Music and libretto by Howard Moody
Commissioned by Battle Festival
Directed by Simon Iorio / Designed by Ele Slade
Conductor/Musical Director
Howard Moody
Director
Simon Iorio
Designer
Ele Slade
Technical Director
Caleb Madden
Music and libretto by Howard Moody
Commissioned by Battle Festival
Welcome to the premiere performance of PUSH,
Battle Festival’s latest commission to mark the 950th
anniversary of the Battle of Hastings.
PUSH is a very special project that sees world-class artists working
alongside community choirs to present a truly remarkable story. At a time
of great social change in Europe and elsewhere, PUSH is a timely reminder
of the very best and worst of human nature. While the work reflects on
conflict, it also emphasises that, even in the most challenging times, we
can be a strong force of healing, forgiveness, unity and optimism. It is
more important than ever that communities work together in harmony –
and this is a major element of Battle Festival’s philosophy.
PUSH will undoubtedly be a landmark event in the UK’s cultural calendar
this year, and we hope that you will enjoy this production as much as
Battle Festival has enjoyed creating it.
David Furness
Chair of Trustees, Battle Festival
PUSH is a Battle Festival production in partnership with Glyndebourne
and the De La Warr Pavilion, and is premiered as part of the ROOT 1066
International Festival and Battle Festival on 1 October 2016 at the
De La Warr Pavilion.
Ma vie n’est que miracles
PUSH
Assistant Directors
Zara Fyfe
Anna Moody
CAST
Simon James Newby
Guard Matthew Stiff
Simon’s Sister Tereza Gevorgyan
WITH
Battle Festival Community Choir
Adults and young people drawn from
1066 country
PUSH Singers
Charlotte Beament, Richard Dowling,
Ed Hawkins, Angharad Lyddon,
Hannah Sandison
PUSH Orchestra
Anna Cooper, Pat Beament, Joe Giddey,
Maddie Cutler, Sarah Homer, Sam Kinrade,
Stephen Peneycad, Emily Allen, Jonathan
Hollick, Edd Leech, Chloe Vincent, Andrew
Sparling, Peter Beament, Jez Wiles,
Andy Williams
PUSH is supported by
Arts Council England, Rother District Council,
Hastings Borough Council, East Sussex Arts
Partnership, Chalk Cliff Trust, The Magdalen &
Lasher Charity, Battle Partnership, Battle Town
Council. Sponsored by Hastings Direct.
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Putting culture at the heart of our community
As the final performance of Battle Festival 2015 came
to a close, we were already looking forward to this
year’s event – and the 950th anniversary of the famous
clash that gave our town its name. Rather than take a
heritage approach to this significant date, we wanted to
draw inspiration from the events of 1066 and create our
own unique response. To us, a community opera seemed
the perfect way for the people of our town and its environs to
examine the history, culture and environment that has shaped
us – and how the colliding cultures and mass migration that
defined the Norman Conquest also affected the course of the
20th century and still resonate strongly today. It was important
to us that a new anthem should be created, one that projects
a positive vision for the future – of optimism, hope, peace and
friendship. To achieve this, we wanted a strong narrative that
would be accessible and recognisable to a modern audience.
Simon Gronowski’s story does just that.
It was always our intention to make the opera resonant
and relevant to the local community. We wanted to deliver
an inspirational and inclusive project that would encourage
participation and, hopefully, instill a lifelong love of singing.
Anyone was welcome to join in – not just from Battle but
from across 1066 country – irrespective of ability or
experience. The combination of their skill and enthusiasm
and the creative excellence of Glyndebourne – plus the
singular talents of Howard Moody and Simon Iorio – have
led to a unique production.
Glyndebourne is delighted to have been a partner
in this extraordinary project. This year not only marks
the 950th anniversary of the Battle of Hastings but also
the 30th anniversary of Education at Glyndebourne.
We are proud that PUSH is part of our celebratory year,
building on our pioneering work in commissioning and
producing community opera. The first Glyndebourne community
opera was Hastings Spring composed by Jonathan Dove and
performed by members of the community on Hastings Pier,
so it seems fitting that we are returning to the 1066 community
through this remarkable new opera.
We hope this project is just the start of a journey with
opera for these performers. As part of its legacy, all the
young people involved in PUSH have been invited to
take part in Glyndebourne Youth Opera to build on their
experiences through this project.
Putting on a community opera is no easy task. This
performance simply wouldn’t have been possible without
the hard work and dedication from the team at Battle Festival
and De La Warr Pavilion, alongside the huge amount
of support from families, carers and schools enabling all
the participants to be part of this life-changing experience.
Lucy Perry Head of Education, Glyndebourne
Of course, the project would be a lesser achievement without
its young participants. The creative team has worked with more
than 400 children from thirteen schools across the region.
A further 400 were invited to a special dress rehearsal so that
they too could share in the story and, perhaps, be inspired to
take part in a future production.
Significantly, PUSH has provided a stimulus for new and
exciting exchanges between people of different ages,
backgrounds and outlooks, chiming in with some of the themes
of the work. Many were strangers at the first workshops in
January this year; most are now friends. For some, this will
have been a once-in-a-lifetime experience. Perhaps it will have
changed a few lives. For all, It has provided the opportunity
to come together to create, share, participate and celebrate.
And a chance to sing their hearts out.
Sally Lampitt Producer, Battle Festival
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Howard Moody the experience of writing and composing PUSH
I wanted to live in the present for optimism, joy and friendship.)
Inspired by the bellbird’s song, together with Gandhi’s favourite
song that had recently been sung to me by an Indian dancer,
I started to express the positivity in the story. The bellbird’s
song is something of a theme of peace in the music. Gandhi’s
song (in Gujarati) is the means through which the imprisoned
community come together.
PUSH is inspired by the true story of Simon Gronowski, who
was pushed off a train to Auschwitz by his mother in 1943.
I met Simon Gronowski after he came to a performance
of my opera Sindbad – A Journey Through Living Flames
at La Monnaie, Brussels in 2014. While telling me his story,
he said: ‘Ma vie n’est que miracles’ (My life is only miracles).
I immediately asked him to write that down for me on a small
scrap of paper and I promised him there and then that
I would write my next opera about his story. I have kept
and will treasure that scrap of paper.
His story haunted and enchanted me – so when Battle Festival
and Glyndebourne approached me about writing a new opera,
I knew what I wanted to base it on. With the first performance
so close to the 950th anniversary of the Battle of Hastings,
my first point of research was to read the relevant sections
of the Anglo-Saxon Chronicle, which describes William the
Conqueror’s savage reign of terror against the Anglo-Saxons
during the twenty years following the battle. History repeats,
and this period offers a mirror of events in Europe in the 1940s.
I also discovered that William recruited his army from a
Viking settlement in Normandy. This drew my attention to
contemporary accounts of the ‘Jungle’ refugee camp in
Calais – as well as the devastating reports from the Syrian
conflict – notably the plight in the summer of 2015 of the
desperate crowds trying to board trains in Budapest.
