Elgar’s

Saturday 19 December 2015West Road Concert Hall, Cambridge

Jonathan Dove’s

The Adventures of Pinocchio

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Cambridge Philharmonic Orchestra and Chorus

Conductor: Timothy Redmond

Leader: Steve Bingham

The Adventures of Pinocchio

By Jonathan Dove

Libretto by Alasdair Middleton

Victoria Simmonds: PinocchioJonathan Summers: Geppetto

Rebecca Bottone: Cricket/ParrotMary Plazas: Blue Fairy

Stephen Richardson: Fire-Eater/Ape-JudgeMark Wilde: Cat

James Laing: Fox/CoachmanNazan Fikret: Rosaura/Villager

Matthew Hargreaves: Drum-maker/Pantalone/Coal-merchant/Owl DoctorAilsa Mainwaring: Pigeon/Beetle Doctor

Joseph Padfield: Barker/Bricklayer/VillagerThomas Atkins: Lampwick/Arlecchino/Crow Doctor

Martin Duncan: DirectorAlex Doidge-Green: DesignerLee Reynolds: Chorus Master

Licensed by arrangement with Peters Edition Ltd, London

There will be a retiring collection in aid of East Anglia’s Children’s Hospices at the end of tonight’s performance.

Ladies and Gentlemen Welcome to this evening’s performance of The Adventures of Pinocchio.

Over the past decade, the Cambridge Philharmonic has presented an impressive array of operas-in-concert: from La Bohème and La Traviata to Die Fledermaus and Die Zauberflöte via Peter Grimes, Carmen and Candide. But it all began with the music of Jonathan Dove, when we performed excerpts from his celebrated opera Flight. It was to prove the beginning of a long association with Jonathan’s music – and the Phil is proud to have performed many of his works including A Song of Joys, The Crocodiamond, Airport Scenes, Hojoki and, most recently, There Was a Child.

The Adventures of Pinocchio has had the kind of international success a composer can only dream of – helped in no small part by Martin Duncan’s brilliant original production for Opera North. We are hugely grateful to Martin for very kindly agreeing to reimagine his theatrical tour de force for us and to Alex Green, who has created an ingenious design for the production. We are thrilled to be joined by so many exceptional singers, many of whom created the very roles they will be singing this evening, and it is our pleasure to be giving the very first concert performance of Jonathan’s magnificent opera.

We hope you enjoy tonight’s performance and we wish you a Merry Christmas and a very Happy New Year!

Timothy Redmond Principal Conductor Cambridge Philharmonic

The Adventures of Pinocchio Jonathan Dove (1959-)

“Things which strike your imagination as a child have an inexhaustible power. Pinocchio got to me early. Maybe if I hadn’t read it until I was an adult it wouldn’t have occurred to me as an opera.”

Jonathan Dove

Pinocchio is one of the most loved and most controversial children’s books of all time. Everyone knows the story of Pinocchio, the puppet whose nose grows when he tells lies, with a Cricket for a conscience and a Blue Fairy godmother who grants his wishes. However, reading into Pinocchio’s story is weirder, darker and more human than one might think.

Carlo Collodi, who took his surname from the Tuscan village where he spent his childhood, wrote the first chapter of Pinocchio’s life in 1881 for a children’s paper, the Giornale dei Bambini. Serialised for two years, then published in 1883 as a book entitled The Adventures of Pinocchio, the story has since been translated into around 100 languages. Amongst the many film adaptations, Walt Disney’s 1940 release is the most celebrated, though it is somewhat sanitised and omits several of Collodi’s characters.

With Pinocchio, Collodi managed more successfully than any other author, except perhaps for Dickens and David Copperfield, to recreate what it is like to be a child. Ironically the wooden Pinocchio, whose dearest wish is to become a real boy, spends many chapters behaving like one. Only when he becomes a boy does he behave like the stuffed children in a 19th century novel. Yet the wooden Pinocchio is immediately recognisable, as Collodi cheerfully allows children to be violent and manipulative, to tell lies, be sly, lazy and greedy, to be neither angels nor devils, but to be human. He also describes the seismic conflicts of childhood – the weird judgement of adults, the terrible punishments, awful remorse and vague but unshakeable feelings of guilt. The Adventures of Pinnochio is also a surrealist masterpiece that captures exactly the essence of dreams – door knockers turn into eels, feet are burnt off by painted fires and noses grow. But the most accurately dream-like character is the Blue Fairy: each time she appears it is in a different guise, yet Pinocchio has the dreamy sensation of knowing her.

Turning Pinocchio into an opera had been a long-standing ambition for the composer Jonathan Dove and his librettist, Alisdair Middleton. Dove read Pinocchio in a vividly-illustrated edition when he was young and was

determined to include pictures such as the Black Rabbits, who suddenly appear carrying a coffin when Pinocchio refuses to take his medicine. Ordinary speech is too lacklustre for the wily Cat and Fox or the scolding Cricket: much better if they sing. There are 27 named characters in this opera, which offers a chance to hear all kinds of voices. A stratospheric soprano sings the Cricket and the Parrot; a deep bass plays all the scary men. A countertenor doubles as the Fox and sinister Coachman who takes the boys off to Funland. The orchestra’s voice is a constant presence too, depicting Pinocchio as he is chased by Assassins, given a lift by a Pigeon and swallowed by a Whale.

The original story’s 36 chapters were reduced to 20 scenes, each distilled to essentials without omitting anything of real importance, although some secondary plots had to be left out. The result is a fast-moving story told in a gripping and punchy way, with a musical structure that is hand-in-hand with the drama. Middleton says about Dove’s setting of his texts: “When I hear Jonathan’s setting of my words, I have the feeling that I am in a place that I am totally familiar with but which is now illuminated with colours that I didn’t even suspect existed. Like in a dream.”

