Serge Prokofiev

8/2/2019 Serge Prokofiev

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World premiere of the original versionby Sergei Prokoev


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World premiere of the original version

Conductor Timothy Dean

Director Irina Brown

Designer Chloe Lamford

Lighting Designer Johanna Town

Movement Director Kally Lloyd-Jones

Theatre Royal Glasgow

Friday 22 and Saturday 23

January 2010, 7.15pm

Festival Theatre Edinburgh

Thursday 28 and Saturday 30

January 2010, 7.15pm

Running time 3 hours 15 minutes.There will be a 20 minute interval after Scene Six.

Sung in Russian with English surtitles.

The Academy gratefully acknowledges the permission andsupport of the Prokoev family for the reconstruction andperformance of the original version ofWar and Peace.

The performances are given by permission of Boosey &Hawkes Music Publishers Limited. The Academy thanksBoosey & Hawkes for their help to the editor, and forproviding performing material for the reconstruction ofthe opera.

RSAMD 2010

All details correct at time of going to print.The Royal Scottish Academy of Music and Drama reservesthe right to change perfomance details without prior notice

if necessary.

by Sergei Prokoev

Libretto by Sergei Prokoev and Mira Mendelson-Prokoeva

Original version ofWar and Peace edited by Rita McAllister

Sponsored by Supported by In association with


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04

Welcome

05

Professor John Wallace OBE

Principal, Royal Scottish Academy of Music and DramaAlex Reedijk

General Director, Scottish Opera

Alexander DanilovRector, Rostov State Rachmaninov Conservatoire

Tonights joint RSAMD/Scottish Opera production is the continuation of a

long-term relationship with the Rachmaninov Conservatoire in Rostov-on-

Don, Russia, and the culminating production of an eighteen-month project,

Celtic Cossack Connections, funded by a major grant from the Institution

Building Partnership Programme (IBPP): Support to EU Russia Cultural

Cooperation Initiatives.

This project has encompassed opera, traditional and folk music, classical

music and jazz.

Tonight, P rokofievs War and Peace brings together Scottish and Russian

institutions and their deep wells of talent, to enable you to have the opportunityto hear, for the first time, Dr Rita McAllisters new performing version of the

score following the composers original intentions.

Be aware that tonight, The Orchestra of Scottish Opera will be sitting side-

by-side with the RSAMDs professionals-in-training in the pit, six of the cast

are from Rostov and its associated Komitas Conservatory in Yerevan and

the rest of the 28-strong cast, plus the chorus, are from the Academy (the

proportions will be reversed for the Rostov performances in March 2010).

The set, designed by Chloe Lamford, has been built in Scottish Operas

workshops, with the involvement of RSAMD Technical and Production Arts

students who are also providing a fair proportion of tonights stage crew,

mentored by Scottish Opera staff members.

This project has been a major milestone for the three partners involved, and I

would like to thank my colleagues Alex Reedijk, General Director of Scottish

Opera, and Alexander Danilov, Rector of the Rachmaninov Conservatoire, for

embarking on such an adventurous journey with us, and seeing i t through to

such a fruitful conclusion.

I would also like to take this opportunity to thank Standard Life for their

support of this production.

Welcome to this performance of Prokoevs magnicent opera War and Peace.

This production is very much testament to the benets of collaboration: between

Scottish Opera and the RSAMD; between Glasgow and Rostov-on-Don; and

between the conservatoires in both those cities.

I am delighted that this imaginative thinking enables us to offer such a ne piece

to audiences in Scotland not only because Prokoevs operas are not often

staged in the UK, but also because it ts perfectly with Sco ttish Operas ongoing

commitment to sharing with you a broad range of interesting but lesser-known

operas.

Particular thanks are due to Dr Rita McAlli ster for producing this wonderful newperforming version of the score, which I am sure will draw international attention

to the work of Scottish Opera and the RSAMD it is not often that an important

opera is the beneciary of a major re-study that leads directly to a performance.

Now in its fth year, the partnership between Scottish Opera an d the RS AMD

remains as important as ever in providing valuable hands-on experience for

students. It is also a manifestation of our joint approach to, and collective

responsibility for, the long-term health of the performing arts in Scotland.

John and I hope you enjoy the benets of our operatic collaboration.

The reconstruction of the original version of Sergei Prokofievs opera War and

Peace by the students of the RSAMD and the Rostov Conservatoire is an

exceptionally bold, ambitious and inno vative project. The creative processes

involved will bring together, even more closely than before, our youngmusicians, our singers, instrumentalists, musicologists and their teachers.

This invaluable experiment in international cooperation, with its broad social

and community resonances, encourages us to look with great optimism

to continuing collaboration between our two conservatoires well into the

future.


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The Adventures of War and Peaceby Conrad Wilson

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Prokofievs War and Peace is an opera whose

full effect has been said to depend on its vast

choruses, two extended ballroom scenes, and

the cunning juxtaposition of the kaleidoscopic

episodes that make up its war-torn second

half. It was in this enlarged state, as a sort

of grand amalgam of Glinka, Mussorgsky and

Tchaikovsky, that the composer nally left the

work he considered to be his masterpiece.

But there is another, less monumental, much

purer, musically more consistent War and Peace

the unstaged original version Prokoev began

to compose in 1941, just as the Germans,

following in Napoleons footsteps, invaded

Russia, but whose orchestration he left far from

complete. This, better late than never, is the War

and Peace we shall see in tonights production

by the RSAMDs Alexander Gibson Opera School

in conjunction with Scottish Opera and the

Conservatoire of Rostov-on-Don, Glasgows twin

city in Russia.

Out of the original manuscript, the Prokoev

authority Rita McAllister, former Vice-Principal

of the RSAMD, has forged a performing version

of the music as the composer rst conceived

it, resulting in a leaner, tauter, more keenly

lyrical work, some 90 minutes shorter than the

increasingly tub-thumping ination of it Prokoev

assembled in the last years of his life. It omits

the many accretions or what the composercalled all the patriotic stuff he was obliged

to add in order to please the Soviet authorities

after their rejection of the rst version, which

placed, they claimed, too much emphasis on the

romantic Natasha and Andrei, the aristocratic

lovers in Tolstoys epic novel, and too little on the

Russian people.

Revisiting Russia in recent years, she looked

at the music again. The original manuscript

remained untouched, its fate unchanged. If ever

it was going to be performed, she reected, the

time had come to do it. The RSAMDs links with

Rostov-on-Don, inspired some time ago by an

inventive production of Massenets Cinderella in

conjunction with the St Petersburg Conservatoire

and The Orchestra of Scottish Opera, had steadily

strengthened. Strausss Ariadne auf Naxos and

Prokoevs The Love of Three Oranges, both withRostov involvement, were recent milestones in

this process, to which War and Peace now forms

what may look like a culmination.

Once again Scottish Opera has supplied its

technical know-how, as well as the use of its

orchestra, working alongside student players

and the large (often doubled up) cast, some

of it from Rostov. Timothy Dean, the RSAMDs

Head of Opera, is again the conductor, sharing

McAllisters convictions about the orchestration,

into which, between April and September last

year, she says she ung herself all day and every

day. The prospect of conducting it, says Dean,

never ceased to seem inviting, even if Rostov

expressed initial shock at some of the things now

missing from the work as we know it.

Prokoevs original version was written at speed,

not as the patriotic pageant the authorities

desired, but as a series of scenes (he already had

the experience of working with the cinematist

Eisenstein) conveying the main elements of

Tolstoys novel as he perceived them. McAllister,

whose scrupulous orchestration has made the

Scottish production possible, had already been

attracted to the original when, in the 1960s, she

won permission to spend time in Russia as a

postgraduate working on a Prokoev doctorate.What the RSAMD now calls the adventure of

War and Peace started at that point.

The composer, having presided over the works

tangled history until his death in 1953, had

hoped until the end to see the complete work

nally staged as an entity. But it was not to be.

A series of interim performances in 1944 and

1946 gave glimpses of his vision. But it was 1959

before the opera reached the Bolshoi and 1972

before the fullest possible version was staged by

what is now English National Opera in London.

Since then it has become part of the international

repertoire, but whether Prokoevs amendments

actually improved on the unstaged original, or

complied too readily with the demands of the

authorities, has remained debatable. Thanks to

McAllister and her belief in the essential lyricism

and structure of the original score, we are now

better placed to make up our minds.

But what is present is impeccably Prokoev.

