17, 18, 19 November 2016
New College Ante-Chapel, 8:30pm

Conductor: James Orrell
Director: Michael Burden
Repetiteur: Chloe Rooke

Dido: Lila Chrisp
Aeneas: George Robarts
Belinda: Gabriella Noble

Tickets: £12/£7 concessions

Buy: https://www.ticketsource.co.uk/newchamberopera
Or on the door.

Purcell’s Dido and Aeneas is one of the most popular Baroque operas in the repertory today; paradoxically, it is also one of the slightest, lasting less than one hour, with a small chorus and band, only a few characters, and no spectacle. And yet Purcell’s Dido emerges as one of the greatest and strongest 17th-century opera heroines, a woman with great decision, and one who, even after the great 19th-century tragic figures have trod the stage, still has appeal for a contemporary audience.

Bach:
Cantata 54
Handel:
Dixit Dominus

Directed by
James Orrell
8 June 2016
8.00pm
New College Chapel

Tickets at https://www.ticketsource.co.uk/newchamberopera

Bach’s canata 54, Widerstehe doch der Sünde appears to have been written for performance in 1714, and there are various suggestions as to which was the intended Sunday. The text was originally written by Georg Christian Lehms for Oculi, the third Sunday in Lent, and was published in 1711. The canata may have already been composed when Bach began his regular cantata compositions in Weimar in 1714, where, as concertmaster, he assumed the principal responsibility for new compositions. This is his first extant church cantata for a solo voice, and the first of four written for a single alto soloist.

The second work on the programme, Handel’s Dixit Dominus, was composed while the composer was working in Rome. Written in 1707 when Handel was 22, it is a setting of Psalm 110, and is believed to have formed part of a setting of the Carmelite Vespers for the feast of the Madonna del Carmine. The psalm shows Christ portrayed as a prophet, priest and king not only of his own people, but of all nations. Handel’s Rome sojourn produced much elaborate and complex vocal music, including operas, cantatas, and his oratorio, La resurrezione, performed on the Easter Sunday of 1708 under Handel’s patron, Francesco Ruspoli. Dixit Dominus was supported by another patron, the Colonna family, and is most likely been performed on 16 July 1707 in the Church of Santa Maria in Montesanto.

Marco Galvani

World Premiere

Thursday 11 and Friday 12 February 2016
New College Chapel
8.30pm

Musical director: James Orrell
Director: Michael Burden

Tickets available from https://www.ticketsource.co.uk/newchamberopera

Review of Rothschild’s Violin on The Oxford Culture Review.

Marco Galvani

Marco is a composer studying with Robert Saxton at The Queen’s College, Oxford. While studying at the Junior Royal Northern College of Music, he was a composer with the National Youth Orchestra of Great Britain, having works performed at Royal Festival Hall, Tate Modern in London, Belfast, Derry and the Sage, Gateshead. Commissioned by a variety of choirs and ensembles during his time at university, his works have been broadcast on BBC radio, including his piece Tantum Ergo, which was commissioned by the Edington Music Festival and broadcast on BBC Radio 3 in in the Summer of 2015. His choral work Et Vidi Angelum was commissioned by The Queen’s College Chapel Choir, and will be recorded on their upcoming CD Revelation. Marco has received instrumental commissions from the Zeitgeist Chamber Orchestra, Oxford University String Ensemble, and more recently from the pianist Matthew Schellhorn. Working a number of different contexts, Marco has also produced scores for films and a number of dramatic productions in Oxford, including a production of Phillip Pullman’s His Dark Materials. Marco plans to study composition as a postgraduate.

Rothschild’s Violin

Rothschild’s Violin is a chamber opera in one act based on the story of the same title by Anton Chekhov. This story tells the tale of Yakov, a coffin-maker in a non-descript town, who sees music as a consolation in his dreary life. He plays in the local orchestra alongside Rothschild, a flautist who has a habit of playing any melody in a mournful manner. Chekhov’s story addresses the themes of redemption, consolation and the transcendent power that music can have in people’s lives. By setting up such a marked contrast between Yakov’s work and leisure, Chekhov highlights the way in which music can move, inspire and provide consolation, regardless of personal worries and issues. I decided to adapt this story into a chamber opera due to these themes, as Yakov presents a moral paradox which is highly relevant to modern society. He is constantly concerned with his financial situation, and this leads him to ignore the beauty that the world has to offer. It is only at the end of his life, after suffering many crippling losses that Yakov realises this.

In musical terms, this chamber opera is based around a sequence of four note chords, which gradually combine over the course of the piece to give the sense of an overall progression and trajectory towards the redemptive themes of the story. Alongside this organisation of pitch material, there are a number of interfering musical themes which permeate the musical surface whenever certain themes are mentioned in the story. For example, when any character discusses the theme of music itself, the pitch material briefly steps outside of this system into a different realm. Similarly, each instrument in the ensemble has a particular significance, with the flute assuming a double role in that it represents Rothschild in the Orchestral Rehearsal scene, as well as representing the calming soul of Yakov’s wife, Martha. In this chamber opera I have used a number of different symbolic combinations of instruments, always focussing on the ability of certain instruments to resonate within each other. The piano, vibraphone, gong and bass drum provide a type of sonority which is inherently resonant, as this piece was designed specifically for the New College ante-chapel, in which is it being performed tonight.

New Chamber Opera patrons who are intending to come to the comedy double bill, should note that the performances of Menotti’s The Telephone has been cancelled owing to cast illness. We will be re-scheduling the piece in a later programme.

We will still be performing Leonardo Leo’s La Zingaretta; this is, however, only a half-evening’s worth. Our apologies for this program alteration.

Thursday 19 & Saturday 21 November
New College Chapel
8.30pm

Book tickets https://www.ticketsource.co.uk/newchamberopera

Leonardo Leo:
La Zingaretta

Lisetta – Amrit Gosal
Riccardo – Thomas Lowen

Menotti:
The Telephone

Lucy – Johanna Harrison
Ben – Patrick Keefe

Director: Michael Burden
Musical Director: James Orrell
Reptiteur: Chloe Rooke

Leonardo Leo was a Neapolitan, a product of training under Francesco Provenzale and Nicola Fago; his first opera was L’infedelta abbattuta premiered in 1712. He travelled little, and held posts at the Royal Chapel and the Naples Conservatory. His intermezzi included those for the opera l’Argene, a setting of L’impresario delle Isole Canarie , and La Zingaretta of 1731. Here, we enter the exotic world of the 18th-century gypsy. The music of the intermezzo includes a complicated aria for each character with a number of time and key changes.

The plot revolves around successive disguises and confusions. The zingaretta (the gypsy girl) has been pretending to be ‘Lisetta’. Before the opera opens, she has borrowed money from Riccardo; it is implied in the text that this has been in exchange for sexual favours. She then teases Riccardo by pretending to be the gypsy she in fact is. When he sees through the ‘gypsy disguise’ to ‘Lisetta’, he then declares his love. But he then discovers that ‘Lisetta’ was in fact a gypsy – for real! Like most men in intermezzi, Riccardo is not very bright; but he does love ‘Lisetta’, and as the gypsy leaves for Egypt (and the sun), he is devastated by his loss.

In the programme, this small gem is paired with a modern comedy, The Telephone (or L’Amour à trois) by Gianocarlo Menotti. The work was written in 1947 as a curtain-raiser to his longer work The Medium, and tells the tale of Ben, who is in love with Lucy, and who is desperate to propose marriage to her; if only she wouldn’t spend all the time on the phone! In the end, he resolves the dilemma by ringing her up and making his proposal over the airwaves.