Scenes from a Life
HENRY PURCELL

Conductor: Luke Mitchell
Director: Michael Burden

New College Ante-Chapel
28 & 29 February 2024
8.30pm

Tickets from: https://www.ticketsource.co.uk/whats-on?q=New%20chamber%20opera

Matilda Bates (Saxon Sorceress)
Dara Collins (Saxon 2)
Jessie Edgar (Venus, Honour)
Alaw Grug Evans (Cupid, 2^nd Syren)
Sebastian Evans (Sylvan 1)
Austin Haynes (The Cold Genius)
Francesca German (Woden’s Hall Saxon, Nymph 3)
Ben Gilchrist (King Arthur, Ecole, Berger, Pan, Man 4)
Ischia Gooda (Philidel, Nereid, 1^st Syren)
Jemima Kinley (Nymph 1)
Raphaël Maurin (Saxon 1, Sylvan 3, Man 3)
Matt Pope (Saxon 3, Sylvan 2, Comus)
Jess Norton Raybould (Nymph 2, Man 2)

King Arthur is Henry Purcell’s most complicated ‘dramatick opera’ and contains some of his most recognisable music. The text is by John Dryden, and the plot is based on the battle between the Britons and the Saxons; characters include King Arthur, Merlin, Cupid, and Venus, with the action centering on the recovery by Arthur of his fiancé Princess Emmeline from the clutches of his enemy, the Saxon King Oswald. The show is what Judith Milhous calls a ‘multi-media spectacular.’ In our version, the concentration is on the musical interludes, and the score includes the best-known music: the ‘Frost Scene’ sung by the Cold Genius, the hymn ‘Fairest Isle’ performed by Venus, and ‘Harvest Home’, the rollicking drinking song sung by peasants.

The Draughtman’s Contract; Prospero’s Books 

Harpsichord Concerto BWV 1052

Conductor: Alessandro Mackinnon-Botti
Harpsichord: Luke Mitchell

New College Ante-Chapel
7 March 2024
8.30pm

To note: this concert has been incorrectly advertised in some places as taking place on 5 March 2024.

Tickets from: https://www.ticketsource.co.uk/whats-on?q=New%20chamber%20opera

The composer Michael Nyman, whose music features in this concert, is a composer, librettist and musicologist, known for his collaborations with the filmmaker Peter Greenaway. Greenaway’s The Draughtman’s Contract, released in 1982, is a murder mystery set in 1694 in a country house in Wiltshire (the house is the film is Groombridge Place). The draughtsman, who is murdered in the final scene, has been employed to draw a number of views of the estate, each one of which forms an episode of the story and of music, which borrows freely from the music of Henry Purcell. Prospero’s Books, a later Peter Greenaway film from 1991 British is an adaptation of Shakespeare’s The Tempest, in which Sir John Gielgud plays Prospero. The conceit is that Prospero is Shakespeare, who in the film constructs the play inside his head, and at the end of the film sits down to write The Tempest.

Bach’s Harpsichord Concerto BWV 1052 in d minor was extent by 1734 in a version that originally consisted only of the orchestral parts; the solo part was added in later, and the whole copied by Bach himself in 1738 into the manuscript of all eight of his concertos, BWV 1052–1058. The work was written in stages, with all three movements being used as movements in cantatas. 

The Judgment of Paris

Libretto: William Congreve
Music: John Weldon, one time Organist of New College, Oxford

Conductor: Luke Mitchell

New College Chapel
5 June 2024
8.00 pm

Tickets available from: Ticketsource

Will Anderson –
Mercury, messenger of the gods
John Johnston –
Paris, a shepherd
Jemima Price –
Juno, goddess of marriage 
Joanna Barrett –
Pallas, goddess of war
Jessica Edgar –
Venus, goddess of love

In 1700, a group of nobles put up a ‘Musick Prize’ by offering through the pages of the London Gazette of 18 March: First prize was 100 guineas, second 50, third 30, and fourth 20, and the task was to set a new libretto, a masque, The Judgment of Paris, written for the occasion by William Congreve. John Weldon was one of four known entrants, the others being John Eccles, Daniel Purcell and Gottfried Finger. The works were performed singly and then together on one evening when the competition was run; the Prize was won by Weldon, Organist of New College, Oxford, much to the chagrin of most involved, with vague accusations of incompetence and corruption circling around the decision.In the masque, Mercury appears to the Shepherd Paris with the Golden Apple of Discord and asks him to award it to the Goddess for whom he has the most regard. The goddesses – Juno, Pallas, and Venus – all sing to him, presenting a future in each of their respective spheres, worldly power, war, and beauty. Pallas, seduced by Venus, awards it to her.

Conductor: Luke Mitchell
Producer: Michael Burden

New College Ante-Chapel
15 & 16 November 2023 
8:30PM

£15/£7 concession – Tickets are available from Ticketsource

Saul and the Witch of Endor is a short intense warning against witchcraft. Saul, king of the Israelites, consults the fortune-telling witch of Endor on whether he will lose a forthcoming battle. Saul loses the battle, but shortly before he was to be killed, he throws himself on his sword. 

The Witch of Endor – Jemima Price
Saul – William Anderson 
Samuel – Crawford Wiley

Actéon is a short chamber opera telling the famous mythical story of Actéon, who is transformed into stag by Diana as revenge for him seeing her bathing; he is then killed by his own hounds. 

Actéon – Matt Pope 
Diane – Jessica Edgar 

Chasseurs
Rosanna Milner, Felicity Howard, Maurice Cole, Raphaël Maurin, Maxim Fielder 

Nymphs
Ischia Gooda (Artethuse), Harriet Twigger-Ross (Daphné), Vertiy Sawbridge (Hyale), Joshua Dennis

Carissimi: Jepthe; Charpentier: Le reinement de saint pierre.

Conductor: Luke Mitchell

New College Chapel
8.00pm
7 June 2023
£12/£5 concession – Tickets are available from Ticketsource

The concert presents two short oratorios of the 17th century by Carissimi (Jephte) and his student Charpentier. These are framed by two extraordinary works by De Lalande, written for the funerals of Louis XIV’s children. These ‘grands motets’, settings of the De Profundis and Dies Irae as requiems, draw on rich orchestration and choral forces to deliver some of the richest choral music of the baroque, achieving beauty and devastation in majesty, as the oratorio works do in their sparse biblical tragedy.