The composer, as McAllister was fully aware,

was a man with his own particular concept of

opera, darkly humorous and at times profoundly

Shakespearian. Though Solomon Volkov, in his

controversial Shostakovich memoir, accused

Prokoev of farming out the orchestration of his

works to helpers, McAllister refutes this, saying

that, with his fondness for long ute melodies

and the rasp of tubas, Prokoevs orchestration

was idiosyncratic, many-layered, and very muchhis own. Far from deterring her from working on

it, this made her all the more determined to get

things right. It will sound, she asserts, how it

should sound.

For Alex Reedijk, General Director of Scottish

Opera, the result seems much more than the

culmination of a ScottishRussian collaboration

(the production goes to Rostov after its Scottish

performances). It represents, he says, a logical

growth, a way of extending into the Russian

repertoire, an opportunity for everybody involved

to take a bold new look at Prokoev. Above all,

perhaps, War and Peace can now be seen as a

great Russian opera, not a Soviet one.


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The Creative Team

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Irina Brown/ Director

Irina Brown was born and educated in Leningrad/

St Petersburg, Russia. She has lived in Britain for

over 20 years, establishing a versatile career as stage

director. From 1996 to 1999 she was Artistic Director

of Tron Theatre, Glasgow, developing, directing and

promoting new Scottish writing as well as nat ional and

international collaborations. Her other work includes:

The Importance of Being Earnest (Open Air Theatre,

London); Bird of Night, a new opera by Dominique

Le Gendre (Royal Opera House); Boris Godunov

(Royal Opera House, LOpra de Monte Carlo and

St Petersburgs Mariinsky); DidoandAeneas (Royal

Academy of Music); a translation ofDonnerstag

aus Lichtby Karlheinz Stockhausen (ROH); EdwardAlbees Three Tall Women (Oxford Playhouse,

Guildford, Cambridge); The Vagina Monologues (West

End and tour); Nest and The Parents Evening by

Bathsheba Doran (New York/ California); FillerUp! (Drill

Hall, London); The Cosmonauts Last Message to the

Woman He Once Loved in the Former Soviet Union

by David Greig (Tron, Glasgow); Further than the

Furthest Thing by Zinnie Harris (Royal National

Theatre, Tron, Edinburgh Festival, Tricycle, British

Council Tour of South Africa); A Dolls House

(Birmingham Rep); Blood Libel by Arnold Wesker

(world premiere, Norwich Playhouse); Romeo and

Juliet (Contact Theatre, Manchester); A Midsummer

Nights Dream (Southern Shakespeare Festival,

Florida); The Sound of Music (West Yorkshire

Playhouse); Our Countrys Good (Moscow). Irina is

Joint Artistic Director of Natural Perspective Theatre

Company, for whom she directedJenufa by Gabriela

Preissova/Timberlake Wertenbaker (Arcola, 2007) and

in 2011 will produce Britannicus by Racine.

Chloe Lamford/ Designer

Chloe Lamford is the winner of the 2007 Theatre

Design Award from the TMA for Small Miracle.

Her recent opera designs include The Magic Flute

(English Touring Opera), La Calisto (Iford Festival),

The Full Monteverdi, a full-length lm for SC4 and

European TV channels, The Cunning Little Vixen (Royal

College of Music). Her current and recent theatre

work includes Kreutzer Sonata (Gate Theatre); It Felt

Emptyby Lucy Kirkwood, a promenade production at

the Arcola Theatre, and This Wide Night, revival at the

Soho Theatre, both for Clean Break; National Youth

Theatre Season of six new one-act plays at the Soho

Theatre; Sus (Young Vic); The Snow Queen (Sherman

Theatre, Cardiff); Blithe Spirit (Watermill Theatre);Soul Play, Lola (Trestle Theatre with Increpaion

Danza, Barcelona); How to Tell The Monsters from

The Mists, The Mothership (Birmingham Repertory

Studio); Nine (the musical) (Arts Educational); Small

Miracle by Neil de Souza (Colchester and Tricycle

Theatre, London); The Good Woman of Sichuan (New

Generation Festival, Birmingham); Secret Ingredient,

a devised site-specic piece for Trestle Theatre. Her

previous work includes Top Girls (Watford, Greenwich);

Antigone at Hells Mouth (Kneehigh Theatre and the

National Youth Theatre at the Soho Theatre); The

Wild Party(Rosie Kay Dance Company); The Shy Gas

Man (Southwark Playhouse); human/nature (Trestle

Theatre Company); Rough Cut (Riverside Studios);

Holes and Wizzil (Nufeld Theatre, Southampton);

Hamlet(Broadway Theatre, Catford); Blue Sky State

(Colchester). She has also designed various shows

for the Watford Palace Theatre, many youth theatre

productions and a site-specic project by Anna

Reynolds, The Ring Road Tales. She wrote and

directed a short lm, Being Venus, which was shownat the 2006 LA Short Film Festival.

Timothy Dean/ Conductor

Timothy Dean studied Music at Reading University,

and Piano and Conducting at the Royal College of

Music. He then became Chorus Master and Head

of Music for Kent Opera, where he worked for ten

years, conducting a wide repertoire on tour in the UK

and abroad, including a cycle of the Britten Church

Parables performed at a number of UK festivals in

the 1990s. In 1987 he was appointed the rst Music

Director of British Youth Opera. Since then he has

been instrumental in developing the company into

a vital part of the national infrastructure for training

young singers and musicians to an advanced level,

as well as conducting over 20 productions and many

concerts. He was also conductor of the London BachSociety in the late 1980s, following the death of Dr

Paul Steinitz, and was Music Director of The Opera

Company from 1990 to 1994. In 1990 he spent a year

as Assistant Music Director and Chorus Master with

the New DOyly Carte Opera Company, conducting

on tour in the UK and USA, after which he made

company debuts for English National Opera (Oedipus

Rex/Bluebeards Castle) and Scottish Opera (The

Barber of Seville). In 1994 he was appointed Head of

Opera at the RSAMD, in charge of new postgraduate

courses in opera training for singers and repetiteurs.

Since moving to Scotland, he has also worked with

the Royal Scottish National Orchestra, The Orchestra

of Scottish Opera, The Paragon Ensemble, Edinburgh

Festival Chorus and Edinburgh Choral Union, as well

as giving concerts with the symphony orchestras of

both the Junior and Senior Academy and conducting

over 25 opera productions. From 2000 to 2006 he

was Artistic Director of British Youth Opera, of which

he is now a Vice-President. He was recently appointed

Chorus Director to the RSNO.

Kally Lloyd-Jones/ Movement Director

Kally Lloyd-Jones was born and raised in

Scotland. She trained at the Theatre Arts Ballet

School and Central School of Ballet in London, and

has an MA in English Literature and Film Studies from

Glasgow University. She has worked extensively

as a choreographer, dancer, movement director,

teacher and choreologist in Scotland, as well as in

London, Sweden and Canada. She has performed

with Company Chordelia, David Hughes Dance

Company, Spinal Chord Projects, Tartan Chameleon,

Aye! Productions and Paragon Ensemble. Her

choreography includesA Midsummer Nights Dream,

Don Giovanni, The Love of Three Oranges, The Tales

of Hoffmann (RSAMD); La bohme, Die Fledermaus,Cinderella, A Night at the Chinese Opera, The Two

Widows, The Secret Marriage, The Italian Girl in

Algiers, Five:15 (Scottish Opera); The Sleeping

Beauty (Kings Theatre, Glasgow), FlyGlobespanTV

commercial, The Ballad(Aye! Productions); Polkadots

& Moonbeams (Elevate Youth Dance Company). Her

movement direction includes Green Whale, Wee

Witches (Licketyspit Theatre Company); The Last

Witch (2009 Edinburgh Interna tional Festival/Traverse/

Lyceum). She recently directed Ktya Kabanov for

Scottish Opera. Company Chordelia, her own dance

theatre company founded in 2002, is the recipient of

Flexible Funding from the Scottish Arts Council; its

most recent show is Les Amoureux.

The Creative Team


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Time present and time pastAre both perhaps present in time future,And time future contained in time past

T.S. Eliot Burnt Norton

Dr Rita McAllister /

Editor, original version ofWar and Peace

Dr Rita McAllister was born in Lanarkshire, Scotland.

She undertook her undergraduate studies at the

University of Glasgow, graduating BMus with rst-

class honours. At the same time she was a part-

time student at the RSAMD studying piano with

Wight Henderson and viola with Frieda Peters.