Jonathan Dove’s captivating musical language is instantly recognisable. Flashes of inspiration from diverse sources resonate throughout his scores – Janáček, Ravel and Britten happily rub shoulders with Vaughan Williams, Sondheim and Adams – but the result is pure Dove. In The Adventures of Pinocchio, each of the key characters has a musical signature, a leitmotif that allows them to stand out in the story. Pinocchio has a rising aspirational four-note theme, the malign double act of Cat and Fox are accompanied by intertwined clarinet and soprano saxophone and the fragile beauty of the Blue Fairy is heard in counterpoint with a plaintively high oboe. The augmented fourth that energises Lampwick is transformed into a yearning for a country far away at the moment of his sad demise – and it finds new life again in the final pages of the score when the whole company sings of Pinocchio becoming a real boy. The result is a musical landscape that manages to be familiar, enchanting, moving and exciting all at the same time. Little wonder, then, that Jonathan Dove is this country’s most successful opera composer since Britten.

Anne Matthewman (With thanks to Opera North)

Thestory:listofscenesIn this performance we will be omitting two short scenes in Act II that would otherwise have introduced us to a Big Green Fisherman and a Snail.

ActOneScene One. The WoodIn which Geppetto finds a log.

Scene Two. Geppetto’s HutIn which Pinocchio is made and Geppetto suffers some of the misfortunes of parenthood. Pinocchio learns about school and the consequences of falling asleep in front of an open fire; a Cricket learns the result of giving unwanted advice to small boys; and Geppetto buys Pinocchio a schoolbook.

Scene Three. A StreetIn which Pinocchio sets off to school but is distracted.

Scene Four. The Puppet TheatreIn which Pinocchio meets old friends; escapes death; is very brave; is rewarded and sent on his way.

Scene Five. A StreetIn which Pinocchio meets a Cat and a Fox and learns about the Field of Miracles.

Scene Six. The WoodIn which Pinocchio ignores a warning from a ghostly Cricket; is pursued by Assassins; meets a dead girl with blue hair; is hanged and pecked down by some friendly birds.

Scene Seven. The Blue Fairy’s CottageIn which Pinocchio is cured and discovers the consequences of lying to girls with blue hair; promises to be good and sets off to meet Geppetto and live happily ever after.

Scene Eight. The WoodIn which Pinocchio meets the Cat and the Fox again; is tricked out of his money and is mocked by a Parrot.

Scene Nine. The Court and the JailIn which Pinocchio discovers the meaning of justice and freedom.

Scene Ten. The WoodIn which Pinocchio goes looking for the Blue Fairy but finds a grave and goes for a ride on a Pigeon.

Scene Eleven. A BeachIn which Pinocchio attempts to help Geppetto.

Interval

ActTwoScene One. DrudgelandIn which Pinocchio learns about work, meets a lady with blue hair and does quite well at school.

Scenes Two and Three. (Omitted in tonight’s performance)In which Pinocchio would have encountered a Big Green Fisherman and a frustrating Snail.

Scene Four. A StreetIn which Pinocchio, at the urging of his friend Lampwick, sets off for Funland.

Scene Five. FunlandIn which Pinocchio visits Funland and is transformed by the experience.

Scene Six. The CircusIn which Pinocchio joins the circus, recognises a member of the audience and is sold to a Drum-maker.

Scene Seven. The SeashoreIn which Pinocchio becomes his old self again and is swallowed by a big fish.

Scene Eight. Inside the big fishIn which father and son are reunited and escape together.

Scene Nine. The village by the seaIn which Pinocchio works hard for his father; meets his old acquaintances and finally gets his reward.

VictoriaSimmonds (Pinocchio)

Victoria Simmonds studied at the Guildhall School of Music and Drama with David Pollard. From 2000-2006 she was a company principal at ENO singing roles including Nancy T’ang/Nixon in China, Cherubino/Figaro, Zaida/The Turk in Italy, Pitti-Sing/The Mikado, Ascanius/The Trojans, Rosina/The Barber of Seville, Dorabella/Così fan tutte, Hermia/A Midsummer Night’s Dream and Zerlina/Don Giovanni.

For Opera North she created the title role in Jonathan Dove’s highly acclaimed The Adventures of Pinocchio. She has also sung for Grange Park Opera, Garsington Opera, Opera Holland Park and the Buxton Festival and sang the title role of Carmen at the Royal Albert Hall. Abroad she has sung with the Netherlands Opera, Stuttgart and Halle Opera companies and Wellgunde/Das Rheingold with the Berlin Philharmonic under Sir Simon Rattle at the Aix Festival. In concert, she has sung in Le Comte Ory and the title role of L’Enfant et les Sortilèges at the Concertgebouw, and has worked with the Philharmonia, the Hallé, the Salzburg and Edinburgh Festivals and for the London Symphony Orchestra under Sir Colin Davis at the BBC Proms.

Other operatic engagements include Idamante/Idomeneo for the Buxton Festival, Dorabella/Così for Opera North, Zaida/Il turco in Italia for Garsington Opera, the role of Charlotte in Massenet’s Werther at Les Azuralies Opera Festival, Minsk Woman/Flight for Opera Holland Park.

Victoria created the role of Marie/Angel 2 in George Benjamin’s Written on Skin, which has toured Aix-en-Provence, Royal Opera House Covent Garden, Amsterdam, Toulouse, Paris, Munich, Vienna, Lisbon and The Lincoln Centre, New York. The ROH performances, DVD and CD have won over 17 awards, including the Sky Arts Award for Opera in 2013.

www.victoriasimmonds.com

JonathanSummers(Geppetto)

Jonathan Summers made his operatic debut in 1975 in the title role of Rigoletto for Kent Opera directed by Jonathan Miller and conducted by Sir Roger Norrington. In 1976, he joined the company of The Royal Opera House, Covent Garden and for many years he has sung with all Opera companies in the UK and abroad.

