was mooted.
Arriving fresh at Cooper Hall from appearing in the Aldeburgh
Sarah Forbes completed her postgraduate studies at the Royal
Usually this approach is applied to a specific song or aria.
It is with a great sense of satisfaction that the rehearsal process
Festival as part of the Chorus in Opera North’s Production of
Conservatoire of Scotland (formerly RSAMD) in 2009 where
However, last year we extended our workshop to include
and tonight’s presentation of TOTS, therefore, has evolved
Peter Grimes on the beach, Adam will also be making his Royal
she studied with Margaret Izatt. Sarah now lives and works in
a selection of operatic scenes; culminating in an informal
from an educational slant. It is in keeping with the principal and
Opera debut at Covent Garden later this year in Julian Phillips’
London where she studies singing with Marcus van den Akker.
presentation to an invited audience at Cooper Hall. The
ongoing ethos that guides The Cooper Hall Foundation.
new family opera, How the Whale Became.
She was selected for Associated Studios’ Intensive Opera
Orlando to Bernstein’s Candide, and included excerpts from
The Foundation strives to create performance and personal
Adam is currently a MMus student at the Guildhall School
Mozart’s Marriage of Figaro, Donizetti’s L’elisir d’amore,
development opportunities for young, professional musicians
of Music and Drama, where he studies with Theresa Goble.
Sarah’s solo operatic roles have included Belinda in Dido and Aeneas
Massenet’s Werther and Strauss’ Ariadne auf Naxos.
in the early stages of their careers. Thus we are calling our
Recently Adam has been engaged in notable projects
for Winterbourne Opera, Musetta in La Boheme at Balerno Music
The singers taking part felt it had been a rewarding learning
company, The Cooper Hall Emerging Artists Opera Workshop.
such as Unknown Doors/A Soldier And A Maker – a piece
Festival, the role of Female Primatologist in the UK premier of
written and devised by Iain Burnside which premiered in
The Okavango Macbeth with a libretto by Alexander McCall Smith,
the Barbican Centre last April; a series of Schumann recitals
Venus in The Judgement of Paris for Chilmark Opera and Barbarina
devised and introduced by Graham Johnson at GSMD; and
(plus Susanna cover) in The Marriage of Figaro for Winterbourne
he has appeared at the National Theatre in Jonathan Miller’s
Opera. Previous work with Morag McLaren has included Opera
production of Bach’s St Matthew Passion.
Scenes at Cooper Hall, where Sarah took the roles of Sophie in
Programme, which she completed in 2011.
chosen repertoire for the experiment ranged from Handel’s
Werther and Adina in L’elisir d’amore. Sarah has been a member of
Adam appeared alongside Exaudi at King’s Place, The
the chorus for RCS and Scottish Opera’s production of Prokofiev’s
Barbican Centre and The Courtauld Gallery, and most
War and Peace and Birmingham Opera Company’s La Traviata.
recently has taken the role of the Friendly Sentry in Martinu’s
Comedy on the Bridge at GSMD, and Sam in the European
Oratorio work has included Gounod’s Messe Solennelle
Premier of Ned Rorem’s Our Town. In January of this year, he
conducted by Brian Kay, Howard Goodall’s Eternal Light for Troon
played the role of Father Christmas in Birtwhistle’s Operatic
Chorus, Karl Jenkins’ The Armed Man under Christopher Bell,
Mummers play, Down by Greenwood Side.
Vivaldi’s Gloria for Eastbourne Choral Society and Ayr Choral
Union, and most recently Bach’s Wachet auf with Sussex Chorus.
Adam is the proud holder of the Oscar Graham Scholarship
Sarah is also a member of Dieci Voices (www.diecivoices.com) and
and his studies are generously supported by the Behrens
has performed with the group at Cambridge Summer Recitals,
Foundation. Last August, Adam was awarded the Donald
Lexden Arts Festival and for Wye Valley Music.
Adams Memorial prize for Best Male Voice and the Tony
Finnegan Award for Best Male Performer at the Buxton
Sarah has recently sung in the role of Zerlina in Don Giovanni for
International Festival, and Best Male Performer at the
Pint-Sized Opera following their successful production of L’elisir
Waterford Young Opera Competition Ireland.
d’amore, in which Sarah took the role of Gianetta. She will also
be performing Dixit Dominus for Harpenden Music Makers. This
summer she is delighted to be taking the role of The Governess in
The Turn of the Screw for both Frome Festival and Seastar Opera.