She studied composition with Anthony Hedges

and Robin Orr, and won the rst BBC Scotland

Young Composers prize in 1966. In the late

1960s she spent three years at the University

of Cambridge researching the operas of Sergei

Prokofiev; she completed her PhD in 1970.

Her work on Prokoev resulted in intensive workin Moscow, St Petersburg and throughout the

southern USSR. In the 1970s and 1980s she

broadcast and published extensively on many

aspects of Soviet and Russian music. Her com-

positions from this time include chamber works,

song cycles and works for music theatre, as well

as electro-acoustic pieces. From 1969 she was a

lecturer in the Faculty of Music at the University of

Edinburgh, teaching composition, twentieth-century

history and analysis, and established the electronic

and recording studios there. She was appointed

Director of Music at the Academy in 1986, and from

1996 to 2006 she was additionally Vice-Principal.

She has held a number of important appointments

in music and education with national bodies in the

UK. She continues to research, write and compose,

and is the instigator and Artistic Director of Celtic

Cossack Connections.

Johanna Town/ Lighting Designer

Johanna Town has previously lit Phaedra andAriadne

auf Naxos for the RSAMD, and further opera credits

include Ktya Kabanov, Cinderella, The Secret

Marriage (Scottish Opera), Giustino (Trinity College),

The Marriage of Figaro (Classical Opera), Tobias and

the Angel (Almeida Opera Festival), The Marriage of

Figaro, Otello (Nice Opera House) and numerous

productions for Music Theatre London and Opera

80. She has a lso designed extensively in theatre, with

credits including several West End shows, numerous

productions for Out of Joint and the National Theatre

and over 50 productions at the Royal Court. She has

worked in regional theatres throughout the UK, as well as

internationally in destinations ranging from Ireland andNew York to Sydney and New Zealand. Her recent

credits include Speaking in Tongues (West End); Pride

and Prejudice (Bath Theatre Royal tour); Dreams of

Violence (OOJ tour); Haunted (Manchester Royal

Exchange); Fat Pig (Comedy/Trafalgar); Faces in The

Crowd(Royal Court); The Tragedy of Thomas Hobbes

(Royal Shakespeare Company); The Glass Menagerie

(Manchester Royal Exchange/Bath Theatre Royal tour);

For King and Country(ACT tour); The Ride of Your Life

(Polka); Tipping The Velvet(Guildhall);The Hounding of

David Oluwale (West Yorkshire Playhouse tour); Mad

Forest(BAC); Rose (National Theatre/Broadway); My

Name is RachelCorrie (Royal Court/West End/New

York).

The Creative Team


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War and Peace Part One: Peace

Prince Andrei Bolkonsky is on business at the country

house of Count Rostov. Having recently lost his wife,

Andrei resists the enveloping sense of spring and the

new life he observes around him, believing it all to be

an illusion. Suddenly, as the window above him opens

in the quiet night, he overhears an exchange between

Rostovs daughter Natasha and her cousin, Sonya.

Unable to sleep on a night like this, Natasha dreams

of ying. Stirred by this girl, Andrei realises that life is

not over at thirty-one.

The Great Patriotic War is announced as Hitlers army

invades the Soviet Union.

Scene One/

The Rostovs Otradnoye Estate,

May 1809

Overture/Moscow, 1941

Cast/

Prince Andrei Bolkonsky Michel de SouzaNatasha Rostova Diana Harutyunyan*/Maria Kozlova**Sonya,her cousin Beth Mackay

Performances: *23 and 28 January **22 and 30 January

Model box images from designs by Chloe Lamford.


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Two years later. Count Rostov brings Natasha, now

engaged to Prince Andrei, to meet Andreis father, the

Old Prince. Prince Andrei has been away for a year

but is due back soon. The old man refuses to receive

the Rostovs. Andreis sister, Princess Marya, comes

to greet them instead. The Princess makes awkward

conversation, mentioning the threat of war. Then the

Old Prince enters. He mocks Natasha. He does not

consider her a suitable match for his son. It dawns

on Natasha that Andrei has been sent away in the

hope of discouraging their marriage. She wishes he

were back.

Scene Two/

Old Bolkonskys Mansion, Moscow,

February 1811

Cast/

Old Footman Jamie RockChambermaid Laura Margaret Smith

Valet Ott Indermitte

Natasha Rostova Diana Harutyunyan/Maria KozlovaCount Rostov,her father Stephen Fennelly

Princess Marya Bolkonsky, Maria Brown

Prince Andreis sister

Prince Nikolai Bolkonsky, Craig Wickhamfather of Andrei and Marya

Mlle Bourienne,governess Elizabeth Garton

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At Hlne Bezukhovas soire, the hostess con-

gratulates Natasha on her engagement to Prince

Andrei, but condes that her brother Prince Anatole

Kuragin is lovesick for Natasha. Anatole appears,

declares his love, and thrusts a letter in Natashas

hand. Flustered, Natasha reads the letter, written in

an extravagant romantic language. It says she alone

must decide Anatoles fate. Rejected by Andreis

family, alone and vulnerable without Andrei, Natasha

is swept off her feet by Anatole. Sonya overhears her

and tries to warn her that Anatoles intentions may be

far from honourable. Count Rostov, disapproving of

the free-and-easy atmosphere at the soire, takes thegirls home.

Scene Three/

Hlne Bezukhovas Salon, Moscow

Cast/

Hlne Bezukhova Lucinda Stuart-GrantPrince Anatole Kuragin, Sergey Mankovskiy

her brother

Natasha Rostova Diana Harutyunyan/Maria KozlovaCount Rostov Stephen Fennelly

Sonya Beth MackayA French Abb Gitai Fisher

Dr Metivier Owain Browne


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Akhrosimova shares with him all that has occurred and

her fears of the consequences. Pierre promises to get

Anatole out of Moscow before there is a scandal or a

duel. He reveals to her that Anatole is married. Alone,

Pierre is devastated that even Natasha, who has been

so pure in his eyes, is capable of such a betrayal of

her anc Prince Andrei. Natasha is sent in to hear

the truth about Anatole from Pierre, whom she trusts.

Anatole is already married. Natasha is distraught.

In an attempt to comfort her, Pierre inadvertentlyreveals his own feelings towards her and leaves.

Natasha takes arsenic and calls to Sonya for help.

Scene Five/

Akhrosimovas Mansion, Moscow

Natasha, staying with her godmother, Maria

Akhrosimova, is waiting for Anatole. She

learns from her maid that Sonya has revealed

to Akhrosimova Natashas plan to elope

with Anatole. When Anatole arrives outside

Natashas window, the butler intercepts him.

Anatole and Dolokhov manage to escape.

Akhrosimova, armed with Anatoles letter,

discovered by Sonya, confronts Natasha.

Natasha defiantly announces that she hasbroken up with Prince Andrei. Akhrosimova is

relieved to welcome Count Pierre Bezukhov,

Anatoles brother-in-law, caught up in a loveless

marriage to Hlne.

Cast/

Natasha Rostova Diana Harutyunyan/Maria KozlovaDunyasha, Natashas maid Marie Claire Breen

Maria Akhrosimova Rebecca Afonwy-JonesGavrila,her butler Bryan Benner

Prince AnatoleKuragin Sergey MankovskiyDolokhov James BirchallSonya Beth MackayCount Pierre Bezukhov Dmitry Ivanchey/Bjartmar Sigurdsson

18


Anatole, at the quarters of his comrade-in-arms,

Dolokhov, is getting ready for Nata shas abduction,

planned for this night. He and Natasha will be

married in a little church outside Moscow and then

flee abroad. Although Dolokhov has masterminded

the whole plan, including the romantic letter, he

encourages Anatole to think again; Anatole is

already secretly married and may end up being

court-martialled. But Anatole, infatuated, cannot

think of the future. Balaga, a troika-coachman,

arrives. Over the years he has taken part in many

an escapade with his masters.

Scene Four/

Dolokhovs Study, Moscow

Cast/

Prince AnatoleKuragin Sergey MankovskiyDolokhov,his friend, an ofcer James BirchallBalaga,a troika driver Donald Thomson

Matryosha,a Gypsy Melissa Lunn

Joseph,valet David OHanlon

Performances: 22 and 30 January 23 and 28 January


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Hlne entertains some of her French friends in

Pierres study. Pierre confronts Anatole and

demands that he should leave Moscow. Disgusted

with his wife, his brother-in-law and the others,

Pierre wishes he could live in accordance with his

ideals. Lieutenant-Colonel Denisov enters with the

news that Napoleons troops are gathering at the

border: its war.