His wide repertoire of operas include most Verdi baritone roles including the title roles in: Rigoletto, Macbeth, Falstaff, Nabucco and Simon

Boccanegra; Puccini’s Tosca, Il Tabarro and Gianni Schicchi; Wagner’s Parsifal, Tanhauser and Tristan and Isolde.

Recently he sang Balstrode in Britten’s Peter Grimes at the Royal Opera House, le Bailie in Massenet’s Werther at the Metropolitan Opera, New York, Spencer Coyle in Britten’s Owen Wingrave at the Aldeburgh Festival and Iago in a new production of Otello for English National Opera in London.

Next year his engagements include Werther at the Royal Opera House and Britten’s Billy Budd in English National Opera’s production at the Bolshoi.

Jonathan is the creator of the role of Geppetto for the premier production of Jonathan Dove’s Pinocchio for Opera North in 2007

www.jonathansummers.co.uk

RebeccaBottone(Cricket/Parrot)

Rebecca Bottone was born in Bedfordshire and studied at the RAM.

Recent and future engagements include Queen Tye Akhnaten at English National Opera‚ Peter Pan and Pelléas et Mélisande (Welsh National Opera)‚ Yum Yum The Mikado‚ Clorinda La Cenerentola and Mabel The Pirates of Penzance (Scottish Opera)‚ Ilia Idomeneo at Blackheath Halls‚ and Hugh Wood’s Epithalamion at the

BBC Proms.

Further appearances include First Innocent in the world premiere of Birtwistle’s Minotaur and First Niece Peter Grimes (Royal Opera House‚ Covent Garden)‚ Cricket and Parrott in the world and USA premieres of Jonathan Dove’s The Adventures of Pinocchio (Opera North and Minnesota Opera)‚ Blonde Die Entführung aus dem Serail (Aix-en-Provence Festival‚ Marie in the world premiere of Rufus Wainwright’s Prima Donna (Manchester International Festival)‚ Amanda in Ligeti’s Le Grand Macabre (English National Opera)‚ Anne Egerman A Little Night Music‚ Johanna Sweeney Todd and Carrie Carousel (Théâtre du Châtelet‚ Paris) and the Maid in Ades’ Powder Her Face at the Linbury Studio‚.

Rebecca has worked with many of the world’s leading orchestras including the Gabrieli Consort and Players under Paul McCreesh; she has sung Charmeuse in Thais under Eschenbach with Renee Fleming and also performed with the AAM and the RAI Turin under Christopher Hogwood; the CBSO‚ the Halle and the Manchester Camerata under Stephen Bell; St John Passion with the Orchestra Sinfonica di Milano Giuseppe Verdi in Milan; the Philharmonia Orchestra under Sir Charles Mackerras; and the Tonhalle Zürich under Sir Mark Elder.

Recordings include Cis Albert Herring with Richard Hickox and EMI and two Rossini roles for Opera Rara‚ Eurice Adelaide di Borgognia and Cleone Ermione. TV appearances include BBC 2’s television documentary The Genius of Beethoven with the English Chamber Orchestra‚ David Starkey’s Music and Monarchy and the role of a singer in Steven Poliakoffs acclaimed film Capturing Mary.

MaryPlazas(Blue Fairy)

Mary Plazas studied at the RNCM where she was awarded the Curtis Gold Medal, and at the NOS. She was winner of the 1991 Kathleen Ferrier Memorial Scholarship and the NFMS/Esso Award for Young Singers.

Roles have included Cio-Cio San (ENO/Perth International Festival), Mimì (ENO/Opera North/Bregenz Festival/West Australian Opera/Royal Albert Hall), Anne Trulove (Bayerisches Staatsoper/New Israeli Opera), Donna Elvira

(ENO/Glyndebourne Tour/Valladolid), Nedda, Fiordiligi, Dorabella, Leila, Adina, Nannetta, Micaëla, Lauretta, Oscar and title role The Cunning Little Vixen (ENO). Salud La Vida Breve, Susanna Figaro and Elisetta (Opera North). For ROH Italian Soprano Capriccio, Heavenly Voice (ROH at the BBC Proms), Angelic Voice Palestrina (ROH London and New York); Duchess Powder Her Face (Almeida/Aldeburgh/C4/LSO at the Barbican); Mum Greek (London Sinfonietta/Barbican); Mrs Coyle Owen Wingrave (Concertgebouw). For Buxton Festival Elisabetta Roberto Devereux, title roles Lucrezia Borgia, Maria di Rohan.

Title role Lady Sarashina – Eötvös ( Opera de Lyon at Opera Comique); Premier Karin (Barry’s – Bitter Tears of Petra von Kant/NSOI/Dublin)

She created two roles in operas by Jonathan Dove, Tina Flight (Glyndebourne) and Blue Fairy Pinocchio (Opera North); and premiered Dove’s There Was A Child (Norwich festival/CBSO).

Concerts include RPO/Hallé/BBCPhilharmonic/BBCNOW/Philharmonia/OAE/CBSO with conductors including Sinopoli/Previn/Elder/Noseda/Oramo/Hickox and Parry.

StephenRichardson(Fire Eater/Ape-Judge)

Stephen Richardson has created roles in many important contemporary works including Thomas Adès’ The Tempest (Royal Opera House); Tan Dun’s Orchestral Theatre II‚ Re‚ and Tea (Suntory Hall‚ Tokyo); Barry’s The Triumph of Beauty and Deceit‚ The Importance of Being Earnest and The Intelligence Park; Tavener’s Eis Thanaton‚ Resurrection‚ The Apocalypse and Fall and Resurrection (City of London Sinfonia‚ St Paul’s Cathedral); and the British premiere of The Handmaid’s Tale (ENO).