MILES
FLORA
MRS GROSE
Catrin Lewis
Daisy Brown
Anne Braley
Soprano
Soprano
Mezzo Soprano
Catrin was raised in Aberystwyth and read music at Jesus
Described as ‘Outstanding’ (The Times), ‘Ravishing’ (Timeout)
Originally from Surrey and now based in South Wales, Anne
Catherine is a member of the core company of Opera Erratica,
College, Oxford, where she played the piano and the violin.
and ‘Alarmingly talented’ (Fourthwall Magazine), soprano
has sung with opera companies throughout the UK including
directed by Patrick Eakin Young. Other operatic experience
Having graduated, she returned to Wales to work and started
Daisy Brown is a young opera singer recently graduated
European Chamber Opera, White Horse Opera, Opera School
includes: the title role in Menotti’s The Medium for Open
private singing lessons before studying at the Royal Welsh
from the Royal Conservatoire of Scotland and Trinity Laban
of Wales and Opera Playhouse, in roles including Carmen and
Door Opera at The King’s Head; Marcellina in The Marriage
College of Music and Drama. Catrin has recently completed
Conservatoire of Music and Dance.
the MMus course at the Guildhall School of Music and Drama,
Mercedes (Carmen), Nicklausse (Tales of Hoffman), Sorceress
of Figaro for Harrow Opera; Mrs Herring in Albert Herring
(Dido and Aeneas), Prince Orlofsky (Die Fledermaus), Phoebe
for TCM opera ensemble; Cherubino in The Marriage of
where she was a member of the Guildhall Consort. She is now
With recent achievements including critically acclaimed
(Yeomen of the Guard), Filypyevna (Eugene Onegin) and Third
Figaro and L’enfant in ‘L’enfant et les sortileges for TCM opera
continuing her studies at the school as an extramural student
performances of Pamina (The Magic Flute, Mozart) at the
Lady (Magic Flute). Later this year she will be reprising the role
scenes; Queen in The Singing Bone for composer Stephen
under the tutelage of Theresa Goble.
Riverside Studios in London; Daniel (Susanna, Handel) for
of Meg Page (Merry Wives of Windsor) in South Wales.
Crowe at Tete a Tete the opera festival; Second Lady/Second
Iford Arts and Cis (Albert Herring, Britten) for both the Britten
Boy in The Magic Flute at Palestine Mozart Festival; Old Lady
in Candide and Bianca in The Rape of Lucretia at CUOS.
In concert, Catrin has appeared with The Vivaldi Singers,
Pears Young Artist Programme and Aldeburgh Festival, Daisy is
Anne appears regularly as a concert and oratorio soloist with
Farnham, Trebanos Mixed Choir, Cardiff Chamber Orchestra
looking forward to a busy 2013.
choral societies and male voice choirs. Her extensive repertoire
includes Handel’s Messiah and Jephtha, Bach’s Magnificat and
Recent professional highlights have included: solo and chorus
the Italian home of the late Sir William Walton. Roles in scenes
This year Daisy makes her debut as Emmie (Albert Herring,
Christmas Oratorio, Rossini’s Petite Messe Solennelle, Dvorak’s
in the world premiere of K Stockhausen’s Mittwoch aus Licht
and full operas include Despina in Cosi fan Tutte, L’enfant
Britten) for Mid Wales Opera and Flora (The Turn of the Screw,
Stabat Mater, and Brahms’ Alto Rhapsody as well as major
for Birmingham Opera Company; XOver/Aria Cunningham/
in L’enfant et les sortilèges, 1st Boy in Die Zauberflöte, Air
Britten) for Bath Philharmonia Orchestra and The Cooper Hall
works by Mozart, Mendelssohn, Haydn and Beethoven.
Cage with Merce Cunningham Dance Company as part of
and Cambrensis. She has also given a recital at La Mortella,
Stewardess in Flight, Flora in The Turn of the Screw, Puck in
Emerging Artists Opera Workshop Programme. She is also
A Midsummer Night’s Dream and Ännchen in Der Freischütz.
looking forward to her Royal Albert Hall Soloist debut in an
As a member of the Wiltshire-based ensemble Opera Sulis,
Engine Duke/Duke/Palermo/Svendson, a Dance Umbrella &
She has also sung in the chorus of British Youth Opera,
exciting Gala Concert conducted by Brian Kay, and will reprise
Anne appears frequently in concerts and functions throughout
RPS Drummond Award co-commission at The Gate Theatre
Classical Opera and Garsington Opera.
her role in John Ramster’s highly-regarded staged Messiah
the West of England, singing popular operatic repertoire.