With these three strands, I began work on the libretto. I had
the privilege of meeting Simon Gronowski again at the Caserne
Dossin in Mechelen, where he had been imprisoned with his
mother and sister – the place from which thirty-six trains went
direct to Auschwitz. As we went through the archway where he
had been put on the train, he pointed to an upper window and
said, ‘That’s where I last saw my sister.’ This ‘Orpheus moment’
became the emotional core of my writing and composing,
together with the great gift of Simon’s overriding positive
message: ‘Ma vie n’est que miracles.’
On completion I went to Brussels to play the opera to Simon
Gronowski. Hosted by Sarah Ehrich – who had helped to
introduce me to him in 2014 – I sang and played the piece to
Simon, making at least an impression of the vocal lines. This
was one of the most emotional experiences of my life. There
were many tears of joy and pain. I left encouraged by Simon’s
response to the integrity of the piece. He had always supported
my intention to make his story relevant to contemporary events,
but at the core lies an acknowledgement of the pain that he
still carries for his mother, sister and father – a shared pain that
touches us all, survivor and victim.
For this production, the piece is for the community that
sings it. It is hard to imagine a more committed process. The
people of Battle have sung for their lives, bringing a depth of
response that is beyond words. Together with the expertise of
Glyndebourne’s co-production and artistic team, I trust that we
will be able to find a way to express some of the urgent issues
that the story brings to the surface.
It is a great honour that Simon Gronowski will be present
at the first performances. The opera is dedicated to him.
Having written some choruses, I met many groups of children
and adults in Hastings and Battle in January 2016. I taught
them the train song and some of the Arrest scene. Their
response was very emotional and I was encouraged that a
dramatic structure was really in place. They then had a session
with Simon Iorio, whose insight, commitment and skill in staging
the piece has been amazing. He immediately started to interpret
the timeless quality of the story.
The following month took me to New Zealand to conduct
an opera. Each day began with the sound of the bellbird.
Here I found the space to connect with the ultimate positivity
of Simon Gronowski’s story and spirit. ‘Ma vie n’est que
miracles… J’ai voulu vivre dans le present et l’avenir, pour
l’optimisme, la joie et l’amitié.’ (My life is only miracles…
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Director’s note
designer’s note
Simon Iorio
Ele Slade
What is it that triggers somebody’s need to start piecing
together fragments of memory that are so painful? What
drives you to face questions from your history that have been
necessary to suppress in order to live your life? What parts of
our history lead us to seek redemption? These are the questions
we have asked when exploring the character of a man called
Simon. From early childhood to his later life, this man is on a
journey that will see the worst and the best of humanity, and
that ultimately ends in forgiveness.
How could we engage with the community who are making
this piece with us, and how can my design process be
inclusive? On most projects, although I am collaborating with
people, I mostly work in isolation to research and develop
designs, bringing ideas back for discussion. For PUSH, the
foundation of my process was opened up to others and I
needed to structure my work to allow others’ ideas to flesh
out my own, informing and inspiring both my design process
and decisions.
This extraordinary story has been presented in a new work
that puts our ‘community’ at the heart of Simon’s journey.
Throughout history, our stories have been told aurally, passed
on from generation to generation, and this production seeks to
explore the repeated, all too familiar mistakes of mankind – from
1066 and the Norman invasion, through to today, spanning
different eras and cultures. The story unfolds as Simon pieces
together his history. Through his eyes, we gradually see him
coming to terms with the past, allowing him to move towards
a place of forgiveness.
The opera leads us to think about the cyclical nature of
war and suffering, reflected in the lines that the chorus sing:
‘History repeats over thousands of years’ and ‘Mirrors of the
past’. So I wanted to keep the starting inspiration wide, to be
inspired by many periods and cultures rather than focusing on
only those directly associated with the narrative. I researched
the current and historical social/political contexts, identifying
ten specific periods and cultures between 1066 and 2016 to
research further.
influence came from Brooke’s research on the Tasmanian
Aboriginals and the Native Americans. Her research highlighted
people using what was available, practical and natural for them,
and the rawness of the clothing. This encouraged me to find
what I felt the guard characters would have used – the easiest
way to minimally dress, categorise, and culturally suppress
these chorus characters – meaning that they should not be
over-designed or too theatrical. With so many people onstage
too, simplicity was key. The colours and symbols of the spray
paint markings on the lab coats are specifically designed from
the five aesthetic mood boards the Rye students created.
Influences for the guards came from border guards, police,
guards in refugee camps, tactical and protective clothing of
army and riot police, medieval armour shapes, militia groups.
Research is one of the most liberating parts of the design
process for me, and there was a lot to explore. Nine A-level
textile students at Rye Studio School joined me in my design
process, taking on one research period each. It was interesting
for me to guide others in finding the type of research I wanted
to be working from, yet allow them to also express themselves
in their work, and in turn allow their approaches to influence me.
The students collated all their research into five distinct mood
boards of aesthetic, style, pattern, colour and texture (gathered
regardless of period and culture) and these became one of the
essential backbones of the designs.
There is no perfect ‘theatre’ for any one piece, but upon visiting
the De La Warr Pavilion for the first time, I was fortunate enough
to find a space that is dynamic and full of possibilities. Initially
in our design, there was no aesthetic distinction between
audience and performers. They merge. The characters in this
story could be any of us, at any time in history. By surrounding
the performance space with the audience, we are able to tell
our story to the maximum amount of people from every angle.
Howard has written a piece that allows all our performers and
audience to engage on a personal level. It is both accessible
and dramatically challenging. The structure of the piece needed
to be digestible for all ages, both thematically and musically.
The result is a powerful and emotive piece of music, brought
to life by a hugely energetic and talented group of performers.
The sister’s costume bridges the two clearest periods in the
narrative. It takes inspiration from girls’ dresses and women’s
work overalls during the Second World War (thanks to the
research of Emilie from Rye) as well as contemporary styles
of teenage girls today. The colours of the dress reference
all the colours of the chorus’s spray-paint markings.
Hoodies, jackets, backpacks lined with hi-vis link in colour
and material to the guards’ uniforms, but have a different type
of uniformity. Inspiration came from medieval armour, 1970s
gangs in the Bronx, civilian militia groups and the self-decorated
helmets of American Vietnam War soldiers.
Period research is always adapted somehow to fit the world of
a production. One of the most exciting and challenging aspects
of this project was how to be infused with such a huge range of
rich period research, yet remain contemporary in the final design
of the costumes. We wanted the opera to be as much about
today as the past, and the chorus is a huge part of that.
For me, there have been two processes running in parallel to
create this performance. The first is working with three fantastic
young soloists. Their interpretive skills and sense of play has
been refreshing and necessary when tackling a story as intense
as this one. Perhaps even more moving and exciting for me
has been the process of engaging with the community choirs,
singing groups and local children, some of whom have never
sung or performed in this way. They have illuminated and
breathed life into the heart of this story.
