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REVIEW: Steve Crowther’s verdict on York Opera in Gilbert and Sullivan’s The Sorcerer, York Theatre Royal, until Saturday

Outstanding; Anthony Gardner’s John Wellington Wells in York Opera’s The Sorcerer. Picture: Allan Harris

THE Sorcerer is a two-act Gilbert & Sullivan opera based on an earlier Sir William Schwenck Gilbert Christmas story, The Elixir Of Love, and is a typical poke in the eye satire on Victorian England’s class-ridden society.

It is the third operatic collaboration, and certainly not their best – much of the second half is dramatically pretty dull – but there is no denying that York Opera’s production of The Sorcerer is absolutely wonderful. And with a company led by John Soper (stage director and set design), Maggie Soper (costume design) and musical director Alasdair Jamieson, it just had to be, didn’t it.

The opening orchestral overture is pretty much spot on: crisp, articulate playing, generating a quiet confidence for the singers to draw from. And they do. The double chorus Ring Forth, Ye Bells is rhythmically tight and full of joie de vivre.

And why not. Love is in the air and the common villagers of Ploverleigh are preparing to celebrate the betrothal of Alexis Pointdextre (Hamish Brown, tenor), Grenadier Guards, son of local baronet Sir Marmaduke Pointdextre (Ian Thompson-Smith, baritone) and a total bore to boot, to the blue-blooded Aline Sangazure (Alexandra Mather, soprano), daughter of aristocratic Lady Sangazure (Rebecca Smith, contralto). A match made in heaven.

Constance (Emma Burke, soprano) is not a happy bunny as she is secretly in love with the local vicar Daly (Christopher Charlton-Mathews, baritone). However, after the first sighting of said vicar chasing butterflies with a butterfly net – a brilliantly comic scene that could have been choreographed by Sir Ed Dave – one did have to question why?

Anyway, that’s enough of the introductions. Emma Burke’s When He Is Here, I Sigh With Pleasure is simply delightful: lovely tone, crystal-clear diction. It is just a pity that there are so few opportunities here for Ms Burke to shine.

Anthony Gardner’s John Wellington Wells, left, Hamish Brown’s Alexis Pointdextre and Alexandra Mather’s Aline Sangazure in The Sorcerer. Picture: Allan Harris

The response from Mr Charlton-Mathews – a sweet, melancholic The Air Is Charged With Amatory Numbers and Time Was When Love And I Were Well Acquainted – are terrific. His comic timing and mannerisms are infectious. As indeed they prove to be throughout.

Following a crisply choreographed dance and a touching female chorus With Heart And With Voice, we arrive at the vocal high point, literally. Alexandra Mather (Aline) delivers a powerful Happy Young Heart with relatively eyewatering high notes.

Enter Sir Marmaduke – with a lineage going back to Helen of Troy, he claims – and Lady Sangazure. They clearly have history, not as far back as Homer’s Iliad, as revealed in their tender love duet, Welcome Joy, Adieu To Sadness.

Enter Alexis, who tells his blue-rinsed fiancée that love has the power to unite all classes and ranks (“without rank, age or fortune…”) in a passionate Love Feeds On Many Kinds Of, I Know. He decides to implement this musical ‘levelling-up’ policy via an elixir or love potion from the entirely respectable London firm, J.W. Wells & Co, Family Sorcerers.

And it is just as well he does as it introduces a show-stealing Anthony Gardner (baritone) in the form of John Wellington Wells. Mr Gardner’s spiky, animated and wonderfully sung My Name Is John Wellington Wells, followed by the theatrical incantation Sprites Of Earth And Air (with Alexandra Mather, Hamish Brown and Chorus) is the opera highlight. Of course it is. His pantomime villain is reminiscent of the incomparable David Leonard, infused with a dash of Del Boy.

What follows is A Midsummer Night’s Dream gone nuts. The potion is administered via a cup of tea from a giant teapot and, following hallucinatory experiences (Oh, Marvellous Illusion) and the village falls into a drug-infused sleep.

Act II begins at midnight, as tradition decrees, when the villagers wake up and instantly fall in love with the person next to them. Of the opposite sex, obviously! If the village people had an inkling of what was to come, they might have positioned themselves into a more advantageous position.