Scene Six/

Pierre Bezukhovs Study, Moscow

Cast/

Hlne Bezukhova Lucinda Stuart-GrantCount Pierre Bezukhov Dmitry Ivanchey/Bjartmar SigurdssonPrince Anatole Kuragin Sergey Mankovskiy

A French Abb Gitai Fisher

Dr Metivier Owain Browne

Lt. Colonel Vassily Denisov Nicholas Morris


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War and Peace Part Two: War

They think of nothing but tactics, dismissing the

people. Privately Andrei contemplates the possibility

of death. Pierre fears they will not meet again. Kutuzov

arrives to watch the nal presentation of the colours

before the battle. As Andreis regiment goes past,

Kutuzov invites Andrei to join his staff. Andrei declines.

He wants to stay with his regiment and fight.

The soldiers and peasants step forward to face the

battle. The opening shots are heard.

Scene Seven/

Rayevsky Redoubt on the eve of the

Battle of Borodino, 6 September 1812

The peasant militia are building a redoubt and

digging trenches. They have been inspired to the

battle for Moscow by the newly appointed Field-

Marshal Kutuzov. Led by him, they are ready to

crush the French. Some peasant women from

the village of Borodino bring food for the men.

The women say they are getting ready for the

battle too. Denisov and Prince Andrei meet

on their way to see Kutuzov. Denisov shareswith Andrei his plan to break through the

enemy line with a detachment of peasant

militia. Alone for a moment, Andrei reects on

his love for Natasha, their engagement and her

betrayal of his trust. He catches sight of Pierre,

who has turned up to observe the battle.

Andrei is convinced that the battle will be won

and expresses to Pierre his contempt for the

German generals who, as allies, are military

advisers to the Russian Army.

Cast/

Tikhon Shcherbaty Vahagn MargaryanFyodor Jakob Holtze Johansen

Matveyev Andrew McTaggartTrishka Catriona Morison

Kondratyevna Charlotte Emma Whittle

Vassilissa Melissa Lunn

Prince Andrei Bolkonsky Michel de SouzaLt. Colonel Vassily Denisov Nicholas MorrisCount Pierre Bezukhov Dmitry Ivanchey/Bjartmar SigurdssonField-Marshal Prince Mikhail Kutuzov Aram Ohanian

Dolokhov James Birchall1st German General Ott Indermitte

2nd German General Owain Browne

Prince Andreis Orderly Benjamin Vale1st Staff Ofcer Bryan Benner

2nd Staff Ofcer Jamie RockKutuzovs Adjutant Kieran Bain

27


On the other side of the battleeld, Napoleon is

dreaming of taking Moscow and civilising Russia.

As the situation on the battleeld turns against the

French, several adjutants rush in with messages from

their commanders, requesting reinforcements. But

Napoleon is reluctant to send in his last reserves and

is torn by doubts. Nothing seems to work the way it

normally would. The French are on the brink of losing

the battle.

Scene Eight/

Shevardinsky Redoubt during the

Battle of Borodino, 7 September 1812

Cast/

Napoleon Aleksey GusevMarshal Berthier Owain Browne

General de Caulaincourt Cailean Swainson

Monsieur de Beausset Warren Gillespie

General Belliard Jamie RockAide-de-Campto Napoleon Donald Thomson

Aide-de-Camp to General Compans Gitai Fisher

Aide-de-Camp to Marshal Murat Brynne McLeodAide-de-Campto Prince Eugene Matthew Todd


15/23

28


Everyone is accused of being an arsonist and Marshal

Davout orders their execution. Disorientated, realising

that he is nothing but a splinter crushed by the wheels

of history, Pierre awaits his execution. He is spared at

the last minute and joins a group of prisoners-of-war.

He meets Platon Karatayev, a farmer who became

a soldier. The soldiers calm, stoical attitude and

wisdom affect Pierre deeply. The prisoners of war are

led through the inferno of Moscow. All is engulfed bymadness and destruction. The Muscovites vow to

avenge the destruction of their city.

Scene Nine/

A Street in Moscow,

14 September 1812

The French have entered Moscow but the

streets are empty. Most of the inhabitants have

left the city. Two detachments with Lieutenants

Jacquot and Grard are roaming the streets

looting and drinking. Some soldiers distribute

Napoleons decrees to t he few Muscovites left.

Captain Ramballe and Lieutenant Bonnet

patrol the streets. As looting escalates, a group

of Muscovites tries to decipher the decrees.The Rostovs servants are among them. They

suddenly see Pierre. The servants tell him that

Natasha has ordered all the family possessions

to be thrown from the Rostovs carriages to offer

transportation out of Moscow for the Borodino

wounded. Unbeknown to her, Prince Andrei

was among the injured. Pierre has set his mind

on assassinating Napoleon. The Muscovites

decide to burn the grain stores rather than let

the enemy have them. The city catches re.

Pierre is intercepted and arrested together with

other culprits.

Cast/

Lt. Jacquot Dominic BarberiLt. Grard Steven PhillipsCaptain Ramballe Stephen Fennelly

Lt. Bonnet Stephen ChambersShopkeeper Elizabeth GartonMatveyev Andrew McTaggartYoung Worker Jonathan Cooke

Dunyasha Marie Claire Breen

Mavra Kuzminichna Jemma Brown

Count Pierre Bezukhov Dmitry Ivanchey/Bjartmar SigurdssonMarshal Davout Craig WickhamDavouts Adjutant David OHanlonFrench Ofcer Nicholas CowieIvanov Barry McAleerPlaton Karatayev Jamie Munn

1st Lunatic Gitai Fisher

2nd Lunatic Benjamin France3rd Lunatic John Findon

29


Andrei is wounded and delirious. He sees strange

visions and hears strange sounds. In moments of

clarity, he thinks of Natasha. Suddenly she enters.

Seeing her again, he knows his love for her is as it

used to be. She stays at his bedside as he dies.

Scene Ten/

A peasant hut in Mytishchi

Cast/

Prince Andrei Bolkonsky Michel de SouzaNatasha Rostova Diana Harutyunyan/Maria Kozlova


16/23


17/23

The Cast

Kieran Bain / Kieran Bain is in his rst year of the BMus

Vocal Performance course at the RSAMD, studying

with Ian Paton. For the past three years he has been a

member of the National Youth Choir of Scotland and has

performed in concerts including Proms in the Park and

the Scottish premiere of Howard Goodalls Eternal Light.

Later this year he will be touring Germany with the choir.

Dominic Barberi /Dominic Barberi began studying at

the RSAMD in 2008 with Stephen Robertson. The winner

of the Jean Highgate Scholarship for Singers at the end of

his rst year, he recently competed in the Junior Kathleen

Ferrier Competition. A member of both the National Youth

Choir of Great Britain and their chamber choir Laudibus,

he has performed various works as a soloist and choral

member. As a soloist he has performed works including

Mendelssohns Elijah, Faurs Requiem, Mozarts Requiem

and Rossinis Petite Messe Solennelle.

Bryan Benner /American-born baritone Bryan Benner

is in his nal year at the Academy and looks forward to

returning home to continue his vocal studies in the US

after an exciting four years in Scotland. He will next

be heard singing Jacob in the upcoming Academy

production of Rory Boyles new opera Kaspar Hauser:

Child of Europe. He would like to give a special thanks to

Sylvia Rumori for all her support during his studies. He is

a student of Stephen Robertson.

James Birchall /James Birchall was a chorister at St

Georges Chapel, Windsor Castle. He studied at St Johns

College, Cambridge and the Royal Academy of Music,

and now studies with George Gordon on the Opera

course at the RSAMD. He has sung Messiah with the

City of Birmingham Symphony Orchestra in Symphony

Hall and in the Usher Hall, St John Passion in St Pauls

Cathedral, Christmas Oratorio in Norway, and St Matthew

Passion in Symphony Hall (recently released on live CD).

He has twice appeared as a soloist at the Three Choirs

Festival. Operatic roles include Swallow Peter Grimes,Mphistophls Faust, Zuniga Carmen and, in scenes,

Don Giovanni, Belcore and Capulet.

Marie Claire Breen / Marie Claire Breen is currently

on the Master of Opera course at the RSAMD under

the tuition of Patricia Hay. She played the role of Naiad

in the Spring 2009 production of Strausss Ariadne auf

Naxos and was this years recipient of the Governors

Recital Prize for Singing, following which she recorded

a special performance for BBC Radio Scotlands

Classics Unwrapped. Recent engagements include two

performances at St Marys College of Marylands annual

River Concert Series, where she performed with trumpet

virtuoso John Wallace. She is currently preparing the role

of Susanna for the Academys 2010 production of Le

nozze di Figaro.