Members of the chorus wear their own ‘normal clothes’ so that
at the start of the opera, theatricality is reduced, providing less
opportunity for the audience to view the story as happening
to ‘someone else’, ‘somewhere else’. The extra garment the
chorus members wear categorises and strips them of their
personal identity. The design for this garment went through
many variations and drafts before reaching the final design.
The historical research was vital to provide a background and
structure for the choices I made, yet it was important to remain
contemporary in the final design. Specific influences include:
tunic shapes of Anglo-Saxon clothing (researched by Ametx);
material with slight stiffness, inspired by historical Korean
clothing (researched by Chloe); the semi transparent look of the
fabric (inspired by Poppy and India’s mood board). The biggest
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Synopsis
1 ARREST
3 TOGETHER
5 PUSH
7 SOME YEARS LATER
Simon and his sister remember the past while their memories
are played out around them.
The prisoners come together by singing each other’s songs.
The prisoners are crammed into the cattle trucks. As the
train starts to move, panic rises. They don’t know where
they are being taken.
A group of resistance fighters manages to stop the train.
They smash down the side of a truck. The adults wait for
the train to slow down and push the children off the ledge.
They run for their lives.
The guard is ill and dying. He has heard from his son that
Simon has, after many years, started to tell his story, and he
wants to ask Simon for forgiveness. The guard tells Simon
that it was he who put him and his mother on the train. The
fragile guard sings of his guilt and the challenge of owning his
shame. Simon tells him how hard it has been to lose his family.
The guard asks for forgiveness. Simon grants it.
As the prisoners fall asleep, Simon remembers his mother’s
eyes and how she tried to hide her fear. He tells of how his
father avoided arrest but died of a broken heart. He sings
of his dreams and the harsh reality of waking.
6 ESCAPE
8 EPILOGUE
4 UNCERTAINTY
Simon tells of how he ran through the night and arrived
in a small village. He met a man who helped him to get
back to the city where he hid until the war was over.
A large group of dispossessed people have been arrested.
They look up to the constellations and reflect on how colliding
comets and ever-changing formations of stars reflect the
repeating patterns of the world.
2 TRAPPED
Everyone is forced into a prison camp. They are trapped
and controlled by guards and child soldiers.
Meanwhile, the children play games that are competitive and
sometimes violent. Others sit in fearful huddles. Some children
practise jumping off ledges.
As the light fades, stars appear, including a ‘red moon’. Simon
and his sister recall the day that their mother went to visit a
fortune-teller who told her that her son would be a lucky child.
Strict orders are given and the prisoners are rounded up.
Everyone is partitioned into groups and given labels to put
around their necks. Simon is given number 1234, his mother
1233. The numbers are also stamped on their wrists.
One tune goes round and round in the children’s heads
as they run.
He managed to meet his father again but it was too
dangerous to stay with him.
Simon sings of the importance of continuing to tell his
story. He wants to live in the present and the future for
optimism, joy and friendship. Simon sings of how his mother
gave birth to him twice – pushing him towards freedom
and life. Everyone affirms his positivity. My life is only miracles!
Ma vie n’est que miracles!
The captives are herded together and pushed into train
trucks. Simon spots his sister in an upper window as he
and his mother are forced onto the train by the guard.
Simon looks back to the window and sees his sister
for the last time.
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Credits
PUSH
FOR BATTLE FESTIVAL
PUSH Soloists
Conductor/Musical Director
Howard Moody
Producer
Sally Lampitt
Director
Simon Iorio
Project Manager
Beth Martin
James Newby
Matthew Stiff
Tereza Gevorgyan
Designer
Ele Slade
Education Manager
John Boyd
Technical Director
Caleb Madden
Assistant Directors
Zara Fyfe
Anna Moody
Technical Manager/Sound operator
Mat Mcquade
Lights Operator
Gary Richmond
Music Preparation
Ailsa Vincent
Helen Ridout
Costume Maker
Tara Deighton
PUSH Singers
Charlotte Beament
Richard Dowling
Ed Hawkins
Angharad Lyddon
Hannah Sandison
FOR GLYNDEBOURNE
Head of Education
Lucy Perry
Battle Festival
Community Choir
Senior Education Projects Manager
Chris Stones
Adult Choir
Marjo Baars
Louise Beagley
Sue Beaney
Johanna Bevan
Judith Bevan
Godfrey Bevan
Sue Bishop
Rachel Burton
Nicholas Cant
Clare Carpenter
Marie Cobb
Rosemary Cooper
Patricia Cordery
Rebecca Crawford
Alvin Culzac
Angharad Davies
Brenda Desborough
Emma Eldridge
Heidi Foster
Eddie Fownes
Geraldine Franklin
Suzanne Griffin
Wilma Hodge
Catherine Hooper
Michael Howard
Ruth James
Philippa James
Julia Johnson
Emma Kersey
Marina Khilkoff-Boulding
Rory Khilkoff-Boulding
Elspeth Knights
Wendy Kynoch
Dinah Lampitt
Brett Lampitt
Clare Leahy
Education Projects Manager
Jo Wettern
Education Assistant
Kate Simner
Education Intern
Luke Deacon
Design Assistant
Eloise Philpott
Costume Assistants
Anne Manktelow, Sue Howard,
Amelia Lampitt, and students
from Rye Studio School: Brooke,
Chloe, Ametx, Emilie, India, Poppy,
Rhiannon, Maddie and Emily
Additional props
Jeremy Court
Chaperone support
Chris Wardle, Jill Gyngell, Sue Best,
Susi Singh, Sue Furness
Programme photography
Pat Pope
patpope.com
Branding + programme design
Clare Somerville-Perkins
www.asintended.co.uk
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Scarlet Hoadley
Ellie Hodges
Ava Hooper
Madeleine Kersey
Asher Martin
Connor Malewiz
Sam Mayle
Kyla Moineau
Finn Moody
Senay Mutu
Eddie Newman
Joshua Norris
Amelia Ostach
Lucas Paulo de Oliveira
Isaac Phillips
Imogen Pollard
Louise Rabino
Radhe Ramanuj
Franky Reilly
Sam Roberts-Nicholas
Bradley Scarff
Anya Singh
Leah Smith
Harvey Steed
Gracie Tillman
Daisy Wardle
Phoebe Webb
Laura Williams
Grace Willis
Madison Woolsey
Leikiddo
Anne Manktelow
Alison Martin
Bruce Meredeen
Claire Morpeth
Alison Norwood
Georgina Nunney
Jacqueline Ormonde-Butler
Richard Overton
Justin Pierce
David Ralph
Angela Reid
Cristina Ruggiero
Virginia Sheldrake
Lynne Smith
Sue Sully
Lucy Thorn
Louise Tummon
John Twitchen
Ailsa Vinson
Josephine Walden
Keith Westwood
Dennis Williams
Paula Williams
Michael Willis
Anne Withycombe
Youth Choir
Yvie Ashdown
Isobel Ball
Bethany Bick
Iris Bolton
Scarlett Booth
Alice Brown
Benjamin Coates-Marcroft
Isabelle Collett
Yasmin Cowell
Amelie Cragg
Beatrice Crawford
Summer Crossett
Edie Crowther
Elsie Crowther
Chloe Cullen
Nancy Dyer
Ruby Dyer
Sarah Fermer
Archie Fisher
Shanice Foster
Mya Fuller
Isabella Gardiner
Isabelle Gasson
Emilia Heath
Battle Festival’s Youth
choir is drawn from schools
across the 1066 region.
