ORPHÉE ET EURYDICE: Gluck, 1762 arr. Berlioz, 1859. The classic Orpheus myth in its most famous re-telling. Original commission from English National Opera. This is a version based on Berlioz’s adaptation for a mezzo-soprano in the title rôle, which is in turn derived both from Gluck’s original and his subsequent French-language revision. There are two versions of Orpheus’ lament, based respectively on the French and Italian texts.
RADAMISTO: Georg Frideric Händel, 1720. The king of Armenia has fallen in love with a woman other than his wife. He goes to war in a dishonourable attempt to win his new love. Original commission from English National Opera. There are performing cuts designed for David Alden’s production for ENO. Please get in touch if you would like any of the arias in a separate format.
EUGENE ONEGIN: Piotr Ilyich Tchaikovsky, 1879. A self-involved anti-hero believes he has fallen in love only once he realises that the formerly ignored object of his affection is finally unobtainable. Original commission from Dorset Opera Festival.
PIMPINONE: Georg Philipp Telemann, 1725. An old bachelor hires a young serving girl who persuades him to marry her before he understands her mercenary nature. Original commissioned by Aarhus Sommeropera for the St. Magnus Festival. This is a racy and very modern adaptation (including some interpolations) of Telemann’s original, with recits.
LOUISE: Gustave Charpentier, 1900. A young woman liberates herself from an oppressive family environment to join the lively world of Montmartre and find love. Original commission from Opera Coast. This is a condensed version of the opera with a running-time of 85 minutes. It features the principal soloists and 21 of the medium and minor rôles. It’s particularly good for a wide variety of female characters and has excellent opportunities for less-experienced singers.
THE FLYING DUTCHMAN: Richard Wagner, 1843. A supernatural story of doom and redemption through the power of love. Original commission from Surrey Opera, subsequently recorded by Chandos with Sir John Tomlinson as the Dutchman and fully revised and updated since.
BORIS GODUNOV: Modest Mussorgsky, 1869. The perceived need to retain power eventually corrupts the Tsar and threatens the stability of his nation. Original commission from Dorset Opera Festival. This is the original 1868 version in four parts that omits entirely the later ‘Polish’ act, among other elements of the better known 1872 version.
MÉDÉE: Marc-Antoine Charpentier, 1693. Betrayed by a conspiracy to marry her lover, Jason, to another woman, the sorceress enacts a terrible revenge for his desertion. Original commission from English National Opera. N.B. This is in ‘full score’ format rather than piano score. There are performing cuts designed for David McVicar’s production at ENO with Dame Sarah Connolly. Please get in touch if you would like any of the sections in a separate format.
IL BALLO DELLE INGRATE: Claudio Monteverdi, 1608. A short ‘dramatic ballet’ which sees Venus visit Pluto to complain that her son’s arrows are no longer working on the women of Mantua. Original commission from Birmingham Opera Company. Sir Graham Vick’s original production took place on a canal barge in Birmingham which is reflected in some of the text.
AGRIPPINA: Georg Frideric Händel, 1709. This is a savage comedy about power and depravity from Händel’s most inventive early years. The court of Claudius crumbles, unmade by his lust for Poppea and his wife’s ambition for her son, Nero. Original commission from The London Handel Festival. N.B. This is in ‘full score’ format rather than piano score. There are cuts in the recits and some arias to bring the running time to within 3 hours with an interval. Please get in touch if you would like any of the arias in a separate format.
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