Jemma Brown / Jemma Brown obtained a BMus (Hons)

from the University of Glasgow, studying with Patricia

MacMahon. She completed her PGDip and MMus at the

RSAMD with Kathleen McKellar Ferguson and is now on

the MMus (Opera) course. She sang the world premiere

of Kirsty Blackwoods These Delicious Promptings at

the 2008 Glasgow International Visual Arts Festival, and

Maxwell Daviess Dark Angels to critical acclaim in the

Academys recent Max at 75 festival. She has appeared

in opera scenes as Leonora La Favorita and Genevive

Pellas et Mlisande. She covered Madame de Croissy

Dialogues des Carmlites in 2008. She will be singing

Marga in Rory Boyles new opera Kaspar Hauser: Child

of Europe.

Maria Brown /Maria Brown is currently on the MOpera

course at the RSAMD, studying with Stephen Robertson.

She attained a Diploma in Theology, Music and Worship

at the London School of Theology and a BMus (Hons)

in Music at the Academy, receiving the Mary D Adams

Scholarship for Voice. She also has a PGDip in Opera

Studies and a MMus in Opera from the Academy. Her

opera roles include Dryad Ariadne auf Naxos (RSAMD),

Miss Baggott The Little Sweep (Aberdeen International

Youth Festival), Nun Dialogues des Carmlites nalscene (Edinburgh International Festival), Larina (cover)

Eugene Onegin (RSAMD/Scottish Opera), and chorus

for Un ballo in maschera and Kta Kabanov (Opera

Holland Park) and The Rakes Progress (British Youth

Opera). Future engagements include Daumers sister in

the premiere of Rory Boyles opera Kaspar Hauser: Child

of Europe and Marcellina Le nozze di Figaro, both at the

Academy.

Owain Browne / Owain Browne is a Suffolk-born

baritone of Welsh stock on the nal year of the RSAMD

Opera course. He has performed roles such as Dr

Malatesta Don Pasquale, Mozarts Count Almaviva, Billy

Budd, Pellas and Schaunard La bohme in scenes.

He made his debut on the opera stage as Mr Gedge

in Brittens Albert Herring with the Co-Opera Company

at the London Oratory School in August 2009 and is

excited to be creating the title role of Kaspar Hauser in

the premiere of Rory Boyles Kaspar Hauser: Child of

Europe at the Academy this Spring.

Stephen Chambers / New Zealand tenor Stephen

Chambers graduated from the University of Otago

in 2005 with a BSc in Physiology, as well as a BMus

(Hons), having studied with Judy Bellingham and Isabel

Cunningham. In 2008 he graduated with a GPD (Opera)

from the Boston Conservatory, under the tutelage of Dr

Rebecca Folsom. His operatic roles include Male Chorus

The Rape of Lucretia, Peter Quint The Turn of the Screw,

Alpheus/Ares in Mark Adamos Lysistrataand Tamino Die

Zauberte . He also premiered the role of Tramp in Dust

of the Roadby Marcus Karl Maroney.

Jonathan Cooke/Jonathan Cooke is in his third year

at the RSAMD. In his second year, he represented the

Academy in the Junior Kathleen Ferrier Competition. He

has sung in opera choruses for Rossinis La donna del

lago at Garsington Opera, Donizettis Emilia di Liverpool

with the European Opera Company and Brittens Peter

Grimes and Death in Venice at the St Endellion Music

Festival. In 2008 he sang the tenor solo in Edinburgh

University Music Societys performance of Beethovens

9th Symphony. Recently he performed Nemorino in a

scene from Lelisir damore with Edinburgh Studio Opera.

Nicholas Cowie / Glasgow-born Nicholas Cowie started

singing lessons with his father Gordon when he was at

school, until he accepted a place at the RSAMD in 2008

to study with Alan Watt. He made his solo debut singingThe Call from Vaughan Williams Five Mystical Songs

with the National Youth Choir of Scotland, which was

broadcast on BBC Radio 4. For the past two years he

has been a choral scholar at New Kilpatrick Church in

Bearsden, with whom he has performed solos in Handels

Messiah, Schuberts Mass in G and Stainers Crucixion.

He is a recipient of the Peter Mooney Scholarship at the

Academy.

Stephen Fennelly / Stephen Fennelly has performed with

all of Irelands leading opera companies, including Opera

Ireland, Wexford Festival Opera and Anna Livia Opera,

in chorus and small roles. As a soloist he has sung such

roles as Dulcamara, Bartolo and Don Pasquale with Opera

in the Open in Dublin. In operatic scenes at the RSAMD

he has sung roles as diverse as Colline La bohme and

Hunding Die Walkre. On the concert stage he has sung

numerous masses and requiems in Ireland and the UK.

Upcoming projects include Mozarts Requiem at Paisley

Abbey and the title role in Le nozze di Figaro at the

Academy.

John Findon / John Findon is from Manchester and has

been singing in choirs since he was six years old. He is in

his rst year of the BMus (Hons) course at the RSAMD.

Although this is his opera performance debut, he hassung tenor solos in works such as Handels Messiah

and Mozarts Requiem. He has also performed lead roles

in a number of musical-theatre pieces, including Les

Misrables and The Phantom of the Opera.

Elizabeth Garton /Elizabeth Garton studied at the Royal

Welsh College of Music and Drama with Gail Pearson.

During this time she studied and performed various

operatic roles and choral repertoire. For Welsh National

Youth Opera she performed Marenka The Bartered Bride,

Lady BillowsAlbert Herring and The Old Lady Candide.

She has also participated in workshops with British Youth

Opera, playing the role of Fiordiligi Cos fan tutte. In 2006

she gained a scholarship to study at the Hochschule fr

Musik und Theater in Leipzig, where she studied under

Professor Friedemann Rohlig. She is currently studying

for a PGDip in Opera at the Academy.

Warren Gillespie /Born in Edinburgh, Warren Gillespie

graduated from the RSAMD in 2008 and now studies on

the MMus (Opera) course with Stephen Robertson. He

performed as tenor soloist for a performance ofMessiah

involving numerous choral societies from around thecountry in Edinburghs Usher Hall. His sol o performa nces

also include Mozarts Requiem, and Haydns Creation

and Nelson Mass. At the Academy he has appeared as

Scaramuccio inAriadne auf Naxos and Frantz in The Tales

of Hoffmann. He has worked with distinguished artists in

masterclasses, including Alan Opie, Karen Cargill, John

Mark Ainsley, Malcolm Martineau and Julius Drake. He is

supported by the RSAMD Trust Fund.

32 33

The Cast


18/23


19/23

Nicholas Morris/ Nicholas Morris is currently studying

on the Academys Opera course, supported by the

RSAMD Trust and the Thomas and Margaret Roddan

Trust, learning with Alan Watt. He has trained on English

National Operas Opera Works programme, and at the

Guildhall School of Music and Drama. He is an alumnus

of the Britten-Pears Young Artist Programme at Snape

Maltings. Later this year he will play Count Almaviva in

Le nozze di Figaro at the Academy. This last summer he

covered Nick Shadow in The Rakes Progress for British

Youth Opera. Last year at RSAMD he played Lindorf in

The Tales of Hoffmann and Tchelio in The Love of Three

Oranges.

Jamie Munn / Jamie Munn sings under the tuition of

Iain Paton and has also spent time at Berlins Universitt

der Knste (UdK) with Siegfried Lorenz and Peter Maus.

While at the RSAMD, he has played Spalanzani in The

Tales of Hoffmann and covered the role of Pantalon in

The Love of Three Oranges. He has sung in recital in

prestigious venues in Edinburgh, Berlin, London and

Glasgow, and was recently broadcast on BBC Radio

performing rediscovered songs by Mendelssohn. He

has sung in masterclasses with Malcolm Martineau, Ann

Murray, Richard Stokes, Hkan Hagegrd and Robin

Bowman.

Aram Ohanian/ Aram Ohanian, born in Aleppo Syria,

studied at the AGBU School in Aleppo from 1989 to

2000. After graduation he moved to Yerevan, Armenia,

to study at the Yerevan State Conservatoire. He has a

Masters degree in Vocal Art, and is studying now as

a postgraduate student at the Opera Studio of Yerevan

State Conservatoire. He has sung in many opera

performances in the Opera Studio including the title roles

in Gianni Schicchi, Don Giovanni, Michele in Il tabarro and

Figaro in Il barbiere di Siviglia.