We would like to thank
Education Futures Trust,
the schools, parents and
carers for their support
during the rehearsal period.
Battle & Langton, Claverham
Community College,
Netherfield, Catsfield,
Sedlescombe, Guestling
Bradshaw, Chantry, Baird
Academy, Christchurch,
Robsack Wood, St Mary
Star of the Sea
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Orchestra
Violin
Anna Cooper
Pat Beament
Cello
Joe Giddey
Maddie Cutter
Double bass
Sarah Homer
Trumpet
Sam Kinrade
Stephen Peneycad
French horn
Emily Allen
Trombone
Jonathan Hollick
Tuba
Edd Leech
Flute
Chloe Vincent
Clarinet
Andrew Sparling
Percussion
Peter Beament
Jez Wiles
Guitar
Andy Williams
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BIOGRAPHIES
Simon Iorio Director
Howard Moody
Composer/librettist/
music director/conductor
Howard Moody works in many
different styles of music as composer,
conductor, keyboard player and librettist.
Commissions as a composer include
seven symphonic works for the London
Symphony Orchestra, two operas for
Brussels Opera at La Monnaie as well as stage, choral and
instrumental works for English National Opera, La Folia,
Scottish Chamber Orchestra, Salisbury International Arts
Festival, Southern Cathedrals Festival, 2012 Cultural Olympiad,
Children’s Music Workshop, Bangladesh Festival, Station
House Opera, Jack De Johnette, The National Forest Project
and The Anvil.
Howard has also written a requiem with flamenco guitarist
Paco Peña. Recent works include: Terrors of Red Flame,
Napoleon Unbuttoned, Invictus 46664, Deeds Not Words
and Vaishnava (for London Symphony Orchestra); Border Lines
(for Scottish Chamber Orchestra); Song for Dover (for Cultural
Olympiad); Sindbad, A Journey Through Living Flames (for
Brussels Opera at La Monnaie); Eagle Music (for recorder
player Piers Adams); The Old Salt Road (for Bolsterstone Male
Voice Choir); In the Hand of God (Southern Cathedrals Festival);
And My Heart Goes Swimming (Days Bay Opera), and PUSH
(Glyndebourne/Battle Festival).
He is principal conductor and artistic director of La Folia and
has also conducted the London Symphony Orchestra, BBC
Symphony and Concert Orchestras, the Hallé, Royal Liverpool
Philharmonic Orchestra, Scottish Chamber Orchestra, Sarum
Orchestra, London Mozart Players, Bournemouth Orchestras,
La Monnaie, Orchestra della Toscana, Wroclaw Philharmonic,
Opera Factory, Icelandic Opera, West End, Netherlands Radio
Choir, Romanian State Chorus, Schola Cantorum of Oxford,
Salisbury Festival Chorus, Monteverdi Choir and numerous
choral groups throughout Europe.
He has recorded for the BBC, Radio Netherlands, Chandos
and ECM. As a keyboard player he has done recital tours with
numerous international artists. He is principal keyboard player
of the English Baroque Soloists and the Orchestra of St John’s
and has worked extensively with jazz legend John Surman with
whom he has played improvised duo concerts at many of the
major international jazz festivals.
A special interest in creative projects which develop young
people’s imaginative ideas into dramatic, instrumental and
vocal works involves Howard as a composer and animateur
for La Folia, Theatre Royal Norwich, Chichester Festival Theatre,
The Anvil, Glyndebourne, Scottish Chamber Orchestra and
London Symphony Orchestra where he is artistic director of the
LSO ‘On Track’ Next Generations project. For La Folia, Howard
is especially committed to finding innovative ways of bringing
live music-making of the highest calibre to people who may
otherwise not have the opportunity to experience it.
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Simon was born and educated in London
and originally trained as a singer at Trinity
College of Music. Operatic roles included
Sellem in The Rake’s Progress, Don
Basilio and Don Curzio in Le nozze di
figaro and Sultan Soliman in Zaide. He
has directed Orpheus in the Underworld
(Offenbach) for Trinity Laban at Blackheath
Halls and Trouble in Tahiti (Bernstein) and Susanna’s Secret
(Wolf Ferrari) for the Little Opera Company. He works regularly
with young singers and has directed opera scenes for the Royal
Academy of Music, Trinity Laban Conservatoire of Music and
Dance and the Guildhall School of Music and Drama. As an
assistant director he has worked at Glyndebourne Festival, the
Royal Opera House, English Touring Opera and Opera Holland
Park with directors such as Richard Jones, Sir David McVicar,
Laurent Pelly and Robert Carsen. Next year he will assist Tom
Cairns on Thomas Ades’ The Exterminating Angel and Keith
Warner on Otello at the Royal Opera House. He will also direct
L’incoronazione di Poppea for Hampstead Garden Opera at
Jacksons Lane Theatre, London.
Ele Slade Designer
Ele is a set and costume designer and a
social engagement/workshop facilitator.
She has designed sets, costumes and
wigs for a variety of theatre and opera
productions as well as installations and
interactive exhibitions. Ele was awarded
Best Costume Designer at the 2015 Off
West End Awards for Usagi Yojimbo at
Southwark Playhouse. The Blank Canvas (The King’s Head
with Opera Up Close) won Best Opera Production at the
same awards. As a facilitator she works with children, young
people and people with special needs, using scripts, devising
techniques and design-based activities. Ele’s other current work
includes a community and social engagement project exploring
the heritage of Campanology in Richmond, North Yorkshire;
set and costume design for Theatre Centre’s schools touring
production Layla’s Room; and design consultation for Curious
Directive’s production in development Spindrift.
Caleb Madden Technical director
Caleb lives and works in the South East of the UK. He is a
multi-disciplinary artist who uses sculpture, video, sound and
light to create highly experiential installations and performances.
He has presented artworks at various institutions including
the Southbank Centre, the Roundhouse and Tate Modern.
He studied sound recording at BA level and is currently
completing an MA in Fine Art at the University of Brighton.
Alongside his own art practice he collaborates and performs in
the live AV duo Madden/Dylewski, is a founder member of sonic
arts collective the Spirit of Gravity, and works as a production
manager/curator/programmer at the De La Warr Pavilion in
Bexhill-on-Sea.
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Soloists
James Newby Simon
Described as ‘musical’ (Opera Now)
and ‘promising’ (The Times), baritone
James Newby won the first prize at the
2016 Kathleen Ferrier Awards and was
also awarded third prize and the Richard
Tauber prize (for best interpretation of
a Schubert Lied) at the Wigmore Hall/
Kohn International Song Competition in
2015. This year he became the recipient of the Wigmore Hall/
Independent Opera Voice Fellowship and is currently singing
with the Glyndebourne Festival Chorus.