Notting Hill, including a recording of the piece with the Arditti
(Handel) for the Merry Opera Company.
She also works regularly with pianist Gary Branch in recital
String Quartet; mezzo solo in John Cage’s MusiCircus at English
programmes. Anne currently studies with Rosa Mannion.
National Opera broadcast on BBC Radio 3 and an ongoing
Catrin has sung in masterclasses given by James Gilchrist,
the Legacy Tour at Theatre de la Ville Paris; The Difference
Teresa Cahill, Gwyn Hughes Jones, Adrian Thompson, Elin
During her studies at Trinity Laban, Daisy was awarded
collaboration with the Langham Research Centre for gigs at
Manahan Thomas, Margaret Humphrey-Clark, Laura Sarti,
the ‘Eva Malpass’ Scholarship and the ‘City Livery Club
The Barbican, Kettle’s Yard New Music Series and Cafe Oto.
Eugene Asti, Morag McLaren, Edith Wiens and Emma Kirkby.
Music Section’ prize. Most recently she was a finalist at the
Thelma King awards, a semi-finalist in the Handel Festival
Catherine is a founding member of the chamber ensemble
Singing Competition and ‘Highly Commended’ by the Boise
TROUPE and has recently performed with them as part of
Foundation Award.
Clapham Chamber Music Concerts, The Bloomsbury Festival
MISS JESSEL
2012 and The Wilding Festival 2013. TROUPE are looking
Daisy’s solo concert and oratorio engagements include
Catherine Carter
forward to touring their new World War I Centenary Show to
an evening of Chandos Anthems (Handel) for the London
Mezzo soprano
arts venues around the UK from 2014.
CHILDREN’S
DOG
Handel Festival conducted by the Festival’s Associate Musical
Director, Adrian Butterfield, the Weihnachts Oratorium (Bach)
Catherine Carter studied music at Cambridge and Trinity College
Future engagements include a collaboration with the Langham
Topsy
for the Crowborough Choral Society, and the Coronation Mass
of Music, receiving a distinction for her MMus in June 2011.
Research Centre and choreographers Marquezandzangs for a new
(Mozart) and Coronation Anthems (Handel) for the Queen’s
Whilst at Trinity she was taught by Ameral Gunson, supported
piece at The Borelias Festival in London; the title role in Dido and
Diamond Jubilee concert at Brighton Fringe Festival.
by a Leverhulme scholarship and awarded the Contemporary
Aeneas for Barefoot Opera’s Young Artist Tour 2013; chorus with
Music Prize. At Trinity she took part in masterclasses with Sarah
London Voices in Peter Grimes at ‘The Rest is Noise’ at the South
professional appearance in our Opera Scenes 2012 is now
Daisy would like to thank her wonderful teacher Rosa
Connoly, Linda Hirst on Pierrot Lunaire and Complicite Theatre
Bank Centre and on tour to China, and in November 2014 returning
making her debut solo performance in tonight’s production.
Mannion, The Richard Stapley Trust and Mrs Pat Baxter as well
Company on the works of Georges Aperghis. Catherine also
to Cooper Hall, Frome with TROUPE’s WWI centenary project.
as Trinity Laban and the Eva Malpass Scholarship for their past
previously completed a diploma in physical theatre at The Arches
and continuing support.
in Glasgow. She is now taught by Jenny Miller.
One of the Cooper Hall Opera Dogs who made her first
Possessing a natural stage presence and ability, Topsy
plays the part of Tom’s pig in the children’s game, whilst
understudy Lola watches from the wings.