Laura Margaret Smith / Laura Margaret Smith is

a music graduate of the University of Edinburgh and

a postgraduate student in Vocal Performance at the

RSAMD, studying singing with Margaret Izatt. During

her studies in Edinburgh, she was a nalist of the Donald

Tovey Performance Competition. She has sung with

Edinburgh Studio Opera in Smetanas The Bartered

Bride, and sang the role of Clarissa in the world premiere

of Julian Wagstaffs The Turing Test at the Edinburgh

Fringe in 2007. She has given recitals at various venues,

including the Reid Concert Hall, St Cecilias Hall and the

Edinburgh Society of Musicians.

Michel de Souza / Michel de Souza was born in

Petropolis, Brazil. He started studying music with the

Canarinhos de Petropolis boys choir, later graduating

in Organ from the School of Music at the University of

Rio de Janeiro, where he also studied Singing. In 2007

he won rst prize in the Maria Callas Vocal Competition

in So Paulo. He has performed roles in Faust, Fidelio,

The Fall of the House of Usher, Gianni Schicchi, The

Love of Three Oranges, Elektra,Ariadne auf Naxos, The

Tales of Hoffmann and Il signor Bruschino. He is currently

studying on the MMus in Opera course at the RSAMD

with a scholarship from the Associated Board of the

Royal Schools of Music.

Lucinda Stuart-Grant / Lucinda Stuart-Grant is on the

Opera course at the RSAMD. She obtained a BMus (Hons)

at the Guildhall School of Music and Drama. Her operatic

experience includes Irene Theodora, Ino Semele (Handel

Festival, High Wycombe); Stewardess (understudy)

Flight by Jonathan Dove, 3rd Boy The Magic Flute

(British Youth Opera). Selected scenes include Nancy

Albert Herring (RSAMD); Meg Page Falstaff (Royal Albert

Hall); Larina Eugene Onegin; Mercds Carmen, Hermia

A Midsummer Nights Dream (GSMD). Her concert

engagements include a concert with the Bridge Duo

(Luton Music Club) and Pierrot Lunaire Schoenberg(GSMD). She is supported by the RSAMD Trust, South

Square Trust and McGlashan Charitable Trust.

Steven Phillips / For over ve years Steven Phillips

has been singing across Southwest England and with

auditioning choirs in Paris and Brittany, at Exeter, Truro

and Manchester cathedrals, and at Westminster Abbey.

For three years he has been awarded scholarships and

solo scenes at Ardingly International Music School,

last year singing Robinson in Robinson Crusoe and

previously Albert in Albert Herring. He also toured with

Duchy Opera as Jupiter in Semele and will sing again on

their 2010 Cyprus tour. He has successfully auditioned

for masterclasses with Dame Emma Kirkby and Philip

Langridge, and now studies with Iain Paton at the

RSAMD. This year he will sing Don Curzio in Le nozze di

Figaro at the Academy.

Jamie Rock / Following studies at the Royal Academy

of Music, Jamie Rock is now studying Opera at the

RSAMD with Stephen Robertson. He has taken part in

masterclasses with Thomas Allen, Ann Murray, Dennis

ONeill and Graham Johnson. His recent opera roles

include Bartley Riders to the Sea, Aeneas Dido and

Aeneas, Count Ceprano Rigoletto and Giuseppe The

Gondoliers. He has performed in St Martin-in-the-Fields,

the National Concert Hall (Dublin), Ulster Hall (Belfast)

and Salzburg Cathedral. Performed works include St

John Passion, B minor Mass, Messiah, Petite Messe

Solennelle and Brahms Requiem. This year he plays

Figaro in the Academy production ofLe nozze di Figaro.

He is grateful for the support of Bloxham Stockbrokers,

Derek Hill Foundation, Sir James Caird Scholarship and

Arts Council of Ireland.

Bjartmar Sigurdsson / Bjartmar Sigurdsson was born

in Reykjavk, Iceland. Although he showed a talent for

music at an early age, it was not until he was 28 that he

realised the potential to become a classical singer and he

began to study privately in Iceland and the UK. He has

participated twice on the Florencevoice course in Italy,

and taken part in masterclasses with Ian Storey, PhilipLangridge, Julian Rodescu and Laura Brooks. His roles

include Bacchus Ariadne auf Naxos and, in excerpts,

Don Jos Carmen, Pollione Norma, JenkThe Bartered

Bride, Rodolfo La bohme and Siegmund Die Walkre. In

2007 he moved to the RSAMD, graduating with a PGDip

in Opera Studies. He is now on the Masters course in

Opera, studying with Stephen Robertson. In 2009 he

was granted the Wagner Scholarship from the Wagner

Society in Edinburgh.

Matthew Todd / Matthew Todd is a tenor, currently

studying at the RSAMD. Before attending the Academy

he completed an HND at Stevenson College Edinburgh

and was given the award for Best Advanced Music

Student. He has sung with many choirs and enjoys

conducting and composing choral music. He is also

a dedicated youth worker and is trained in residential

childcare, community music, and as an archery coach.

He has a passion for teaching children to sing and is a

rm believer in the empowering benets of music.

Charlotte Emma Whittle / Charlotte Emma Whittle is

from Fife and has been studying singing since she was

13 with Robyn and George Gordon. Annually, she took

part in the Fife Festival of Music, and has been a member

of the National Youth Training Choir of Scotland. She

performed in the Usher Hall at the opening concert of the2008 Edinburgh International Festival alongside the Royal

Scottish National Orchestra in Kurt Weills The Rise and

Fall of the City of Mahagonny, conducted by H K Gruber.

She has also appeared in the RSAMDs production of

Dialogues des Carmlites, and recently took part in the

Junior Kathleen Ferrier Award for Singers.

Craig Wickham/ American bass Craig Wickham, from

Michigan, is currently pursuing a Master of Opera degree

at the RSAMD. Currently, he is preparing the role of The

Man in Black in the premiere of Rory Boyles Kaspar

Hauser: Child of Europe and also Dr Bartolo in Le nozze

di Figaro, both at the Academy. Before his move abroad,

he received a BM in Voice Performance from Eastern

Michigan University. He was a member of the Michigan

Opera Theater Chorus for their 2008 Season. He also

holds a BA in Apparel Design.

36 37

The Cast The Cast


20/23

38 39

The Orchestra of Scottish Opera RSAMD students names are in italics

First ViolinsAnthony Moffat / LeaderFrances PryceKatie Hull / Assistant Leader

Terez KorondiTim EwartSharon HaslamSian Holding

Anne SimpsonMichael Larkin

Vaclav BohonekSiu Hay YipGergely Horvath

Second ViolinsAngus Ramsay / Section PrincipalGenevieve MartineauLesley NellJohn RobinsonGemma OKeeffe

Malcolm RossLiz ReevesMary WardGordon Duncan

Aaron McGregor

ViolasLev Atlas / Section PrincipalRachel Davis

Alison HastieIan SwiftPanna KakusziChristine AndersonLiam Redmond

Jenna McNeill

CellosRudi de Groote / Section PrincipalStephen AdamMarie ConnellSarah Harrington

Aline GowFeargus Egan

Double BassesDavid Peller / Section Principal

Tom BerryChristopher FreemanChristopher Sergeant

FlutesRichard Blake / Section PrincipalElisabeth PyperJohn Hall

OboesJoseph Houghton / Section Principal

Arlene CochraneKirstie Logan

ClarinetsNicholas Ross / Section PrincipalRebecca HumphreysLawrence Gill

BassoonsJanet Bloxwich / Section Principal

Judith BarclayAlan Warhurst

French HornsSue Baxendale / Section PrincipalDavid PryceRebecca HillIan SmithDavid Smith

TrumpetsAndrew Lynn / Section PrincipalSimon Bird

Andrew Connell-Smith

TrombonesAndrew ColeAlan Pash

Bass TromboneChristopher Stearn

TubaFraser Russell

TimpaniRuari Donaldson / Section Principal

PercussionJay Allen / Section PrincipalCalum HugganGlynn ForrestJoe BostockPhilip Hague