Ian Thomson-Smith’s Sir Marmaduke Pointdextre and Rebecca Smith’s Lady Sangazure. Picture: Allan Harris

As it is, all the matches made are both highly unsuitable and comical. The best of these by far is Constance (Emma Burke’s) duet with the ancient, ear-trumpeting notary Adrian Cook (bass,  with a clear lower register).

During the brilliantly performed Dear Friends, Take Pity On My Lot it is implied that his heart, so full of joy, is likely to be one ending in heart failure. There is a delightful vocal quintet, I Rejoice That It’s Decided, with Alexandra Mather, Amanda Shackleton, Hamish Brown, Christopher Charlton-Mathews and Ian Thompson-Smith. The balance is spot on.

But there is no way of getting away from it, the star is Anthony Gardner’s John Wellington Wells. He catches both the eye (big time) and the ear throughout; his performance is outstanding. Although why the villagers vote to do away with him and not the son of Sir Marmaduke Pointdextre, Alex, is beyond me. No offence meant Mr Brown, you are very good indeed.

Not all of the production is flawless; at times the orchestra and singers aren’t completely in sync and not all of the singing is pitch perfect. But this was the first night for goodness’ sake.

But let’s finish with a collective role call for the superb John and Maggie Soper, Pauline Marshall, Clare Bewers (stage manager) and Eric Lund (lighting) and all the hard-working creative team involved. Take a bow. The Sorcerer orchestra, excellent throughout. Take a bow. And lastly, but not least, musical director Alastair Jamieson, who conducts the whole comic opera with clarity, authority and musical insight. He must have been delighted. Take a bow. Hang on, you already have done.

York Opera, The Sorcerer, York Theatre Royal, tonight at 7.30pm; tomorrow, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Review by Steve Crowther

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Discover the elixir of love at first sight as York Opera stages Gilbert and Sullivan’s The Sorcerer at York Theatre Royal, July 3 to 6

Anthony Gardner’s John Wellington Wells practises his magic for York Opera’s production of The Sorcerer on a visit to The Potions Cauldron in Shambles, York

ON the last occasion that York Opera staged The Sorcerer in 2001, John Soper played the lead role of John Wellington Wells, the sorcerer of the title.

Roll on 23 years to find him directing the 1877 work, the first of Gilbert and Sullivan’s full-length operas, in next week’s run at York Theatre Royal.

“It’s a delight to be revisiting this great comic opera but this time as the director,” he says. “It’s shaping up to be a fantastic opera.

“In The Sorcerer we see the pattern for all Gilbert and Sullivan’s major works, from H.M.S. Pinafore to The Gondoliers. Its central character, John Wellington Wells, family sorcerer of St Mary Axe, was the first in the line of comedy ‘patter’ roles, followed in the ensuing years by the Major General, the Lord Chancellor, Koko and many others.”

Hamish Brown’s Alexis, left, Alexandra Mather’s Miss Aline Sangazure and Anthony Gardner’s John Wellington Wells in York Opera’s The Sorcerer. Picture: John Saunders

What unfolds in The Sorcerer?  Sir Marmaduke Pointdextre invites you to attend afternoon tea in the formal gardens of Ploverleigh Hall to celebrate the happy betrothal of his only son, Alexis, to Miss Aline Sangazure, daughter of Lady Annabella Sangazure. R.S.V.P. Ploverleigh Hall.

A love-at-first-sight elixir is mixed into the celebration tea by the sorcerer, John Wellington Wells. Mayhem ensues as the assembled guests fall under the magic spell. What could possibly go wrong?

All the cast members have been involved in numerous York Opera shows, led off by Anthony Gardner’s John Wellington Wells, his first York Opera principal role since Dick Deadeye in H.M.S. Pinafore in 2022.

Amanda Shackleton’s Mrs Partlet, left, Emma Burke’s Constance and Chris Charlton-Matthews’ Dr Daly in The Sorcerer. Picture: John Saunders

Hamish Brown, Macduff in Macbeth in 2023 and Tamino in The Magic Flute in 2021, will be Alexis, playing opposite Alexandra Mather, Josephine in H.M.S. Pinafore in 2022 and Pamina in The Magic Flute, as his beloved Aline.

Chris Charlton-Matthews, director of The Elixir Of Love in 2023, will play the vicar, Dr Daly, and Ian Thomson-Smith follows up Macbeth in Macbeth and Captain Corcoran in H.M.S. Pinafore with the role of Sir Marmaduke Pointdextre. 