James enjoys a busy schedule as a recitalist. Recent
performances include two recitals in the Perth International
Arts Festival, Australia, including a recital of Schubert’s Die
Schöne Müllerin and a performance of Schumann’s Dichterliebe
in the Trinity Laban Schumann and Poulenc Project led by
Eugene Asti.
Concert engagements include Mendelssohn’s Elijah (for Stafford
and District Choral Society); Mozart’s Requiem and Haydn’s
Nelson Mass (for the Academy of St Martin in the Fields);
Bach’s St John Passion (Cheltenham Bach Choir/Corelli
Orchestra) and B Minor Mass (Southern Sinfonia/Old Royal
Naval College Chapel); Orff’s Carmina Burana (Trinity Laban
Undergraduate choir/ensemble); Handel’s Messiah (Kingfisher
Chorale/Amicable Society Baroque Orchestra); Rossini’s Petite
messe solennelle (Stamford Choral and Stamford Endowed
School Choirs/Peterborough Cathedral) and Faure’s Requiem
(Corsley Festival Choir and Orchestra).
James’s operatic roles include the title roles in Eugene Onegin
(Brent Opera) and Don Giovanni (Moon Little Opera), Aeneas
in Dido and Aeneas (Trinity Laban Chamber Choir), Gobrias
in Belshazzar and Apollo in Orpheus in the Underworld (Trinity
Laban Opera), Papageno in Die Zauberflöte (Suffolk Opera) and
Guglielmo in Così fan tutte (Everybody’s Theatre Company).
His latest performances include Vaughan Williams’s A Serenade
to Music at the Last Night of the Proms and creating the role
of Simon in Howard Moody’s opera PUSH.
James is currently in his final year of study at Trinity Laban
Conservatoire of Music and Dance under the tutelage of
Alison Wells. He continues his studies with a scholarship
place on the Master’s course at the Guildhall School of Music
and Drama with Robert Dean.
Matthew Stiff Guard
Matthew Stiff studied music at the
University of Huddersfield where he
received a BMus and MA in performance.
He went on to the Guildhall School of
Music and Drama where he took the
Postgraduate Diploma in vocal training
and then the Opera Studies course from
which he graduated with distinction
in 2011. He has received scholarships from the Worshipful
Company of Goldsmiths, Maidment Scholarship administered
by the Musicians Benevolent Fund and Wingate Scholarship
Foundation. He studies with John Evans.
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Operatic performances include Colline in La Bohème and Pietro
in L’assedio di Calais (for English Touring Opera), Prince Gremin
in Eugene Onegin, Doctor Grenvil in La Traviata, Hobson in
Peter Grimes, Lord Walton in I puritani and Marquis de la Force
in Dialogues des Carmélites (for Grange Park Opera), Man in
Last One Out (for Scottish Opera), The Writer in Four White
Walls and chorus (for Opera North), Polyphemus in Acis and
Galatea (for Mid Wales Opera), Kecal in The Bartered Bride, the
title role in Le nozze di Figaro and Charon in Euridice (for British
Youth Opera), Ashby in La fanciulla del West and Dulcamara in
L’elisir d’amore (for Opera Up-Close), King Balthazar in Amahl
and The Night Visitors (for Iford Arts), Trofonio in Salieri’s La
grotta di Trofonio (for Bampton Classical Opera), Don Magnifico
in La Cenerentola (for Clonter Opera), Marchese d’Obigny in
La Traviata (for Chelsea Opera Group), Antonio in Le nozze di
Figaro (for Music Cordiale Festival), King René in Iolanta, Jailer
in Dialogues des Carmélites, Togno in Spinalba, Superintendent
Budd in Albert Herring and Pietro de Visantis in L’assedio di
Calais (for Guildhall School of Music and Drama), and covering
Masetto in Don Giovanni (for English National Opera), Garibaldo
in Rodelinda and Don Magnifico (for Scottish Opera) and
Surin in Queen of Spades (for Grange Park Opera).
Concert performances include Handel’s Messiah and Mozart’s
Requiem at St Martin in the Fields, Haydn’s Nelson Mass
and Beethoven’s Symphony No. 9 at St Paul’s Hall, and Karl
Jenkins’s Armed Man at St Albans Cathedral.
Engagements in the 2015-16 season include Leporello in Don
Giovanni (for English Touring Opera), Snug in A Midsummer
Night’s Dream (for Hyogo Performing Arts Center, Japan) and
covering Sir Giorgio in I puritani and Judge Turpin in Sweeney
Todd (for Welsh National Opera).
Tereza Gevorgyan Simon’s sister
Soprano Tereza Gevorgyan’s current
and future engagements include Lauretta
in Gianni Schicchi (for Opera North),
Norina in Don Pasquale (for Glyndebourne
Tour) and Diva Opera (for Gala City of
London Sinfonia). She was a finalist in
the prestigious Ferrier Competition in
2015, and was a member of the National
Opera Studio in London in the 2014-15 season, supported
by Opera North, the Amar-Frances and Foster-Jenkins Trust
and Opera Les Azuriales.
She completed the Royal Academy Opera course at the
Royal Academy of Music in 2014, studying with Lillian Watson
and Jonathan Papp, and she completed her Master of Arts
at RAM with distinction (with Diane Forlano).
Most recently she performed Musetta in La Bohème (for
Nevill Holt Opera), La Fée in Cendrillon, Tatiana in Eugene
Onegin, First Witch in Dido and Aeneas, Dalinda in Ariodante
and Maria Bertram in Mansfield Park (for the Royal Academy
of Music), The Bat/Animal in L’enfant et les sortilèges (for the
Barbican Centre with BBC Symphony Orchestra), Serafina in
Il campanello, Serpina in La serva padrona, Fanni in La cambiale
di matrimonio (for National Opera Studio in Armenia and the
Armenian opera), and Anoush (at the Tabernacle). Other studied
and performed repertoire include Elvira in I puritani, Countess
Adèle in Le comte Ory, Antonia in The Tales of Hoffmann and
Miss Wingrave in Owen Wingrave.
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Tereza Gevorgyan continued
Joe Giddey Cello
Tereza recently performed concerts in Carnegie Hall and
Chicago Symphony Hall, celebrating Georg Solti’s 100th
birthday with the World Orchestra for Peace conducted by
Valery Gergiev. She recorded an Italian song for Solti’s
100th birthday celebration CD, which was produced by
Richard Bonynge. Additionally, she recently performed
concerts in Florence and Naples Palace of Caserta, Bach’s
Easter Oratorio at St Yeghishe Church, Brahms’ Requiem
and Mendelssohn’s Hear My Prayer at the Church of St Mary
the Virgin in London with the Stanmore Choral Society.