HarpSaida de Lyon / Section Principal

Offstage Band

FluteDavid Jervis

PiccoloRachel Coghlan

TrumpetsGregor Beattie

Fiona PitcathleyBen Hirons

TrombonesChristopher ManseldCillian OCeallachain

EuphoniumScott Findlater

Snare DrumPhilip Hague

The Orchestra ofScottish Opera Staff

Orchestra and Concerts DirectorJay Allen

Assistant to the Orchestra andConcerts DirectorRona Chisolm

Music LibrarianJane Watts

Orchestra TechnicianBrian Murphy

RSAMD Staff

Head of OperaTim Dean

Head of Vocal StudiesChristopher Underwood

RepetiteursSe Ho Lee

Ayako KanazawaAdam Laslett

Musical PreparationDuncan Williams

Chorus PreparationSusannah Wapshott

Assistant Conductor andConductor of Offstage bandJessica Cottis

Language CoachMaria Kozlova

Programme SupportInstrumental PerformanceGemma Carlin

Programme SupportVocal Performance

Anita Dick

Performance LibrarianLucy Robertson

Head of InstrumentalPerformance and Brass

Bryan AllenHead of StringsPeter Lissauer

Head of WoodwindHeather Nicoll

Distinguished Fellow inTimpani and PercussionKurt Hans Goedicke

Research AssistantChristina Guillaumier

The Production Team

For Scottish Opera

Technical and Operations DirectorSteve Green

Production ManagerDarren Joyce

Lighting SupervisorStephen Powles

Lighting ChargehandsRoberta GollopDaniel Murn

Stage SupervisorBen Howell

Flying and Rigging SupervisorCraig OHanlon

Stage ChargehandsStephen FultonGary Quinn

Additional Costumes made by Scottish Opera Wardrobe Department

Additional Costumes hired fromScottish Opera Costume HireDepartment

Scenery Constructed and Painted by Scottish Opera Workshops

Audio DescribersJacqueline BouchardSheila Hawthorn

For RSAMD (BA Technical andProduction Arts)

Company ManagerMark Hathaway (Staff)

Production ManagerAndrew Storer (Staff)

Fight DirectorMark McKenzie

Costume SupervisorBill Butler (Staff)

Stage Management SupervisorHelen C Gorton (Staff)

Audio Visual DesignerSeth Hardwick

Assistant DesignersJessica Lennon

Andrew Wilson

Assistant Lighting DesignersKatrina KellyKarlene Reid

Stage ManagerEmma Whoriskey

Deputy Stage ManagerKieron Johnson

Assistant Stage ManagersGraham ColvanCatherine Lewis

Assistant Props Stage ManagersJames ClellandLaura Jarvis

Stage SupervisorLouise Marr

Stage TechniciansMartin AitkenScott Bremner

Production ElectriciansMichaella FeePuleng B Mabuya

Stage ElectriciansJamie FallenMadeleine HillmanDavid MacMorris

Lighting OperatorsEmily LennoxJonny Reed

Follow Spot OperatorsLauren MacKayBarry McDonald

Audio Visual OperatorCraig Ralph

Assistant Scenic ArtistScott McIntosh

Scenic Artist (Props)Iain Waugh

Touring Wardrobe MistressHannah Clark

Touring Wardrobe AssistantRosie Blackshaw

Additional Costume making by Robert GordonHilary Willi

SurtitlesAndrew Huth

We are grateful to the Royal Opera

House, Covent Garden for the use oftheir surtitles.

Surtitle OperatorsGemma SummereldKatherine Grant

For James Watt College

Make-up ArtistsNina BlakeEmma RockGemma ThompsonKayleigh SutherlandMichelle Lyons

Angela BeattieLisa CampbellMegan GilliesRuth HigginsLinsey GillhooleyNatasha Dardas

RSAMD Technical and ProductionArts Staff

Head of ProductionRos Maddison

Scenery Construction LecturerZander Lee

Scenic Art & Design LecturerJamie Mackay

Stage Technology LecturerSteve Macluskie

Lighting & Sound LecturerSimon Cadell

Props Construction & Design LecturerMartin Mallorie

Costume Technology & Design LecturerChristine Murphy

Stage Management LecturerJohn Wilkie

RSAMD Central Production Unit Staff

Head of Production PlanningAndrew Storer

Production ManagerLynfryn Mackenzie

Production Support TechnicianSarah Leask

Costume TutorsAnna AntczakGillian AfeckCate MackieLynn McGinleyGillian McLeod

Lighting TutorChristine Scott

Props TutorAstrella Oldham

Scenic Art TutorGary Fry

Workshop TutorsSimon CookKris Whitehead

Our thanks go to the following fortheir support of this production:

Darren Joyce and all the Production

Staff at Scottish OperaAll staff at Theatre Royal Glasgow

All staff at Festival Theatre Edinburgh

SG Baker Ltd, sgbaker.co.ukBrian ClementsDundee Repertory Theatre2nd Glasgow Scout HallDavid Lloyd JonesM&S Argyle Street, marksandspencer.comNoel Kegg LtdRalph PlasticsScottish Opera (Claire and Alistair)Shearer candles, shearer-candle.com

TescoToolbank, toolbank.comKris WhiteheadHugh Whoriskey

The World Flag Store


21/23

Royal Scottish Academy of Music and Drama

Foundation

The Royal Scottish Academy of Music and Drama Foundation has been established to

advance the levels of philanthropic giving and support to students, staff, facilities and

the performance s through which our students learn.

There are many ways to support our Academy. The Annual Fund encourages

unrestricted giving at any amount, or you can join our Membership Programme, starting

from 24 a year. Many specic opportunities are encouraged, whether these are

aimed towards scholarships or to one of our special funds.

In September 2007, the Academy introduced a programme of International Fellows.

Nadine George, the Lecoq family, Angelo de Castro in Drama; the Brodsky Quartet,

Johannes Goritzki, Ilya Gringolts, Lorna McGhee in Music. This programme of

masterclasses and intensive teaching periods has been made possible through the

support of generous individuals who share our value of going beyond excellence.

Our Piano and Instrument Fund was established in 2007 to ensure that our students

benet from a world-class eet of pianos and instruments at the Academy.

The production ofWar and Peace was greatly helped by the support of our Opera Fund

by Standard Life.

Please consider making a gift to the Academy which will be used to ensure that we

continue to provide the optimum student experience. The Foundation Team is available

to answer any questions you may have about supporting the Academy and to assist

you in making a donation.

John Wallace / PrincipalRoyal Scottish Academy of Music and Drama

Registered Charity Number:

RSAMD SCO 15855

The Royal Scottish Academy of Musicand Drama is the United Kingdoms rstconservatoire of Dance, Drama and Music.

In order to achieve our aim of providingthe best student experience in Europe,we need your support.

40 41

Final Year BA Technical andProduction Arts Students

Michaella Fee/ Production Electrician

Michaella Fee studied Management and Technology

on the BA Technical and Production Arts programme

before specialising in Production Electrics. She has

been involved with the lighting and sound for a huge

range of productions over the last two years, including

The Ruling Class, three pantomimes and The Seagull

in the New Athenaeum Theatre; Spring Awakening

and contemporary performances in the Chandler

Studio Theatre and last years co-production with

Scottish Opera The Love of Three Oranges at Theatre

Royal Glasgow, Festival Theatre Edinburgh.

Kieron Johnson / Deputy Stage Manager

Kieron Johnson is in his nal year studying Technical

Theatre at the RSAMD, specialising in StageManagement. His previous RSAMD productions include

Assistant Stage Manager for Into the Newat Tramway,

Wounds to the Face, A Woman of No Importance

(all 2008) and The Love of Three Oranges (2009), and

Stage Manager for the Academys Shakespeare in the

City 2009 production ofA Midsummer Nights Dream at

Scottish Youth Theatre. He has also been Assistant Stage

Manager/Deputy Stage Manager for seven musical-

theatre productions at the Edinburgh Fringe (2008 and

2009), including Jerry Springer: the Opera. He will be

Deputy Stage Manager for Plasticine at the Citizens

Theatre in March.

Katrina Kelly/Assistant Lighting Designer

Katrina Kelly has designed the lighting for a variety of

Academy productions including Terra Incognita in the

Chandler Studio Theatre, A Midsummer Nights Dream

andJulius Caesar in the Brian Cox Studio Theatre and

RSAMD Opera Scenes in the Alexander Gibson Opera

Studio. In March she is designing the lighting for the

Academys co-production ofThree Sisters in the Citizens

Theatre directed by Guy Holland. In September 2009

Katrina was one of the design team from RSAMD to win

the coveted Best Design Team in the World at the World

Stage Design Exhibition in Seoul, South Korea.