Most recent and upcoming engagements include King of Hearts in Unsuk Chin’s Alice in Wonderland (Los Angeles Philharmonic and The Barbican‚ Baron Ochs Der Rosenkavalier (Bolshoi‚ Moscow)‚ Timur Turandot (Northern Ireland Opera)‚ Rocco Fidelio (Bridgewater Hall with the BBC Philharmonic Orchestra)‚ Messiah with the Danish National Vocal Ensemble. Stephen will sing Dansker(Billy Budd) for Opera North and The Mikado for Scottish Opera and D’Oyly Carte next year.

Recent engagements include Hobson Peter Grimes (La Scala‚ ROH‚ Opera North and Aldeburgh Festival)‚ Geronte di Ravoir Manon Lescaut (WNO and Savonlinna Festival)‚ Sarastro The Magic Flute‚ Daland The Flying Dutchman and Lady Bracknell The Importance of Being Earnest (Northern Ireland Opera)‚ Rocco (Garsington and Winterthur Festival)‚ Frank Die Fledermaus (Korean National Opera)‚ Micha The Bartered Bride‚ Commandant From The House of The Dead and The Adventures of Pinocchio (Opera North)‚ Ferrando Il Trovatore (Den Jyske Opera).

Further engagements include Falstaff and Sarastro (Opera Australia); Rocco‚ ll Giullare Francesco da Rimini and Stromminger La Wally (Opera Holland Park); Samuel Un ballo in maschera (Nationale Reisopera)‚ Kaspar Der Freischütz (Opéra de Rennes); Flint Billy Budd (Netherlands Opera‚ Sir Joshua Cramer The Intelligence Park (Irish Museum of Modern Art‚ Dublin)‚ Lady Bracknell (Los Angeles Philharmonic‚ Thomas Adès Festival‚ Beethoven in Barry’s Schott and Sons‚ Mainz (National Chamber Choir of Ireland‚ Dublin)‚ Don Quichotte in Fénelon’s Le Chevalier Imaginaire (Ensemble Intercontemporain)‚ and Powder her Face (London Symphony Orchestra).

MarkWilde(Cat)

Born in Scotland, Mark Wilde was a chorister at Dundee Cathedral before studying at the University of East Anglia and the Royal College of Music.

In opera, he has established a particularly close relationship with English Touring Opera, and has also appeared with the Netherlands Opera, English National Opera, Garsington Opera, Glyndebourne Festival Opera and Welsh National Opera.

For Opera North, he created the role of the Cat in The Adventures of Pinocchio, a performance now available on Opus Arte Blu Ray/DVD.

Mark Wilde sings regularly in concert, his engagements including performances with the Aalborg Symphony Orchestra, the Academy of Ancient Music, the Britten Sinfonia, the City of Birmingham Symphony Orchestra, the City of London Sinfonia, the Finnish Baroque Orchestra, the Hanover Band, the Lahti Symphony Orchestra, the Odense Symphony Orchestra, the Royal Philharmonic Orchestra, the RTÉ Concert Orchestra, the Russian National Orchestra, the Tokyo Symphony Orchestra and the Ural Philharmonic.

His recordings include Britten Complete Scottish Songs, Corp Country Matters and Handel Ode for St Cecilia’s Day (Naxos), Pia de’ Tolomei, Alesandro nell’ Indie, Corrado d’Altamura, Adelaide di Borgogna, La donna del lago and Rossini Songs (Opera Rara), Elgar Songs (Avie), Sullivan The Golden Legend and The Prodigal Son (Hyperion), Ancient Melodies (Docker Records) and Fame’s Great Trumpet – Songs by Britten and Norris (EM Records).

JamesLaing(Fox/Coachman)

James Laing created the roles of The Fox/The Coachman in Opera North’s première performances of The Adventures of Pinocchio. Other roles he has sung for them include Oberon A Midsummer Night’s Dream, Tolomeo Giulio Cesare and Nerone The Coronation of Poppea.

Elsewhere, he has sung for companies including the Royal Opera, London, Classical Opera, the Early Opera Company, English National Opera, English Touring Opera, Garsington Opera, Glyndebourne Festival Opera, Grange Park Opera,

Opera Holland Park and the Semperoper Dresden.

Concert engagements have taken him throughout the UK and also to Europe and North America, including performances with the Academy of Ancient Music, the Atlanta Symphony Orchestra, the Britten Sinfonia, the Hallé, the Irish Chamber Orchestra, the Irish Chamber Orchestra, the National Orchestra of Spain, the Netherlands Bach Society, the Royal Northern Sinfonia and Tafelmusik, Toronto.

James Laing’s current engagements include Voice of Apollo Death in Venice for the Opéra National de Nice, Tirinto Imeneo at the Göttingen Festival, Medoro Orlando for Welsh National Opera, J. S. Bach Magnificat with Arion Baroque, Montréal, and Messiah with the Bournemouth Symphony Orchestra.

His recordings include The Adventures of Pinocchio (Opus Arte Blu Ray/DVD) and Tobias and the Angel (Chandos CD).

James Laing appears by kind permission of the Opéra National de Nice.

NazanFikret(Rosaura/Villager)

Born in the UK of Turkish and Irish parents, Nazan Fikret studied at the Guildhall School of Music and Drama.

Nazan made her operatic début at the age of thirteen singing Flora The Turn of the Screw in Elijah Moshinsky’s production at Wilton’s Music Hall. She went on to sing the role in the Luc Bondy production at the Aix-en-Provence Festival (conducted by Daniel Harding) and in a Stephen Langridge production for the Reisopera.

While still a student, Nazan made her English National Opera début as Flora in the David McVicar production and reprised the role in the revival conducted by Sir Charles Mackerras. She was the only original cast member to perform in the McVicar production at the Teatro Real in 2010.

Since leaving the GSMD, Nazan’s roles include Diane Disney The Perfect American (Philip Glass) in the world première at the Teatro Real (subsequently recorded for DVD) and at ENO, Ninetta La Perichole for Garsington Opera and Madame Herz The Impresario at the Edinburgh Fringe Festival.