MOR AG
McLAREN
JASON
THORNTON
Director
Conductor
Morag was born and educated in Edinburgh. After leaving school
Morag works as a vocal coach/consultant for emerging
Jason Thornton is Music Director of Bath’s resident
During recent seasons he has collaborated with many
she graduated in Music Education at Lancaster University, then
artists privately, and has led performance workshops and
professional orchestra, Bath Philharmonia. He is artistically
internationally regarded soloists, including Nicola Benedetti,
trained as an opera singer at the Royal Northern College of
masterclasses at The Guildhall School of Music and Drama,
responsible for one of the largest and most respected
Joseph Calleja, Natalie Clein, Michael Collins, Sarah Connolly, Peter
Music, where she was lucky enough to have singing lessons with
London College of Music, Ardingly International Music School
professional organisations of its type in the South West of
Donohoe, James Gilchrist, Tim Hugh, Sumi Jo, Tasmin Little, Joanna
Frederick Cox. More recently, as a mature student she completed
and Guildford School of Acting. Her teaching collaboration
England, and with this orchestra he became the world’s
Macgregor, Ruth Palmer, Crispian Steele Perkins, Jennifer Pike,
her MA in Performance Health and Personal Development at
with Theresa Goble (Vox Integra) involves her in a range of
youngest conductor to have performed all Mahler’s
Patricia Rozario and Sir Willard White.
London College of Music in 2011. She has a specific interest and
vocal weekend workshops in London on a regular basis.
symphonic output.
Morag is the Founder and Principal Trustee of The Cooper Hall
He has also worked with many of Britain’s finest professional
performance of Elgar’s The Dream of Gerontius in Beijing and
continued academic study in Performance Psychology and the
power of emotional expression in singing.
Recent performances have included the Chinese premiere
Foundation charity, which promotes music performances,
orchestras, youth orchestras and choral ensembles, including
Shanghai, Strauss’ Four Last Songs with Renee Fleming, cycles
Morag has performed in a wide variety of opera, musicals,
education and the development of creative projects at Cooper
the Royal Philharmonic Orchestra, City of London Sinfonia,
of piano concertos by Beethoven, Chopin and Ravel with Peter
concerts and musical theatre productions, including principal
Hall in Frome – particularly for the benefit of the community
London Mozart Players, Halle Orchestra, English Northern
Donohoe, Copland’s Lincoln Portrait with Lord Ashdown,
roles with Welsh National Opera (The Mother and Witch in Hansel
and emerging artists.
Philharmonia, Royal Academy Symphony Orchestra, National
Tchaikovsky’s Violin Concerto with Nicola Benedetti and Rodrigo’s
Schools Symphony Orchestra, London Philharmonic Choir,
Guitar Concerto with Craig Ogden and the City of London Sinfonia.
and Gretel), Scottish Opera (Lucy in Threepenny Opera), The Royal
National Theatre (Mrs Segstrom in A Little Night Music) and in
This is Morag’s directorial debut. She is delighted to have cast
Philharmonia Chorus and Bournemouth Symphony Chorus.
the West End (Carlotta in Phantom of the Opera). She toured
the roles in tonight’s performance of Turn of the Screw with
Jason is also Principal Guest Conductor Designate for the
Future performances in 2013 include Schubert 9 with the RPO,
internationally with Opera Circus (The Good Wife in Shameless an
young professional singers who have taken part in the ongoing
Arensky Chamber Orchestra (London), Principal Guest
Bernstein Symphonic Dances from West Side Story with the
Immoral Tale), presented on BBC Radio 3, released three solo CDs
workshops for emerging artists at Cooper Hall.
Conductor with the National Schools Symphony Orchestra
National Schools Symphony Orchestra, Elgar’s The Kingdom
and Music Director for South West Festival Chorus.
and Music Makers with South West Festival Chorus and Bath
and featured on an RNT cast recording and other compilations.
Morag presents her One Woman Shows worldwide and is currently
www.moragmclaren.com
Choral Society respectively, and a packed programme with Bath
a member of the opera improvisation group, Impropera, which has
Abroad he has worked with the Kaposvar Symphony
Philharmonia including Brahms’ Violin Concerto with Jennifer Pike,
a residency at the London venue King’s Place.
Orchestra (Hungary), Beijing Symphony Orchestra, Shanghai
Elgar’s Cello Concerto with Raphael Wallfisch, Britten’s The Turn of
Symphony Orchestra, North West Symphony Orchestra
the Screw and Young Apollo with Leon McCawley, and a return to
(USA), East Oregon Symphony Orchestra, Cyprus Chamber
the Bath International Music Festival.
