IL BARBIERE DI SIVIGLIA; Gioacchino Rossini, 1816. The capers of a horny young nobleman in pursuit of an (apparently) unattainable beauty, with the assistance of Seville’s most in-demand barber. A racy and fluent reading of this comedy classic, in broadly contemporary language designed to reproduce the wit and sparkle of the original libretto.
TOSCA: Giacomo Puccini, 1900. Opera diva, Tosca, tries to save her republican-sympathising lover, the painter Cavaradossi, from the jealous revenge of the venal Chief of Police, Scarpia. The tragic dénouement leaves all three dead. A new commission from the Oxford Opera Company, this version has a contemporary, Latin-American slant, easily adaptable to a more traditional reading.
IL COMBATIMENTO DI TANCREDI E CLORINDA: Claudio Monteverdi, 1624. The crusader, Tancredi, challenges and kills a soldier that he fails to recognise as his lover, Clorinda. Original commission from Birmingham Opera Company. This short dramatic cantata, from a poem by Tasso, is for a narrator and two characters although it can be performed as a monologue.
L’INCORONAZIONE DI POPPEA: Claudio Monteverdi, 1643. A scheming harlot works her way into the emperor’s affections in order to displace his wife and take the throne. Original commission from English National Opera. There are various performing versions encompassing most of the generally accepted original material. Please get in touch if you would like any of the sections in a separate format.
IL RITORNO D’ULISSE IN PATRIA: Claudio Monteverdi, 1639. Ulysses returns home to his wife Penelope, to find her beseiged by free-loading suitors. His revenge is swift and bloody. Original commission from Birmingham Opera Company for Graham Vick’s production subsequently reworked for English National Opera (Benedict Andrews), The Royal Opera House (John Fulljames) and The Kilkenny Festival (Patrick Mason). Please get in touch if you would like any of the sections in a separate format.
L’ORFEO: Claudio Monteverdi, 1607. The earliest opera that is still regularlyperformed, with significant elements of chorus and dance as well as the classic tale of Orpheus and his descent to the Underworld. Original commission from English National Opera. The edition includes all the material used for the ENO production. Please get in touch if you would like any shorter sections of the opera in a separate format.
LA CENERENTOLA: Gioachino Rossini, 1817. A fairytale opera with no fairy and no glass slipper which has nevertheless established itself as a firm audience favourite. There are three versions; the completely uncut version used as the basis for ETO’s 2023 production, a version without chorus, suitable for small companies and finally the ’60 Minute Cinders’, commissioned by the Royal Opera House for a school audience.
LA RONDINE: Giacomo Puccini, 1917. A Parisian kept woman has to abandon her bucolic fantasy with a young lover ignorant of her past. Original commission from City Opera. There is a complete version of the piece as well as a condensed version with a running time of about seventy-five minutes commissioned by OperaCoast.
TAMERLANO: Georg Frideric Händel, 1724. Tamburlaine wishes to marry the daughter of his captive enemy, who chooses suicide rather than dishonour. Original commission from Opera by Definition. There are significant performing cuts in both recits and arias. Please get in touch if you would like any of the arias in a separate format.
PARTENOPE: Georg Frideric Händel, 1730. Partenope, warrior-queen and founder of Naples, is pursued by three suitors, including her neighbouring enemy. One of the suitors has left behind a previous fiancée, who now pursues him disguised as a man. Original commission from Iford Arts. 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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