Rebecca Smith, Little Buttercup in H.M.S. Pinafore, will be the aristocratic Lady Sangazure; Amanda Shackleton, Dame Hannah in Ruddigore in 2010, will play the “pew opener” Mrs Partlet, and Emma Burke, Gianetta in Elixir Of Love, will return as her daughter Constance.

York Opera in Gilbert and Sullivan’s The Sorcerer, York Theatre Royal, July 3 to 6, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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REVIEW: Martin Dreyer’s verdict on York Opera in Macbeth, York Theatre Royal

Sharon Nicholson-Skeggs’s Lady Macbeth and Ian Thomson-Smith’s Macbeth in York Opera’s Macbeth. All pictures: Ben Lindley

HARD on the heels of Opera North’s Falstaff, up pops York Opera with the first of Verdi’s three Shakespearean operas, Macbeth.

You do not undertake Macbeth without one absolutely key singer: not the title role, but that of his wife, Lady Macbeth. York Opera has that singer, in spades.

Sharon Nicholson-Skeggs has been sorely missed over the past few years but returns here in triumph, injecting her own special brand of inspiration and lifting the evening out of the ordinary. She alone is worth the price of admission, whatever reservations there may be elsewhere in John Soper’s production.

Beside the two Macbeths, there is another ‘character’ – according to Verdi’s own prescription –that is essential to this piece: the witches. He wanted them to be “coarse and gossipy” on the one hand and “sublime and prophetic” on the other.

A bewitching scene from York Opera’s Macbeth

The ladies of the chorus amply satisfy both requirements, indeed if they have a fault, it is their penchant for gossiping ‘off the ball’ when their attention should be elsewhere. But they blend well and their choruses are a vital pivot in the action.

Soper’s permanent set involves three huge pillars separated by wide stairways, with a low moveable platform in front. The colourings are dark, relieved only by the occasional hanging. Eric Lund’s gloomy lighting completes the bleak picture of Macbeth’s castle.

But a trick is missed with the three apparitions, who need spotlighting, with no illumination elsewhere; dry ice alone, and there is plenty in this show, does not make them ghostly enough.

The challenge facing every conductor of opera is to find a balance between accompaniment and direction, either going with the flow or commanding it. Derek Chivers opts almost exclusively for the more passive approach and as a result his tempos tend towards the sluggish, so that Verdi’s intensity slackens off alarmingly.

The returning Sharon Nicholson-Skeggs’s Lady Macbeth: “Her swoops skyward were spine-tingling, her resonance throughout her range thrilling,” writes reviewer Martin Dreyer

There were several occasions on this opening night when singers, either chorus or soloists, got slightly ahead of the beat, but were held back, usually to their disadvantage. Similarly, the orchestra too often lacked its usual spark though it was generally tidy.

In truth, Nicholson-Skeggs got off to an uneven start, with some wayward intonation in Act 1. Come her Act 2 monologue, however, she was firing on all cylinders. Thereafter she never looked back.

Splendidly attired in black and gold at the banquet (costumes by Maggie Soper), she delivered a resolute brindisi, alongside brilliant woodwinds, and the evening took on a new momentum. Her swoops skyward were spine-tingling, her resonance throughout her range thrilling. She is an outstanding talent.

Ian Thomson-Smith’s Macbeth was the proverbial curate’s egg, good in parts. He seemed to have an aversion to facing his audience, except in his final aria, as if he was not quite inhabiting the role. His character’s vacillations have somehow to look more convincing than this. But there was plenty of evidence that he is still a useful baritone.

Ian Thomson-Smith’s Macbeth: “His character’s vacillations have somehow to look more convincing than this,” writes reviewer Martin Dreyer

Lesser roles were well taken. Adrian Cook’s Banquo (also an eerie ghost), Hamish Brown’s Macduff and Leon Waksberg’s Malcolm all made distinctive contributions. So too did Polina Bielova’s anxious Lady-in-waiting, a promising talent.

The choreography was not credited, but reached its peak in Act 3, where the witches were at their most disciplined. Elsewhere there was less cohesion. In general, less is more with choreography, especially where arms are being waved.

This first night showed the seeds of something much better, but was not quite the finished article.