Orchestra and Jykvaskyla Sinfonia (Finland).
www.jasonthornton.com
BATH PHILHAR MONIA
Bath Philharmonia is one of the leading professional
Action Wiltshire, Ageas Salisbury International Arts Festival,
orchestras in the South West. Its players are some of the finest
Wiltshire Music Centre, Pound Arts Centre, Calne Music
and most experienced orchestral musicians in Britain, led by
and Arts Festival, Wiltshire College and Bath Spa University,
Music Director Jason Thornton. The orchestra is renowned
the orchestra will be working with 144 Young Carers in six
for its musical virtuosity as well as its versatile and creative
performances over the next two years.
approach to programming.
Bath Philharmonia’s Chairman is Professor Rod Morgan
Performing 20-25 times per annum, Bath Philharmonia prides
and the orchestra is managed by a dedicated team of arts
itself on its innovative programming, working regularly with
professionals from its office in Bridge Street, Bath. Bath
a roster of international soloists including Nicola Benedetti,
Philharmonia is thriving thanks to the generous support of
Peter Donohoe, Sumi Jo, Sara Connolly, Natalie Clein,
growing corporate investment and individual giving.
Sir Willard White, James Gilchrist, Benjamin Grosvenor,
Tasmin Little, Claire Jones, Jennifer Pike and Michael Collins.
ORCHESTRA
Central to its focus is to serve the community in Bath & North
Violin 1
Sophie Langdon
East Somerset, but in addition the orchestra regularly tours
Violin 2 Gill Austin
throughout the south-west region performing at venues
Viola Emma Sheppard
including the Colston Hall in Bristol, Hall for Cornwall Truro
Cello Gregor Riddell
and the Octagon Yeovil, and Roseland, Fishguard, Beaminster
Bass
David Brown
and Frome Festival and Bath International Music Festival.
Flute Josh Batty
Oboe
Owen Dennis
The orchestra made its recording debut with Paul Carr’s
Clarinet Tim Opren
Requiem For An Angel, receiving excellent reviews in both
Bassoon Vicky Crowell
BBC Music Magazine and Gramophone as well as being named
Horn Richard Wainwright
disc of the week on Classic FM in November 2010.
Percussion Jeremy Little
Harp
Sally Price
Piano David Quigley
in Bath & North East Somerset and Wiltshire, resulting in
General Manager
Teresa Shirley-Quirk
performances at the Bath International Music Festival and
Orchestral Manager
James Waterhouse
Bath Philharmonia has a vibrant education portfolio and has
DAV I D P R I C E
Rehearsal Pianist
David began his musical training as a chorister at Chester
the Cooper Hall branding, website and promotional material.
Cathedral and later won a Music Scholarship to St John’s
A warm friendship and easy working relationship quickly
College, Cambridge. After graduating in 1961, he remained
developed, and volunteering to help out and offer support
in Cambridge to take a teaching diploma before settling in
was a natural progression as Cooper Hall hosted several more
Wiltshire as Head of Music at the Bentley Grammar School,
events that year. Blessed with a sweet acoustic and a fine
Calne. He moved to Dauntsey’s School in 1970 where he spent
piano, our audience response has endorsed our belief that there
24 happy years as Director of Music, teaching, accompanying
is a very receptive audience living locally who welcome seeing a
and conducting. He took early retirement in 1994 in order to
range of high-quality performances and wish to be engaged.
work as a freelance coach, accompanist, conductor and lecturer.
2013 started with us talking about our shared love of the arts and
As a pianist, he has accompanied singers in recitals and
the importance of making them as accessible as possible to as broad
masterclasses, and has played in chamber groups throughout
an audience as possible. As this “Creative Haven” reveals more
the West Country. He has also lectured at many day courses,
possibilities, we will continue to programme a variety of events
including several for the Extra-Mural Department of Bristol
in this space whilst we are still very much in our “developmental”
University and at Urchfont Manor, as well as giving frequent
stage. Having already hosted several international performers,
pre-concert talks at the Wiltshire Music Centre. Opera has
we are keen to continue inviting artists from farther afield to
always been a speciality, both in and out of school; he has
complement and enhance what is already a rich cultural landscape
directed about 30, including eight as Musical Director of
in this special and creative corner of Somerset.