Joe Giddey is a freelance cellist who plays with many varied
ensembles – orchestras, quartets, string ensembles, session
recordings and bands. Joe’s orchestral work has involved the
Brighton Philharmonic Orchestra, BBC Concert Orchestra, City
of London Sinfonia, Opera Holland Park and the New English
Concert Orchestra. Joe has recorded for film and theatre,
including Gospel of Us with the National Theatre, Backbeat
West End show, string quartet music for Warner Bros and
recently The Last Reef in 3D. Joe is also involved with many
chamber ensembles, including the Montpellier Cello Quartet.
They have recently embarked on a partnership with jazz
vocalist Claire Martin OBE in a sound fusion of jazz-chamber
music written for the ensemble by internationally renowned
composers, including Richard Rodney Bennett, Mark Anthony
Turnage and Django Bates.
She is the winner of the Rosenblatt Recital Prize and the Edith
Mary Clarke Cup for best female singer (April 2014), winner of
the Pavarotti Prize (October 2013), the Les Azuriales Karaviotis
Prize (August 2013), the Thelma King Singers’ Award (March
2013) and the Ludmilla Andrew Russian Song Prize (June
2011). In 2009 she was a finalist at the Belvedere Competition
in Vienna. She was one of twelve young singers selected
for the 2011 Georg Solti Academy in Tuscany, studying with
Dame Kiri Te Kanawa and Sir Thomas Allen and singing
concerts in Tuscany.
Maddie Cutter Cello
Orchestra
Anna Cooper First violin
Anna was brought up in the West Country and studied
the violin and piano at Dartington College of Arts and the
Royal Academy of Music with Ralph Holmes and Jean
Harvey. Since graduating she has worked in a wide range
of musical genres: in the theatre with companies such as the
Royal Shakespeare and Royal National Theatre; in orchestras
including The Royal Philharmonic, Opus 20 and London Jazz
Sinfonia; and in West End shows such as Oklahoma, Joseph,
Chess, The Sound of Music, The Producers and The Lion King.
Film and TV work includes Dr Faustus, Sammy and Rosie and
The Camomile Lawn. She has played live and in recording
studios with bands including The Stranglers, Squeeze, Oasis,
Massive Attack, Björk and Jools Holland’s Rhythm and Blues
Orchestra. Recently Anna has been working with jazz musicians
including Gregory Porter, Digby Fairweather, Alan Barnes and
Cleo Laine. She is a member of Ensemble Reza, a string sextet
giving concerts and working with young people in Sussex; and
Atelier Theatre, a company that works with people with special
needs. She also plays with singer-songwriter Cara Winter.
Pat Beament Second violin
Pat studied at the Royal College of Music in London. She
was a member of the BBC Concert Orchestra for 15 years
and in that time participated in many schools projects
organised by the orchestra in London. She also taught at the
Centre for Young Musicians in Tower Hamlets and for Barnet
Music. Pat currently teaches for East Sussex Music Service
and coaches the violin in the Hastings Area Youth Orchestra
and the East Sussex County Youth Orchestra. Pat has also
been a member of the Ulster Orchestra and has freelanced
with the London Symphony Orchestra, BBC National Orchestra
of Wales and the Royal Philharmonic Orchestra. She enjoys
playing chamber music and performs in the Rother Piano
Trio as well as various local orchestral groups.
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Maddie is in her fourth undergraduate year at the Guildhall
School of Music and Drama, studying with Pierre Doumenge.
Having started the cello at the age of seven, Maddie joined
the Junior Department of Trinity College of Music, learning
with Gordon Pringle, where she won the Vivian Joseph
Award for String Players in 2010 and 2011. Since starting
her studies at GSMD in 2012, Maddie has collaborated with
Leipzig Gewandhaus Orchestra, the Orchestra for the Age
of Enlightenment and the Academy of St Martin in the Fields,
and recently performed a world premiere at Wigmore Hall.
Chamber music remains an important aspect of Maddie’s
playing, and after receiving a scholarship with her string quartet
to participate in masterclasses with Eberhard Feltz at Dartington
in 2012, Maddie has performed with string quartets, trios,
flute quartets and her current clarinet trio, the Colbourne Trio.
She has participated in masterclasses with acclaimed cellists
Natalie Clein and Louise Hopkins, and has performed in a
number of prestigious concert halls across the world including
the Forbidden City Concert Hall in China, the Barbican, Queen
Elizabeth Hall and LSO St Luke’s. She has played concertos in
Prague and at Cadogan Hall, and has recently been performing
in Sam Yates’s Cymbeline at Shakespeare’s Globe.
Sarah Homer Double Bass
Sarah Homer studied clarinet, bass clarinet and double bass
at the Royal College of Music from 1980-84. She was principal
clarinet at the Bilbao Symphony Orchestra and has worked and
recorded with many different artists and ensembles, including
Dagmar Krause, Gavin Friday and the Man Seezer, Regular
Music, Loose Tubes, Delightful Precipice, Shopping Trolley,
Magic Mountain, the hKippers, Albert Kuvezin and Aline Frazao.
For Shakespeare’s Globe: Pericles, The Two Gentlemen of
Verona, Helen, A Midsummer Night’s Dream, The Tempest,
King John, The Oresteia. Other theatre includes: Play Without
Words, the Shaughraun, Wind in the Willows, Whale, Blue
Remembered Hills, Therese Raquin, Lady in the Dark, England
People Very Nice (National Theatre) and Hamlet (RSC). Dance,
music theatre and opera includes: Second Stride (Badenheim),
Baby Doll, Objects of Affection (Andrew Poppy), Lulu Unchained
(Impact Theatre) and two operas at the Almeida Opera Season.
Sarah was commissioned to write the The Oddstock Curse for
eight musicians and dancer (Belinda Chapman) first performed
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at Salisbury Art Centre. Other compositions include Owl and the
Pussycat, a music theatre piece written for children’s choir and
orchestra. Earlier this year she wrote the score for the short film
LIFE written and directed by Renata Heinen and has written a
new work for string quartet as well as continuing to write for her
own band.
Sam Kinrade Trumpet
Based in London, Sam is a freelance trumpet player who
plays with some of the finest orchestras in the UK. Originally
from the Isle of Man, Sam moved to Manchester aged fourteen
to study at Chetham’s School of Music. Since then he has
studied with some of the UK’s finest principal trumpet players
and at some of the finest conservatoires, receiving degrees
from both the Guildhall School of Music and Drama and the
Royal College of Music.Since graduating in 2013 Sam has
performed with the London Symphony Orchestra, Philharmonia
Orchestra, BBC Symphony Orchestra, and the Hallé as well as
working as principal trumpet with the Royal Scottish National
Orchestra. He is also a founding member of Quintabile, a multiaward winning brass quintet who have performed at London’s
Southbank and the Banff international music festival in Canada.
As an educator, Sam works with the London Symphony
Orchestra’s Discovery department on various projects
and teaches at Emanuel School and Sutton High School.