Puleng B Mabuya / Production Electrician

Puleng B Mabuya is currently in her third year studying

BA Technical and Production Arts at the RSAMD,

specialising in Lighting and Sound. She worked as an

assistant lighting designer for Cooking with Elvis at the

Tron Theatre, lighting designer for A Child Made of Love

for Glasgay, lighting technician for summer festivals at

Scottish Youth Theatre, The Fringe in Edinburgh in 2009,

International Arts Festival in Austria in 2005 and National

Arts Festival in South Africa in 2006. During the past two

years she has worked on operas and musicals as lighting

and sound technician, and recently made the sound

design for The Selsh Giant at the 2009 World Stage

Design Exhibition and Conference in South Korea.

Louise Marr / Stage Supervisor

Louise Marr is a third-year BA Technical and Production

Arts student at the RSAMD. She graduates this year

specialising in Technical Stage Management. This is her

second management role at the Academy, her rst being

on Dying For Itat the New Athenaeum Theatre in 2009.

She has worked on many Academy productions including

The Love of Three Oranges (2009), Mother Goose,

Wounds to the Face, Eugene Onegin, Cos fan tutte (all2008) and Cinderella (2007). Outwith the Academy she

has been Technical Manager for productions of Room

17 (2007), Inside, Clan Gathering, Shakespeare in the

City Festival, Dance UK at the SECC (all 2008) and the

Luv Esther NGM 2007 tour. She joined Scottish Operas

production teams on Cinderella , The Italian Girl in Algiers,

The Elixir of Love and Ktya Kabanov. She has also

event managed music gigs across Glasgow for many

years and is currently working as Technical/Tour Manager

on a Scottish tour ofInside.

Karlene Reid/ Assistant Lighting Designer

Now in her nal year of the design specialism of the BA

Technical and Production Arts programme, Karlene Reid

has designed the lighting for a range of productions at

the Academy, including Romeo and Julietand King Lear

in the Brian Cox Studio and The Seagull directed by

John Kazek and Hugh Hodgart in the New Athenaeum

Theatre. In March she is Lighting Designer for Plasticine

directed by Adrian Osmond in the Citizens Theatre

Circle Studio.

Emma Whoriskey/ Stage ManagerEmma is currently in her third and final year at

the RSAMD where she is specialising in Stage

Management. Throughout her time at the Academy she

has been a Stage Manager on Romeo and Julietat the

Scottish Youth Theatre and CPP2Through the Iris in the

Chandler Studio. She has also been part of the stage

management team on several productions, including

Cinderella (2007), Cos fan tutte, Wounds to the Face,

Whisky Kisses, Spitre Grill, The Ruling Class, Mother

Goose (all 2008) and The Love of Three Oranges (2009).

Other Academy productions include Dialogues of the

Carmelites and Ariadne auf Naxos. She will be Deputy

Stage Manager for Three Sisters, opening at the Citizens

Theatre in March.


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Supporting the Academy Opera Fund

The quality of opera training offered at the Alexander Gibson

Opera School of the Royal Scottish Academy of Music and

Drama attracts singers to Scotland from all over the world.

In War and Peace you will hear singers from Brazil and Iceland

performing alongside their Scottish counterparts, as well

as singers from Rostov-on-Don, with whose Rachmaninov

Conservatoire we are in the second year of an Academy-wide

exchange programme, Celtic Cossack Connections.

The Academys collaboration with Scottish Opera presents a

number of key professional development opportunities for our

students. Singers and orchestral musicians benet hugely from

performing with Scottish Operas acclaimed orchestra, and the

technical staff of Scottish Opera work closely with the students

from the Technical and Production Arts degree course, to bring

the production into being. All this is in the context of the exciting

new development of the Scottish Opera Emerging Artistsscheme. Two of last years outstanding students, Louise Collett

and Miranda Sinani, were chosen for the rst year of the scheme,

which sets out to enhance the professional opportunities and

experience at the crucial moment when the singers leave their

formal training. This has obvious benets for both institutions.

Under the leadership of tonights conductor, Timothy Dean, the

Masters Opera courses are orientated towards fully-edged

operatic performance. After developing their skills through the

performance of operatic excerpts in their rst year, singers move

on to perform major roles in the three full productions in their

second year. This intense activity would not be possible without

the support of numerous individuals, companies, trusts and

foundations, and, for Celtic Cossack Connections, the European

Commission.

The Academy is particularly grateful to Standard Life for

sponsoring this production. Our thanks also go to Chevron

Upstream Europe for their longstanding award-winning annual

support of singers through the Chevron Excellence Award.

The Binks Trusts generous donation has enabled the Academy

to take opera productions to the Theatre Royal Glasgow and the

Festival Theatre Edinburgh in recent years. In an important newdevelopment we welcome the Ian Smith of Stornoway Trust as

major supporters of the MMus Opera workshops. We are also

very grateful for scholarship support received from the Mrs Anne

Clutterbuck Charitable Trust, the Ena Mitchell Award, the Mary

Garden Scholarship Fund, the Hamilton Duval Music Trust, and

many other organisations and individuals who help to sustain

aspiring opera stars through their long years of training.

There any many ways you can support our opera activities.

You can contribute to our opera training programmes,

sponsor a production, or help a student by way of an all-important

scholarship. For more information about supporting the Academy

Opera Fund, please contact the RSAMD Foundation on:

0141 270 8254.

Professor Christopher Underwood /

Head of Vocal Performance

Royal Scottish Academy of Music and Drama

Major supporters:

The Binks Trust

Chevron Upstream Europe

Glasgow City Council

Russian Delegation of the European

Commission (IBPP)

Standard Life

Other support gratefully

received from:

Douglas Boyd

Sir James Cayzer

Mrs Anne Clutterbuck Charitable Trust

Miss Anne Donald

Mr & Mrs Jim Fallen

Serena Fenwick

Ian Fleming

Mary Garden Scholarship Fund

James Hunter Blair Bursary Fund

Forson Singing Bursary

Hamilton Duval Music Trust

Mr & Mrs Norman Lessels

The Leverhulme Trust

Professor Niall Lothian

Arnold and Anna Maran

John Mather Charitable Trust

Ena Mitchell Award

Musicians Benevolent Fund

The Robertson Scholarship Trust

RSAMD Trust

John and Caroline Sibbald

Thomas Sivewright Catto

Charitable Settlement

Ian Smith of Stornoway Trust

Maurice Taylor

Trades House of Glasgow

Ye Cronies

Dowager Viscountess Younger

of Leckie

And anonymous donors

Get In On The Act

Every individual donor is a valued supporter of the Royal

Scottish Academy of Music and Drama. Contributions

enable the Academy to invest in priorities for each

academic year and allow us constantly to develop and

renew our commitment to democracy of opportunity,

to nurture and bring out the best in every individual,

and to go beyond excellence.

Becoming a donor offers a number of benefits

including priority booking, invitations to special events

and the chance to engage with the students, staff and

alumni, as well as the knowledge that you have directly

contributed to the life and work of the Academy.

Friends

As a Friend, with a 24 annual membership, you can

enjoy priority booking at one of Scotlands busiest artsvenues and the opportunity to attend special Academy

events.

Individual and Corporate Donors

If you would like to become more involved with the

Academy, as an individual or as a company, we can

tailor donor opportunities to your particular passions

and requirements. There are opportunities to support

scholarships, bursaries, the creation of much-needed

rehearsal and performance spaces, equipment,

productions, competitions and much more.

It is only with the continued support of Friends and

Donors that we are able to maintain the highest

creative and intellectual ambition for our students,

reach outside the Academy to engage with young

people across Scotland and offer the chance for

everyone to enjoy the power of performance please

consider joining us.

To discuss supporting the Academy and nd out more

about the different levels of membership please contact

the RSAMD Foundation ofce on:

0141 270 8254 or email: [email protected].

Take A SeatNow that the redevelopment of the New Athenaeum

Theatre at the RSAMD is complete, we need your

help.

Dedicating a seat is a great way to invest in creativity.

Make your mark and show your support of the

Academy, the performances we present, our students

and staff. All contributions, large or small, really can

make a huge difference.

Making a seat dedication is easy. For a minimum

donation of 250 (500 for businesses), you can dedicate:

As an individual, couple or family

In the name(s) of a special person or loved one

As a commemoration of an occasion or

performance

As a business

If you would like further information, please contact

Ailsa MacKenzie on 0141 270 8215 or email:

[email protected]

42

Our Supporters


23/23

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Glasgow

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Serge Prokofiev