Swindon Opera and three with Bristol Opera. He has recently
retired as conductor of Bath Symphony Orchestra, but is still
We have recently attained charitable status which, we hope,
Musical Director of Trowbridge Symphony Orchestra.
will help support and enable the growth of our education
programme. The Cooper Hall Emerging Artists Opera
spent the previous two years working with Young Carers
Greenbelt Festival. In 2012, Bath Philharmonia was awarded
a major grant by Youth Music to run “Listen To US 2”, the
www.bathphil.co.uk
largest Young Carers music programme in the UK. With Youth
01225 444153
Workshop is the starting point for facilitating professional and
personal development opportunities for young performers,
and tonight’s performance is a direct result of some of the
A YEAR IN THE LIFE
very first workshop weekends in this space.
OF COOPER HALL
FAY
GOODRIDGE
Since I was invited to become a trustee, and more recently
Production Manager
Associate Director And Trustee
Foundation has increased and I feel proud and honoured to
Associate Director, my involvement in The Cooper Hall
be part of the team. It was an easy decision for me to make
having observed the generosity of spirit and ethos of The
Cooper Hall Foundation.
Having been involved with Cooper Hall initially as an “extra pair
of hands” to help out at Frome Festival in 2012, I would never
In addition to the Frome Festival, we also support the work of
have imagined how the dynamic and gathering momentum
local charity Dorothy House Hospice Care, and several of this
generated by this stunning, purpose-built performance space
year’s events are fundraisers for this excellent cause. In October
would pick me up and carry me along on what is proving to be
we launch “Intimate Jazz at Cooper Hall’ with Jason Rebello, and
the most thrilling, enriching and rewarding of creative journeys.
Morag is finally coming out of the closet and putting on her one
woman cabaret towards Christmas! 100% of monies generated
As the current owner and editor of the list FROME (a local,
independent monthly magazine) I originally became involved
with Morag McLaren on a professional level, helping to develop
from both these gigs will be donated to Dorothy House.
PRODUCTION AND
TECHNICAL TEAM
FREELANCE GRAPHIC DESIGNER BASED IN FROME, SOMERSET
LIGHTING
Terry Baldwin
We owe special thanks to Terry Baldwin who has acted both as
Rosa Mannion
a consultant, advising on our new lighting rigs, and as tonight’s
Frome Festival
engineer. A familiar face around Frome venues and a stalwart
Martin Dimery (support and set ideas)
of the Frome Festival technical team, Terry is part of the regular
Helen Frame
crew at Cooper Hall whose experience and support is invaluable.
Fred Rolfe
Ash Khandekar
Lighting Cues
Alicia Little
Production Manager
Fay Goodridge
Orchestra Pit
Annette Gabbedey
Donna Malcomson
Sydenhams Hire
Keren Hayden and Events Horizon
Carole Nightingale
Philippa Kaye
Premiere Voile
BRAND IDENTITY / PACKAGING / ADVERTISING / PRINT / TYPOGRAPHY / LOGO DESIGN / POS
Roy Pike
Stage Management
Kirsty Riddell
Francesca Gruber Hallam
SUBSCRIBE TO OUR MAILING LIST
Programme
If this is your first visit to Cooper Hall, please feel free to join our
Programme Editor Fay Goodridge
Design Jade Berry
Printing PPS Frome
mailing list! We send out a regular e-newsletter with information
about forthcoming events and you will also be eligible to attend
free events resulting from some of our professional education
programme. You can either sign up online via our website or fill
WITH THANKS
out your details on the slips at our main desk.
As with all productions, an army of people support the
Contact Information:
work of cast and crew, and we would like to offer warm and
Cooper Hall
heartfelt thanks (in no particular order) to:
Selwood Manor
Jacks Lane
Hugh Riddell FROME
Bath Theatrical Costume Hire
Somerset BA11 3NL
Roy Pike and Ground Staff at Cooper Hall
Jonathan Cooper
Paul Dowbekin
Craig White (Rehearsal pianist, London)
07568 374109
[email protected]
www.cooperhall.org
John Shirley-Quirk
Theresa Goble
Registered Charity Number 1151565
WWW.BLACKINKCOMM.CO.UK
JULY 5
TH
& 6
TH
COOPER HALL FROME
Doors 19.30. Performance 20.00
JULY 20
TH
ST SWITHIN’S CHURCH BATH
19.30
www.cooperhall.org
production in collaboration with ....
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