Recent engagements: Fiordiligi for the European Opera Centre, How the Whale Became (Julian Philips) at the Linbury, and cover Queen of the Night for WNO.

Current seasons/future plans: cover Wendy Peter Pan and Angelica Figaro gets a Divorce for WNO; work-shopping new works for the Jerwood Opera Writing Programme at Snape Maltings.

MatthewHargreaves(Drum-maker/Pantalone/Coal-merchant/Owl Doctor)

Matthew Hargreaves studied at the Guildhall School of Music and Drama, where he won several prizes including an award from the Wolfson Foundation. He was the winner of the Decca Prize in the 1997 Kathleen Ferrier Award Competition.

Most recent and future engagements include Inspector A Dog’s Heart (La Scala‚ Milan)‚ Leporello Don Giovanni and Death Swanhunter (Opera North)‚ Angelotti Tosca and Baron

Douphol La Traviata (ENO)‚ Stagehand The Makropulos Case (Edinburgh Festival and ON)‚ Villains Les Contes d’Hoffmann and Commendatore Don Giovanni (Diva Opera)‚ Nardo La Finta Giardiniera (Buxton Festival‚ Montano/Herald Otello (BBC Philharmonic) and Ceprano Rigoletto (LSO‚ both under Noseda. Recent concerts include Rossini’s Petite Messe Solonelle (BBC Singers)‚ Trial by Jury (CBSO)‚ Christus St John Passion (Norway’s Kristiansund Symfoni Orkester and Manchester Camerata‚ Winterreise (Oxford Lieder Festival)‚ Gounod’s Mass to St Cecilia and Fauré’s Requiem (Gravesham Choral Society)‚ Dream of Gerontius (East Sussex Bach Choir) and Savitri (Choros Chamber Choir).

Engagements include Don Giovanni‚ Escamillo Carmen‚ Schaunard La Boheme‚ The Speaker The Magic Flute‚ Masetto Don Giovanni‚ Ping Turandot and Sourin The Queen of Spades (Welsh National Opera‚ Figaro Le Nozze di Figaro‚ Leporello‚ Tomsky The Queen of Spades‚ Zurga The Pearl Fishers and Basilio Il Barbiere di Siviglia (Opera Holland Park‚ Sciarrone Tosca (ROH)‚ Angelotti and Escamillo (Royal Albert Hall)‚ Dandini La Cenerentola (ETO), Gallworm The Cricket Recovers by Richard Ayres (Bregenz)‚ Junius The Rape of Lucretia (Firenze); Abbot Curlew River (Rouen); Alidoro La Cenerentola (Opera Theatre Company)‚ Polyphemus Acis and Galatea and Leporello (Opera Atelier in Toronto) and the title role Don Giovanni with Opera Atelier on tour to Japan.

AilsaMainwaring(Pigeon/Beetle Doctor)

Mezzo soprano Ailsa Mainwaring studied with Theresa Goble on the opera course at the Guildhall School of Music and Drama. She graduated in 2015 with the Harold Rosenthal Prize for achievement.

For Guildhall opera Ailsa has sung roles in Dvořák’s The Cunning Peasant, Donizetti’s I Pazzi per Progetto (UK premiere), Malcolm Arnold’s The Dancing Master (world premiere) and the title role in Hans Werner Henze’s 2007 opera

Phaedra. She also played Snail and Pigeon in Dove’s The Adventures of Pinocchio, and is thrilled to be performing this music again.

Ailsa’s Guildhall studies were funded by the Royal Masonic Trust, the D’Oyly Carte Charitable Trust, the Mario Lanza Foundation, various charities in her native Rochdale, and generous scholarships from the school and associated donors.

In summer 2015 Ailsa sang Dorabella in Così fan Tutte at the Frome Festival, and Dog/Woodpecker in Janáček’s The Cunning Little Vixen for British Youth Opera. Plans for 2016 include Dorabella in Così fan Tutte at the King’s Head Theatre, Islington, Verdi Requiem solos, and cover Filippyevna Eugene Onegin and chorus for Garsington Opera.

Other operatic experience includes Donna Elvira (Mozart, Don Giovanni), Rosina (Rossini, The Barber of Seville) for Heritage Opera, Dido (Purcell, Dido & Aeneas), Fenena (Verdi, Nabucco – concert performance), and La Zia Principessa (Puccini Suor Angelica) in Guildhall opera scenes. In summer 2012 Ailsa won Best Female Character at the Buxton Fringe, for her performance of Buttercup in HMS Pinafore.

In concert, Ailsa has performed the Song of the Wood Dove from Schoenberg’s Gurre Lieder with orchestra, and various roles in Ravel’s L’Enfant et les Sortilèges, at the Barbican Centre. Ailsa is a regular soloist for choral societies – engagements in the last year include Mendelssohn Elijah, Dvořák Stabat Mater, and Handel Messiah.

JosephPadfield(Barker/Bricklayer/Villager)

Joseph Padfield graduated with distinction from the Guildhall School of Music and Drama Opera Course in 2014. Roles include Lido Boatman/Restaurant Waiter, Death in Venice for Garsington Opera, Spaun in Iain Burnside’s new play Why Does the Queen Die?, Bear Prince, East o’ the Sun, West o’ the Moon at Tête-à-Tete Opera Festival, Erode, San Giovanni Battista; Fire Eater/

Ape Judge/Big Green Fisherman/Ringmaster/Farmer, The Adventures of Pinocchio; Simeon, L’Enfant Prodigue; Il Re, Francesca di Foix; Coyle, Owen Wingrave at GSMD, Sprecher/Zweiter Priester/Zweiter Geharnischter, Die Zauberflöte with Garsington Emerging Artists and Colline, La Boheme with Haddo House Opera.