Further performances: tomorrow (20/10/2023), 7pm, and Saturday, 4pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Review by Martin Dreyer, October 18

Ian Thomson-Smith’s Macbeth in one of his encounters with the Witches in John Soper’s production of Verdi’s Macbeth
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REVIEW: Martin Dreyer’s verdict on York Opera in The Elixir Of Love, Joseph Rowntree Theatre, York, May 18 to 20

Hamish Brown as Nemorino and Ian Thompson-Smith as Dr Dulcamara in York Opera’s The Elixir Of Love

WITH spring in the air, a young man’s thoughts turn to love. Nemorino is the love-lorn peasant in Donizetti’s melodramma giocoso – let’s call it a witty farce – and the course of his true love is bound to run less than smoothly. So he looks to a love potion to fix his problems and finds himself in even deeper water.

That is the essence of Romani’s libretto, sung here in Ruth and Thomas Martin’s English translation. York Opera’s new production, in the hands of Chris Charlton-Mathews, making his directing debut with the company, provides just the tonic we all need as the sap begins to rise again post-pandemic.

The focus here is the con artist who supplies the potion (actually alcohol), the travelling medicine-man Dulcamara. Ian Thompson-Smith makes the role his own. Smarmy and smug, self-assured and spivvy, he is just what this production needs, given that it has been updated to the 1940s, with Italy desperately seeking to rehabilitate itself after the war. His baritone is firm, his diction is clear and his charisma never deserts him.

David Valsamidis’s Sergeant Belcore and Alexandra Mather’s Adina

Naturally he has the down-trodden peasantry eating out of his hand; they have been through hard times. This includes Hamish Brown’s Nemorino, whose journey from self-doubt to amatory success is neatly managed.

Over the years, Brown has gradually acquired a confident stage presence and this is his best character yet. He provides the greatest pathos of the evening in his last aria – Una Furtiva Lagrima (A Furtive Tear) in the original – with eloquent phrasing.

The target of his affections is the Adina of Alexandra Mather, who makes an engaging transition from standoffishness to tenderness. Her coloratura is in good nick and at its best in the finale. Oddly enough, she is less well-focused in easier passages earlier in the show. But talent will out and she surmounts her difficulties.

Emma Burke in her York Opera debut as Gianetta

David Valsamidis brings a strong baritone to the role of Sergeant Belcore, leading a rag-tag platoon of GIs and posing as saviour of the wretched villagers. His acting is less fluent but he has potential. So too has Emma Burke, who makes the very most of her cameo as Giannetta. We may look forward to their return in future productions.

The chorus is relentlessly enthusiastic and brimming with bonhomie. They certainly take Donizetti’s catchy tunes to heart and sing as if their lives depended on it. Two cautions, however. There were several occasions on the first night when they raced ahead of conductor Steve Griffiths.

His beat was perfectly clear from within the auditorium, but perhaps his proximity to the stage makes his baton hard to see on stage. If so, he should raise his arms a little; if not, the chorus must pay more attention.

York Opera in Donizetti’s witty farce The Elixir Of Love

Secondly, it is an error on the right side to be involved, but when a soloist is performing, individual members of the chorus should not be reacting as characters in their own right. Group chorus reactions are fine, solo ones are distracting. The exception of course is when the chorus itself is in the spotlight, when choreographed unity is to be encouraged.

Griffiths keeps his small orchestra on its toes and it answers his every call. Highlights include some notable flute passagework, and a mellow bassoon accompanying Nemorino’s last aria. Rhythms are strong throughout and the spirit of the dance is infectious. Maggie Soper’s costumes, as always, are right in period: we know at once where we are without being told.

In general, Charlton-Mathews does an excellent job of marshalling his forces on this small stage. He just needs a touch more discipline in his chorus. But this is a company whose morale is definitely back in high gear, suiting the season perfectly.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on York Opera in Mozart’s The Magic Flute

Heather Watts as Queen of Night in York Opera’s The Magic Flute: “Fiery coloratura spiced with menacing gesture”. Picture: Benjamin Lindley

The Magic Flute, York Opera, at York Theatre Royal, tonight and Friday, 7.15pm; Saturday, 4pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk

AFTER 20 frustrating months, York Opera is back where it belongs – on the Theatre Royal stage. We may all rejoice.