Stephen Peneycad Trumpet
Stephen Peneycad studied trumpet at the Guildhall School
of Music under Paul Beniston, Paul Cosh, Anne McAneney
and natural trumpet with Steve Keavy. As a busy and versatile
freelance musician, Stephen has performed with the London
Symphony Orchestra, London Philharmonic Orchestra, Royal
Philharmonic Orchestra, Royal Philharmonic Concert Orchestra,
English Symphony Orchestra, Rambert Ballet and in touring
shows and the West End including Anything Goes, Chitty
Chitty Bang Bang, Showboat and the Thursford Christmas
Spectacular. As a soloist, Stephen was a finalist in both the
Newark Brass Festival and the Armourers and Brasiers’ Prize,
and frequently performs Bach’s Brandenburg Concerto No.2.
In addition to his performing career, Stephen is also regularly
involved in educational workshops with both the LPO and the
LSO Discovery, and with Quintabile Brass Ensemble.
Emily Allen French Horn
Emily Allen began her studies at the Guildhall in 2004,
learning with Richard Bissill, Hugh Seenan and natural horn
with Andy Clarke. Prior to this she was a member of the
National Children’s Orchestra, National Youth Sinfonia and
the Northants County Youth Orchestra and Concert Band.
She completed a master’s degree at the Guildhall in 2009
and subsequently became a chamber music fellow. Since
then, Emily has performed with the National Concert Orchestra
of Great Britain, London Contemporary Orchestra and as a
performer and mentor on the London Symphony Orchestra
‘On Track’ scheme. She has spent time in Portugal with the
Codigo Dance Company, toured with the singer Paul Potts,
has worked with the Philharmonia Orchestra’s Brass
Quintet and taken part in the legendary Thursford Christmas
Spectacular. She made her West End debut in 2014 playing
in Disney’s Lion King.
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Jonathan Hollick Trombone
Jonathan is from Plymouth and started playing the trombone
when he was fourteen years of age. He was first taught the
basics by his father but continued his development by teaching
himself, right up until gaining his place at music college. In
2011 Jonathan gained a place to study at the Royal College
of Music, London, where he has been supported by the Sir
Philip Shelbourne scholarship and the Arthur Wilson award
and studies under the tuition of Byron Fulcher (Philharmonia
Orchestra), and Lindsay Shilling (Royal Opera House Orchestra).
Since joining the RCM, Jonathan has been principal of the
Symphony and Philharmonic orchestras and has had the
privilege of playing under one the world’s greatest conductors
in Bernard Haitink, and John Wilson. In 2014 and 2015
Jonathan won the trombone prize in the brass solo competition,
supported by the Herbert Samuel Memorial Foundation. After
graduating from the RCM with a 1st class honours degree,
Jonathan is continuing his studies at the RCM by doing a
Master in Performance degree, supported by the Author Wilson
Award. His tuition at the Royal College of Music has led him
to work professionally with the London Chamber Orchestra,
City of London Sinfonia, London Sinfonietta, BBC Symphony
Orchestra, and the Philharmonia Orchestra.
Chloë Vincent Flute
Chloë Vincent is a graduate of the Guildhall School of Music
and Drama where she was awarded a first class honours
degree and received the Marjorie and Dorothy Whyte memorial
fund graduation prize. During this time she studied with
Sarah Newbold, Philippa Davies and Ian Clarke and won
the Woodwind Prize in her final year. Chloë has performed
with a number of UK orchestras including the Royal Northern
Sinfonia, BBC Symphony and the Welsh National Opera.
Recent international performances include tours to China and
Japan with Royal Liverpool Philharmonic and a European tour
with Scottish Chamber Orchestra. Commercial experience
includes TV performances on Loose Women, GMTV and the
Jonathan Ross show and studio work for artists such as Mika
and Kanye West. Chloë has performed in masterclasses with
Sir James Galway, Michael Cox, Emily Beynon, William Bennett
and Linda Chesis and also received a scholarship to attend
the Banff Centre in Canada as an Artist in Residence. Chloë
has appeared as a soloist with Wycombe Sinfonia and London
Youth Wind Band and has given solo recitals at the Wales
Millennium Centre, the Henley Festival, St James Piccadilly
and for the Concordia Foundation. Chloë is a keen chamber
musician and is a founding member of the award winning
Treblos Wind Quintet.
Andrew Sparling Clarinet
Andrew Sparling is a member of the new music ensembles
Lontano and Apartment House, and has played in many other
ensembles including the London Sinfonietta at Carnegie Hall
and the opening of Tate Modern. He has played opera in a
variety of venues including several departments of Selfridge’s,
the wings of the Coliseum for Jonathan Miller’s Rigoletto,
and on stage with Barefoot Opera and 2 tours with Theatre
Hullabaloo of Martyn Harry’s gothic thriller for 9-year-olds of all
ages “My Mother Told Me Not To Stare”. He also plays classical
and baroque period instruments, as guest principal with the
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Ma vie n’est que miracles
Orchestra of the Age of Enlightenment at Glyndebourne
and Covent Garden, and on the BBC TV series “The Genius
of Mozart”, in which he acted the role of Mozart’s friend
and fellow freemason, clarinettist Anton Stadler.
For six years he played as a guest with the English String
Quartet at the London Festival of Chamber Music directed
by violist Luciano Iorio.
Edward Leech Tuba
Edward Leech is an orchestral freelancer and chamber
musician specialising in tuba, and is also a professional pianist
and teacher. He studied at the Royal Northern College of
Music, where he was awarded a First class honours degree,
and then at the Royal Academy of Music for a master’s
degree, achieving a distinction. He has performed in a
freelance role with the Britten Sinfonia, Royal Philharmonic
Orchestra, Royal Philharmonic Concert Orchestra, English
National Opera, Gabrielli Consort and Players and the Hyogo
Performing Arts Orchestra of Japan. Most recently he was
appointed to the position of Principal Tuba with the Chroma
Ensemble. Edward has performed concertos on tuba with the
Newbury Symphony Orchestra, Reading Symphony Orchestra,
Windsor and Maidenhead Symphony Orchestra, Penzance
Symphony Orchestra, Henley Symphony Orchestra and the
European Youth Music Festival Symphony Orchestra. He
has also taken part in solo events, winning the Newark Brass
Festival Competition and the Windsor and Maidenhead Young
Musician’s competition. Edward is a member of the prominent
brass quintet Quintabile, whose recent performance successes
include: runners-up in the Jan Koetsier International Brass
Quintet Competition 2014; winners of the Audience Prize and
overall runners-up at the 2014 St. Martin in the Fields Chamber
Music Competition; and winners of the 2013/14 PhilharmoniaMartin Musical Scholarship Fund Chamber Music Award.
Peter Beament Percussion
Peter has worked extensively in West End theatres, film,
radio and television with artists such as The Two Ronnies,
Lenny Henry, Victoria Wood, Jose Carreras, Kiri Te Kanewa,
Lesley Garrett. He has played in many orchestras: Welsh
National Opera Orchestra, English National Opera Orchestra,
Royal Liverpool Philharmonic Orchestra, Orchestra of the
Royal Opera House, BBC Radio Orchestra and the Royal
Philharmonic Orchestra. He was a member of the BBC
Concert Orchestra for twenty years until his retirement and
now continues to work locally both orchestrally and as a jazz
drummer. He also runs the Robertsbridge Jazz Club where
he performs regularly with many leading jazz artists.