Engagements for 2016 include Figaro, Le Nozze Di Figaro in Cherbourg, Cape Town and London with Diva Opera; bass soloist in Verdi’s Requiem with Southampton Choral Society and Portsmouth Choral Union; and a recording of Ian Schofield’s Freedom with Southampton Choral Society.

ThomasAtkins(Lampwick/Arlecchino/Crow Doctor)

Thomas is currently on the Opera Course at the Guildhall School of Music and Drama. In 2013 he was awarded the New Zealand Arts Foundation Patronage Award. Mr Atkins gratefully acknowledges the financial support of the Kiri Te Kanawa Foundation.

Thomas was a finalist in the Guildhall School of Music & Drama ‘Gold Medal’ in 2015 and is the recipient of the Guildhall School of Music and Drama award, the Sheila Prior Prize, the Phoebe

Patrick Award and the Vianden International Summer School Award, all from the 2012 IFAC Australian Singing Competition.

Roles include Pastore (Cover) in Monteverdi’s Orfeo (Royal Opera); Tenor Solo: Anamchara - Songs of Friendship (Pippa Murphy and Alexander McCall Smith, Scottish Opera); Don Ottavio (cover) Don Giovanni (New Zealand Opera); Arlecchino (Cover) in Jonathan Dove’s The Adventures of Pinocchio (Guildhall School of Music & Drama), Corrado Il Corsaro (New Zealand School of Music); Ferrando Così Fan Tutte (Opera in a Days Bay Garden); Oronte Alcina (Opera in a Days Bay Garden); Borsa (cover) Rigoletto (NZO); Don José Carmen (New Zealand Choral Federation) and Lysander: A Midsummer Night’s Dream (New Zealand School of Music).

Concert engagements include Tippett’s A Child of Our Time, Mozart’s Requiem, Dubois’ Seven Last Words of Christ, Vaughan Williams’ Mass in G Minor, Handel’s Messiah and guest appearances at Nelson’s Opera in the Park.

JonathanDove:Composer

Born in 1959, Dove’s early musical experience came from playing the piano, organ and viola. Later he studied composition with Robin Holloway at Cambridge and, after graduation, worked as a freelance accompanist, repetiteur, animateur and arranger. His early professional experience gave him a deep understanding of singers and the complex mechanics of the opera house. Opera and the voice have been the central priorities in Dove’s output throughout his subsequent career.

Starting with his breakthrough opera Flight, commissioned by Glyndebourne in 1998, Dove has gone on to write over twenty operatic works. In 2010 A Song of Joys for chorus and orchestra opened the festivities at the Last Night of the Proms.

Throughout his career Dove has made a serious commitment to community development through innovative musical projects. His 2012 opera Life is a Dream, was performed by professionals and community choruses in a disused Birmingham warehouse, and a church opera involving community singers The Walk from the Garden was premiered at Salisbury Cathedral. 2015 brought the World Premiere of The Monster in the Maze, a new community opera commissioned by the London Symphony Orchestra, Berliner Philharmoniker and Festival d’Aix-en-Provence, performed under the baton of Sir Simon Rattle in three separate productions.

www.jonathandove.com

AlasdairMiddleton:Librettist

Alasdair Middleton was born in Yorkshire and trained at the Drama Centre, London.

His work as a librettist includes: with Jonathan Dove – The Monster in the Maze (Berliner Philharmoniker, London Symphony Orchestra, Aix-en-Provence Festival), Diana and Actaeon (Royal Ballet), The Walk From The Garden (Aegeas Salisbury International Arts Festival), Life Is A Dream (Birmingham Opera), Mansfield Park

(Heritage Opera), Swanhunter (Opera North), The Enchanted Pig (The Young Vic, ROH2), The Adventures of Pinocchio (Opera North), and the cantata On Spital Fields (Spitalfields Festival, winner of a Royal Philharmonic Society Award); The Feathered Friend. He has written four plays; Aeschylean Nasty, Shame On You Charlotte, Casta Diva and Einmal.

MartinDuncan:Director

Martin Duncan was trained as a stage manager at the London Academy of Music and Dramatic Art and was an actor for 22 years.

From 1994 to 1999, Martin was Artistic Director of Nottingham Playhouse where he directed works by Gogol, Brecht, Goldoni, Moliérè and Beckett. His productions toured to festivals in Romania, Italy, France, Germany, Ireland and Japan.

From 2003 to 2005, Martin was Joint Artistic Director of Chichester Festival Theatre where his productions included: How To Succeed In

Business Without Really Trying, The Government Inspector and Cole Porter’s Out Of This World.

Opera productions include: Ariadne Auf Naxos (Scottish Opera/Den Norske Opera); The Gondoliers (English National Opera); HMS Pinafore (D’Oyly Carte); Xerxes, La Clemenza di Tito, The Rake’s Progress and Die Entführung aus dem Serail (Munich); The Love for Three Oranges (Cologne); The Magic Flute (Scottish Opera/Royal Opera House); Albert Herring (Toronto); The Cure and The Corridor (Aldeburgh Festival); L’heure Espagnole, Gianni Schicchi, Orpheus in the Underworld, The Thieving Magpie, A Midsummer Night’s Dream (Opera North); La Forza del Destino (Opera Holland Park); Il Turco in Italia (Garsington Opera); Alice’s Adventures In Wonderland (Opera Holland Park/Royal Opera House).

Martin directed the first production of The Adventures of Pinocchio for Opera North in 2007 and it has since been seen in Minneapolis, Chemnitz, Moscow and Bonn as well as being recorded for DVD by Opus Arte.

AlexDoidge-Green:Designer

Alex designed Grow up Grandad at ARC theatre, Stockton, and Elegies for Angels, Punks and Raging Queens when it made its return to the Criterion Theatre, London this year. He was also Designer for If Only... at Bread & Roses Theatre, London, and Grand Guignol at the Theatre Royal Plymouth and when it moved to London at the Southwark Playhouse.