Running an opera company is backbreaking work at the best of times. Covid has been making it a whole heap harder. Mozart’s last opera would not necessarily be an automatic choice after so long a lay-off and is certainly not an easy option. But the company has dug deep and delivers the goods in a splendid revival of John Soper’s traditional production, first seen in 2009.

In the distribution of laurels, there are many individuals to compliment. But one entity stands out. Derek Chivers’s 20-piece band, using an excellent orchestral reduction by Kenneth Roberts, takes the score by storm.

Hamish Brown’s Prince Tamino and Alexandra Mather’s Pamina. Picture: Benjamin Lindley

On opening night they began untidily, to be sure, but halfway through the overture there was no stopping them, inspired by a woodwind quartet of the highest calibre whose colourings and accuracy are a marvel throughout. Claire Jowett, a stalwart of so many groups, offers untiring leadership of the strings. One member, James Sanderson, slips in and out of the pit as player of the magic bells when not singing First Priest, a unique double act.

The singers clearly relish such a strong foundation. Foremost among them is Heather Watts, who returns to deliver another impeccable Queen of Night, fiery coloratura spiced with menacing gesture, a thrilling performance by any standards. David Valsamidis makes a witty, amiable Papageno, whose superb diction is allied to a warm baritone. Unlike some, he never forgets his audience.

Alexandra Mather is a fetching Pamina, whose emotions are conveyed not only by her clear soprano but also by complementary facial expressions, a valuable asset. Her Tamino is Hamish Brown, who takes the role that illness denied him last time round. His tendency to jerky movement undermines his princeliness, but his accurate if pinched tenor covers the ground well.

Monostatos might suit his personality better. That role goes to Ian Thomson-Smith, last time’s Papageno. He sings it musically but without quite the venom this nasty character demands. The Sarastro of Mark Simmonds is clad much like an orthodox priest; his bass is a little underpowered at the bottom of the range, but otherwise firm and decisive.

David Valsamidis: “Makes a witty, amiable Papageno” in his York Opera debut. Picture: Benjamin Lindley

Lesser roles are covered with distinction, reaffirming the company’s strength in depth. Clive Goodhead is an authoritative Speaker, doubling as an Armed Man (here described as Guardian of Fire), while Elizabeth Vile is a vivid Papagena.

I was much taken by the three Genies, Victoria Beale, Hannah Just and Maggie Smales – standing in for the usual ‘Boys’ – blending superbly like their rich white brocades, breeches and tricorns. Equally impressive are the spear-carrying Three Ladies, Annabel van Griethuysen, Rebecca Smith and Maggie Soper, a determined trio.

The chorus seems to have acquired some new blood and sounds fresh and committed. They are also very disciplined, moving with intent but keeping still when merely onlookers, which is easier said than done. I had forgotten how rich Maggie Soper’s costumes are, distinctive and a feast for the eye. A word, too, for Eric Lund’s nicely varied lighting.

John Soper’s own masonic-style permanent set fits the bill well: two panels of stars and planets divided by gold triangles and circle, with a chessboard platform in front. If it were a little closer to front-stage, some of the solo voices would resonate better than they do from further back. His production is now even more slick than before and more clearly organised; he merely needs to get some of the spoken dialogue better projected. But this is a cheering evening in so many ways and deserves widespread support.

Review by Martin Dreyer

Maggie Soper’s costumes in York Opera’s The Magic Flute: “Distinctive and a feast for the eye”. Picture: Benjamin Lindley
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York Opera to return to York Theatre Royal after two-year hiatus with The Magic Flute

Alexandra Mather’s Pamina, Mark Simmonds’s High Priest Sarastro and Hamish Brown’s Prince Tamino in York Opera’s The Magic Flute. Picture: John Saunders

YORK Opera will return to York Theatre Royal after a pandemic-enforced two-year gap with Mozart’s The Magic Flute next week.

Sung in English to orchestral accompaniment, Mozart’s last great operatic masterpiece will be performed on November 2, 3 and 5 at 7.15pm and on November 6 at 4pm.

The story follows Prince Tamino and his quest to rescue his beloved Pamina from the grasp of her mother, the evil Queen of the Night, and return with her to the world of light presided over by Sarastro, the High Priest of Isis and Osiris.