The Heritage Orchestra; played on TV with Gareth Malone,
on films and TV programmes such as Beyond The Sea, Pan,
Dad’s Army, Downton Abbey, Antman and The Man from
U.N.C.L.E.; on the Pyramid Stage at Glastonbury with Tony
Christie; recorded on albums with Foy Vance, Brian Eno, Leo
Abrahams, and ABC; played live with Lisa Stansfield, Goldie,
The Leisure Society, Gareth Lockrane‘s Big Band, Andrew
Poppy’s Sustaining Ensemble, Evelyn Nallen’s Zero Gravity,
John Etheridge‘s Zappatistas and Peter Weigold‘s Notes
Inégales and he’s been a member and more recently a bateria
director of Paraiso School of Samba since it started in 2002.
Jez works frequently with LSO Discovery, and has given classes
at Royal College of Music, Royal Academy of Music, Trinity
Laban and The Academy of Contemporary Music. He currently
teaches at London College of Music and is a workshop leader
with Create. 2015 saw ‘The Big Shed’ studio built at home
(christened by Wiles junior), and the first project completed in
early 2016 was a tuned percussion loop pack
for Samplephonics.
Andy Williams Guitar
Andy has worked with many of Britain’s finest musicians.
These include guitarist Martin Taylor, vocalist Lianne Carroll
and saxophonist Alan Barnes and his father the trombonist
Roy Williams. He has performed at many major venues
worldwide and can boast performances at the Blue Note jazz
club and BB Kings bar in Times Square, New York. At home,
Andy has played Ronnie Scott’s Club, the Royal Festival Hall,
the Royal Albert Hall and the Rock Garden in London. Andy has
played with and alongside American guitar players Tal Farlow
and Barney Kessel and he performs regularly with the legendary
bamboo flautist Deepak Ram. He was a founder member of the
acclaimed progressive rock group Three Friends, (Gentle Giant)
and more recently has opened shows for Randy Crawford,
Courtney Pine and guitar giants Allan Holdsworth and John
Jorgenson. Projects include the fusion trio Engine Clutch and
Gearbox the hi-tech dance duo Hazardous Funk, the groove
based organ trio Triversion and until recently the Spike Heatley
jazz quartet. Andy is a first call guitarist for studio sessions
and has recorded at Abbey Road studios and played guitar
on numerous television commercials and children’s interactive
computer games.
Jez Wiles Percussion
Jez has performed with orchestras including the London
Symphony Orchestra, Orchestra of the Royal Opera House,
London Philharmonic Orchestra, Aurora Orchestra, the Ulster
Orchestra and English National Opera Orchestra; on musicals
in London including The Lion King, Wicked, Legally Blonde,
Hair, The Lord of The Rings, The Bodyguard, The Scottsboro
Boys, In The Heights, Beautiful, and Dr Faustus at
Shakespeare’s Globe; toured the US with Imogen Heap,
Japan with the LSO and the UK with Tim Minchin and
Ma vie n’est que miracles
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23
THANK YOU
The premiere of PUSH has been made possible by generous
sponsorship and funding and we would like to thank the
following: Arts Council England, Rother District Council,
Hastings Borough Council, East Sussex Arts Partnership,
Chalk Cliff Trust, Magdalen & Lasher Charity, Battle
Partnership, Battle Town Council and our sponsors
Hastings Direct.
Thanks also to individual sponsors James Reynolds,
Helen Armer, Chris Saunders, Toni Evans and two
anonymous sponsors.
Special thanks also goes to Polly Gifford and the
team at ROOT 1066, Sally-Ann Lycett and the staff
at De La Warr Pavilion, British Design British Made,
Borough Wines, Beers and Books, Alsford Timber,
Project Artworks, Kate Harvey, Claudia Silver,
Melanie Powell, Sally Staples, Sarah Ehrlich,
Trish Varndall, St Mary the Virgin Church, Battle
Methodist Church (Emmanuel Centre), Claverham
Community College, Battle & Langton CE Primary
School, Catherine Bell and Rye Studio School,
Battle Memorial Halls and to all the Battle Festival team.
Finally we would like to thank Simon Gronowski for allowing
us to share his story.
Battle Festival
Battle Festival is a month long, annual arts and music
festival running throughout October in Battle, East Sussex.
Re-launched in 2014 after several years in hiatus, it now draws
visitors from throughout the UK, western Europe and the US.
With performances and exhibitions by internationally acclaimed,
award-winning artists, the festival has received immense public
and critical acclaim and worldwide attention. Our patrons are
Tim Rice-Oxley of Keane, conductor Sir Andrew Davies, and
RSC and BAFTA nominated actor Anton Lesser.
PUSH is the eighth miracle of my life. It is marvellous
for opera and music lovers and it is helpful for the
young generation who oppose barbarity for a better
world of peace, democracy, tolerance and friendship
between people.
PUSH is authentic and moving. I love the libretto: it
is real poetry and I can hear the music in it. It was
fabulous to hear Howard play it for me privately at
the piano in Brussels in May this year. And now it
will be shared!
Howard was touched by my mother’s gesture, and with
this emotion he has composed PUSH.
Generous sponsorship and funding has yet again allowed us
to schedule a wonderfully diverse month of cultural activities.
We have been able to subsidise or waive ticket prices in many
instances and, in so doing, can help open up the arts to an
audience that may otherwise not experience it.
The deportees thought they were going off to work; they
did not know they were going to die. My mother pushed
me to save my life and give me freedom, to give me a
new life. She continued her journey towards her death
in order to save her little boy.
Battle Festival is a registered charity, managed by a small
group of trustees and supported by a steering group of creative
professionals and educators. If you’d like to know more
about Battle Festival and sponsorship opportunities
for 2017 please contact Festival Chair, David Furness
[email protected] / www.battlefestival.co.uk
To be able to attend this opera in my lifetime is most
incredible and moving. It would be fabulous to be able
to hear PUSH one day in Brussels. It would be good for
the cultural and philosophical life in Belgium – especially
because what happened to me happened in Brussels.
Supported by
sponsored by
Simon Gronowski
Chalk Cliff Trust / Magdalen & Lasher Charity / Battle Partnership
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Ma vie n’est que miracles
This has been a wonderful, truly
unique opportunity.
I have NEVER tried opera in my life until joining
this project!
Participation has reactivated and reawakened
old and long forgotten skills, experiences and
abilities so that I’m now wondering how these
can be used in the future.
In three words: inspiring, unforgettable and
totally hilarious.
The friendships formed, and above all else, the
opportunity to work alongside real professionals
and the laughter and excitement.
Having been told all my life I couldn’t sing I decided
at the age of 60 to see if that was indeed true.
One of the pleasures of this experience
is meeting new friends from around the region.
I still have to pinch myself when I hear myself
say I am singing in an opera!
It felt a total privilege to be directed by such
inspiring talent.
Music and singing were great, acting was petrifying!