He designed the London Philharmonic Orchestra’s Peter Grimes in both the Royal Festival Hall, London and Symphony Hall,

Birmingham. He worked as Designer for The Tale of the Frog Prince, a children’s musical, and Trojan Women for Singapore Repertory Theatre in Singapore. He also designed The Fantasticks at the Jermyn Street Theatre, London, was Associate Designer on Loserville, a West End musical at the Garrick Theatre, London, and Designer for Out There for Youth Music Theatre (UK), both in Bracknell and also when it made its move to a London Theatre in 2012.

Alex recently worked as Designer with Rare Moustache on their short film 13. He has also assisted Francis O’Connor on many shows since 2012 after graduating with a First Class Honours in Theatre Design at Nottingham Trent University. Whilst studying he worked as Assistant Designer on the Beauty and the Beast pantomime at the Harrogate Theatre, and designed The Rivals for NTU drama at Nottingham Arts Theatre.

TimothyRedmond:Conductor

Timothy Redmond conducts and presents concerts throughout Europe. He is Principal Conductor of the Cambridge Philharmonic, Professor of Conducting at the Guildhall School and a regular guest conductor with the London Symphony and Royal Philharmonic Orchestras.

He has given concerts in the UK with the Philharmonia, Royal Northern Sinfonia and

London Philharmonic Orchestra, with the BBC Concert, Philharmonic and Symphony Orchestras, with the Hallé, Royal Liverpool Philharmonic and Ulster Orchestras, and has a long-standing association with the Manchester Camerata. He has conducted widely throughout Europe and the US with orchestras including the St Louis Symphony, Filarmonica Arturo Toscanini, Orchestra della Svizzera Italiana and the Rotterdam Philharmonic.

Timothy Redmond is well-known as a conductor of contemporary music and has a particular association with the music of Thomas Adès. Since working closely with the composer for the premiere of The Tempest at Covent Garden, he has conducted critically-acclaimed productions of Powder Her Face for English National Opera, the Royal Opera House and St Petersburg’s Mariinsky Theatre. He recently gave the Hungarian premiere of Totentanz and assisted the composer for the New York premiere of The Tempest at the Metropolitan Opera. In the opera house he has conducted productions for Opera Theatre of St Louis, English National Opera, Opera North, English Touring Opera and Almeida Opera, for the Aldeburgh, Bregenz, Buxton, Los Angeles, Tenerife and Wexford festivals and for New York’s American Lyric Theatre. As a member of music staff, he has also conducted for De Vlaamse Opera, Strasbourg, Garsington and Glyndebourne.

Recent highlights have included a new disc with Alison Balsom and Guy Barker for Warner Classics, premieres of works by Edward Rushton and Peter Maxwell Davies with the LSO, his debut in China with the RPO and the 2014 LSO BMW Open Air Classics concert at which he conducted for 10,000 people in Trafalgar Square.

This season, as well as conducting concerts with the LSO, RPO and LPO, he makes debuts with orchestras in Canada, Romania and Serbia and at the MITO Festival in Milan. He conducts new opera for Aldeburgh Music and Mahogany Opera Group, gives concert performances of Bluebeard’s Castle and The Adventures of Pinocchio in Cambridge and conducts the

UK premiere of Voseček’s Biedermann and the Arsonists with the Britten Sinfonia for Independent Opera at Sadler’s Wells.

Timothy Redmond studied at the Royal Northern College of Music, Manchester University and the Accademia Musicale Chigiana in Siena. He furthered his studies in masterclasses with George Hurst, Ilya Musin, Yan Pascal Tortelier and Pierre Boulez and as an assistant to Elgar Howarth, Valery Gergiev and Sir Colin Davis.

SteveBingham:Leader

Steve Bingham studied violin with Emmanuel Hurwitz, Sidney Griller and the Amadeus Quartet at the Royal Academy of Music from 1981 to 1985, where he won prizes for orchestral leading and string quartet playing. In 1985 he formed the Bingham String Quartet, an ensemble which has become one of the foremost in the UK, with an enviable reputation for both classical and contemporary repertoire. The Quartet has recorded numerous CDs and has worked for

radio and television both in the UK and as far afield as Australia. The group has toured in Europe, the Middle East and Australia and has worked with distinguished musicians such as Jack Brymer, Raphael Wallfisch, Michael Collins and David Campbell. The Quartet’s educational activities have included residencies at London’s South Bank Centre, for several UK festivals and at Radley College. The Quartet is also known for its many performances of new works by some of the best young composers in Britain.

Steve has appeared as guest leader with many orchestras including the BBC Scottish Symphony Orchestra, the Scottish Chamber Orchestra, English National Ballet and English Sinfonia. He has given solo recitals both in the UK and America and his concerto performances include works by Bach, Vivaldi, Bruch, Prokofiev, Mendelssohn and Sibelius, given in venues as prestigious as St John’s Smith Square and the Royal Albert Hall. Steve is internationally renowned for his solo violin recitals, where he mixes acoustic pieces with live-looped electric violin arrangements in his own unique way. Steve has released four solo albums, Duplicity, Ascension, Third and The Persistence of Vision, alongside many single tracks, and is currently planning two new releases for 2015.

stevebingham.co.uk

1stViolinsSteve Bingham (leader)Kate Clow (co leader)Laura SmithChui YipAdele FryersLucy AndrewsSean RockRupert SwarbrickRoz ChalmersSarah RidleyPaul AndersonViktoria Stelzhammer

2ndViolinsNaomi HiltonEmma LawrenceAnne McAleerGerry WimpennyFiona CunninghamMarcello DeiddaJohn RichardsEleanor WinpennyJenny BarnaLelia Coupe