Premiered in 1791, the year of Mozart’s death, The Magic Flute has a deep and serious theme: the ultimate triumph of light and enlightenment over the powers of darkness and superstition. Yet the story of a Prince finding his true love in a world of dragons, magic bells and magic flute serves as an operatic pantomime too, making it the perfect introduction to opera.

David Valsamidis: Making his York Opera debut as bird catcher Papageno

York Opera’s stage director for The Magic Flute is John Soper, a long-serving member, baritone soloist and publicity designer, who has designed the sets too. Musical direction is in the hands of Derek Chivers, whose last appearance with the company was as musical director and conductor for Carmen in 2018.

Among the many soloists will be Mark Simmonds as High Priest Sarastro, Heather Watts as Queen of the Night, Hamish Brown as Prince Tamino and Alexandra Mather as Pamina, while bass David Valsamidis makes his York Opera debut as Papageno, the Queen of the Night’s bird catcher.

To complement these five major roles, a dozen more named solo parts ensure York Opera’s wide-ranging vocal talent will be on display.

Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

Heather Watts, as the Queen of the Night, left, and Alexandra Mather, as Pamina, in York Opera’s The Magic Flute. Picture: John Saunders

Meanwhile, a note from York Opera…

OPERA is possibly the most demanding of all the arts, especially for any young singers dreaming of becoming established performers.

Those setting out on such a road need reliable opportunities to learn and develop their craft both as singers and actors. Where are they to receive the support that they need?

Look at how York Opera responds to this need. This amateur opera group prides itself on its high standards and its determination to employ York and district orchestral musicians to accompany the productions of grand opera and other works, staged twice a year for more than 50 years.

Latterly too, York Opera has welcomed an influx of younger singers, who have complemented and extended the range of expertise within the group.

Alexandra Mather: York opera singer attended the Glyndebourne Academy in 2019. Picture: James Belloris

In addition, plans were in place to try out a handful of new stage directors and musical directors, moving on from their roles as assistants or repetiteurs. They were to have the support of an overall production manager, Clive Marshall, one of York Opera’s most experienced producers, and would have taken charge of four fully staged operatic excerpts to be performed at York’s National Centre for Early Music.

Unfortunately, the Covid pandemic brought everything to an abrupt halt. Now, nearly two years later, York Opera is almost back on track.

All these developments came under the umbrella of York Opera’s Stepping Stones project, one that received a boost from Australian soprano Danielle de Niese, whose home at Glyndebourne, in Sussex, has its own springboard: the Glyndebourne Academy.

This operatic development project aims to support gifted and talented young singers, and so far, two York Opera members, Andrew Powis and Alexandra Mather, have taken part, with hopes that others will do so in future.

Soprano Danielle de Niese: Letter of support to York Opera

Learning of this involvement, Danielle de Niese has provided a letter of support. “I was approached by the president of York Opera, Clive Goodhead, after a performance of Massenet’s Cendrillon at Glyndebourne Opera House. He explained that York Opera has a proud and firm reputation as a long-standing, highly successful amateur group up in Yorkshire.

“One of York Opera’s charitable aims is to provide opportunities for young singers, especially those who might entertain the idea of becoming future professionals. In this respect, its aims have much in common with those of Glyndebourne’s Academy programme.

“The latter is widely recognised as an amazing opportunity for young singers. Always massively oversubscribed, it represents a real achievement and outstanding opportunity for anyone who passes its auditions.

“York Opera, I am told, is delighted to have seen two of its younger members, Andrew Powis and Alexandra Mather, joining the project in recent times. I am most happy to offer both of these singers my best wishes for their operatic futures.

York Opera singer Andrew Powis, who has studied at the Glyndebourne Academy

“I am also more than pleased to offer my sincere appreciation to York Opera. It has my whole-hearted support as a vital early stepping stone for younger opera singers aspiring to be professionals one day.”

Alexandra Mather will be playing Pamina in The Magic Flute and around a dozen other principals and chorus members in next week’s production at York Theatre Royal are younger singers.

“Opportunities of this sort are vital if the United Kingdom is to provide reliable home-grown experiences as stepping stones for the next generation of professional opera performers,” says Clive Goodhead.

“Amateur groups of the quality and stability of York Opera deserve greater recognition and support themselves. The group is a registered charity (No. 700279), one of our aims being to educate in the art of opera. We are self-supporting, actively welcoming of new members and always seeking sponsorship.”

More information can be found at yorkopera.co.uk.