ViolasRuth DonnellyAgata WygnanskaHilary CrooksJo HollandJeremy HarmerEmma McCaughanRobyn SorensenViola Hays

CellosVivian WilliamsLucy MitchellAngela BennettLucy O’BrienAnna EdwardsCatherine Alexander-KiffIsabel GrovesMelissa FuHelen HillsClare GilmourHelen Davies

DoubleBassesSarah SharrockTony SchollStephen BeaumontSusan SparrowJohn Richens

FlutesandpiccoloCynthia LalliAlison Townend

OboesRachael DunlopCamilla Haggett

CorAnglaisCamilla Haggett

ClarinetsDavid Hayton Graham Dolby

SopranoSaxophoneGraham Dolby

BassoonsNeil GreenhamJenny Warburton

HornsCarole LewisChris WykesGeorge ThackrayToni HawkinsHelen Black

TrumpetsAndrew PowlsonNaomi WrycroftSergio Moreira

TrombonesNick ByersDenise Hayles

BassTromboneAlan Dimond

TubaTom Steer

TimpaniDave Ellis

PercussionDerek ScurllJames ShiresGeorge English

HarpLizzy Scorah

AccordionsMirek SalmonJerome van ben Berghe

MandolinCurtis Volp

PianoJohn-Paul Gandy

Cambridge Philharmonic Orchestra

1stSopranosEileen AdamsJane CookRose Drury Ros MitchellJan MooreCaroline PotterAmanda PriceSusan RandallMary RichardsJosephine RobertsSheila RushtonAnne SalesPat SartoriPaddy SmithLinda Stollwerk BoltonDiana Sutton

2ndSopranosCathy AshbeeEleanor BellAnthea BramfordSusannah CameronJoanne ClarkJennifer DaySusan EarnshawAnn FrostChristine HalsteadMaggie HookValerie MahySuzie McCaveCaroline PotterVicky PottruffAnn ReadPip SmithAnn TaylorCatharine Warren

1stAltosElizabeth Anderson Julie BamfordAlexandra BoltonCaroline CourtneyElaine CulshawAlison Dudbridge

Elaine FultonUlla GabrielJayne GreyJean GulstonLeonie IsaacsonAlice ParrAlison RussellCaroline ShepherdAlison VinnicombeHelen WheatleyJoanna Womack

2ndAltosJane BowerRachael BrantonMargaret Cook Helen Cross Alison DearyTabitha DriverJane FentonJane FlemingStephanie GrayToni HaslerHilary JacksonSusan JourdainAnne MatthewmanMona Nykänen Sue PursegloveChris Strachan

1stTenorsRobert CulshawDavid GriffithsJean HardingIan MacmillanGraham WickensJohn Williams

2ndTenors Aidan BakerMartin BallardJeremy BaumbergRobert BuntingDavid CollierGeoff Forster

Andy PierceJim PotterChris PriceStephen RobertsNick SayerMartin Scutt

1stBassesJohn DarlingtonBrian DawsonChris FisherPhilip JohnstonRoger McClureNicholas PopeHarrison SherwoodMike WarrenDavid White

2ndBasses Richard BirkettAndrew BlackNeil CaplanChris CoffinPaul CrosfieldDan EllisPatrick Hall Christopher JoubertTom ReadRoger Williamson

ChorusMasterLee Reynolds

AssociateConductorJan Moore

ChorusAccompanistAndrew Black

Cambridge Philharmonic Chorus

EastAnglia’sChildren’sHospices

Cambridge Philharmonic is pleased to support East Anglia’s Children’s Hospices (EACH) with a retiring collection after tonight’s performance.

EACH supports families and cares for children and young people with life-threatening conditions across Cambridgeshire, Essex, Norfolk and Suffolk. Our care and support is tailored to the needs of all family members and delivered where families wish – in their own home, at hospital, in the community or at one of its three hospices in Ipswich, Milton and Quidenham.

EACH relies on voluntary donations for the majority of its income and needs to raise almost £6 million to deliver its services this year – £16,000 every day.

All tickets (reserved): £12 • Box Office: 01223 357851 (Cambridge Live)Online: www.cambridgelivetrust.co.uk/tickets or www.cam-phil.org.ukIDEAL FOR CHILDREN AGED 6 AND OVER

Music by Paul PattersonCambridge Philharmonic OrchestraTimothy Redmond Conductor

Saturday 23 January 2016 2pm & 4pmWest Road Concert Hall, Cambridge

Roald Dahl’s Revolting Rhymes Little Red Riding Hood & The Three Little Pigs

With amazing life-sizepuppets from award-winning Dutch company

Theater Gnaffel

UK Premiere

!

cam-phil-children-A5-v5 30/11/2015 11:31 Page 1

Cambridge Philharmonic Forthcoming Concerts

Saturday 23 January 2016 West Road Concert Hall, CambridgeSaturday 20 February 2016 Royal Festival Hall, London Family Concert: Roald Dahl at 100 Little Red Riding Hood and The Three Little Pigs in collaboration with Theater Gnaffel

Saturday 5 March 2016 West Road Concert Hall, Cambridge Arvo Pärt: Te Deum Duruflé: Requiem

Saturday 21 May 2016 West Road Concert Hall, Cambridge Janáček: Jealousy Rachmaninov: Spring Bartók: Bluebeard’s Castle

Saturday 9 July 2016 Ely Cathedral Walton: Coronation Te Deum Vaughan Williams: The Lark Ascending (Violin: Steve Bingham) Vaughan Williams: A Sea Symphony

For further information and online ticket sales visit: www.cam-phil.org.uk To book tickets for the Royal Festival Hall concert visit: www.southbankcentre.co.ukTo leave feedback about our concerts and events email: feedback@cam-phil.org.uk

To receive news of forthcoming concerts send a blank email to: news-subscribe@cam-phil.org.uk

www.cam-phil.org.uk