Tag: York Opera

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Looking for More Things To Do in York and beyond? I got you, babe. Time to share Hutch’s List No. 105, courtesy of The Press

Made for Chering: Millie O’Connell’s Babe, left, Debbie Kurup’s Star and Danielle Steers’ Lady in The Cher Show: A New Musical. Picture: Matt Crockett

FROM Cher times three and Charlie and that chocolate factory, to G&S and Oliver!, musical entertainment dominates Charles Hutchinson’s diary.

Cher, Cher and Cher alike: The Cher Show: A New Musical, Grand Opera House, York, Tuesday to Saturday, 7.30pm; 2.30pm, Wednesday and Saturday

TURNING back time, Millie O’Connell’s Babe, Danielle Steers’s Lady and Debbie Kurup’s Star share out the Cher role in The Cher Show, the story of the American singer, actress and television personality’s meteoric rise to fame as she flies in the face of convention at every turn.

This celebration of the “Goddess of Pop” and “Queen of Reinvention” packs in 35 hits, I Got You Babe, If I Could Turn Back Time, Strong Enough, The Shoop Shoop Song, Believe et al. Box office: 0844 871 7615 or atgtickets.com/York.

Oliver at the double: Fin Walker, left, and Zachary Pickersgill will be sharing the title role in NE’s production of Oliver!

Community musical of the fortnight: NE in Oliver!, Joseph Rowntree Theatre, York, November 16 to 19 and 22 to 26, 7.30pm; 2.30pm, Saturday matinees

NE, formerly NE Musicals York and soon to be renamed again, are performing a fortnight’s run for the first time, presenting Lionel Bart’s musical Oliver! in a revised version that complements the familiar songs and characters with added scenes to “bring the story to life in more detail”. 

Two teams of performers will be undertaking alternate performances, led by Zachary Pickersgill and Fin Walker, sharing the role of Oliver Twist, and Henry Barker and Toby Jensen’s Artful Dodger. Director Steve Tearle plays Fagin for the fourth time, joined in the production team by musical director Scott Phillips and choreographer Ellie Roberts. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Exhibition of the week: Lesley Seeger & Katherine Bree, Pigment & Stone, Pyramid Gallery, Stonegate, York, in collaboration until November 27

Jewellery designer Katherine Bree, left, and artist Lesley Seeger in the North Yorkshire countryside

LESLEY Seeger and Katherine Bree form Yorkshire-London collaboration for the painting and gemstone show Pigment & Stone at Pyramid Gallery.

In a celebration of form and colour with an earthy elemental twist, city jewellery designer Katherine has chosen paintings by Huttons Ambo landscape painter Lesley as inspiration for her new collection of gemstone treasures.

Katherine divides her collections into the four elements – earth, air, fire and water – and this provides a perfect complement to Lesley’s elemental paintings, which she describes as “talismans that will reveal themselves over time with their rich histories of place, layers and colour”.

Love-struck at sea: Jack Storey-Hunter’s sailor Ralph and Alexandra Mather’s Josephine, the Captain’s daughter, in York Opera’s HMS Pinafore

Light opera of the week: York Opera in HMS Pinafore, York Theatre Royal, Wednesday to Saturday, 7.30pm; 2.30pm Saturday matinee

YORK Opera sets sail in Gilbert & Sullivan’s operetta HMS Pinafore or The Lass That Loved A Sailor, steered by a new command of stage director Annabel van Griethuysen and conductor Tim Selman.

The story follows Ralph (society newcomer Jack Storey-Hunter), a lovesick sailor, and Josephine (Alexandra Mather), the Captain’s daughter, who are madly in love but kept apart by social hierarchy. All aboard for such G&S favourites as We Sail The Ocean Blue, Never Mind The Why And Wherefore and When I Was A Lad. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Charlie And The Chocolate Factory cast members in the rehearsal room at Leeds Playhouse. Picture: Johan Persson

Yorkshire’s big opening of the week: Charlie And The Chocolate Factory – The Musical, Leeds Playhouse, November 18 to January 28

CHOCK-A-BLOCK! Around 30,000 chocoholics have booked their golden ticket already for Leeds Playhouse’s winter musical spectacular, presented in association with Neal Street Productions and Playful Productions ahead of a British tour.

Songs such as The Candy Man and Pure Imagination from the film versions of Roald Dahl’s sweet-toothed adventure will be bolstered by new songs by Marc Shaiman and Scott Wittman. Gareth Snook’s Willy Wonka, Kazmin Borrer’s Veruca Salt and Robin Simoes Da Silva’s Augustus Gloop lead James Brining’s cast; Amelia Minto, Isaac Sugden, Kayleen Nguema and Noah Walton share the role of Charlie Bucket. Box office: 0113 213 7700 or leedsplayhouse.org.uk.

Chloe Latchmore: York Musical Society’s mezzo-soprano soloist for The Armed Man: A Mass For Peace at York Minster

Classical concert of the week: York Musical Society, The Armed Man: A Mass For Peace, York Minster, November 19, 7.30pm

YORK Musical Society’s dramatic performance of Sir Karl Jenkins’s powerful work The Armed Man: A Mass For Peace features full orchestra and soloists soprano Ella Taylor, mezzo-soprano Chloe Latchmore, tenor Greg Tassell and baritone Thomas Humphreys.

Jenkins’s work will be complemented by Joseph Haydn’s lyrical 1796 Mass In Time Of War – Missa In Tempore Belli, also known as Paukenmesse (Kettle Drum Mass in German), on account of its kettle drum solo. Box office: 01904 623568, at yorktheatreroyal.co.uk and on the door.

The poster for South Bank Studios’ Art & Craft Winter Fair at Southlands Methodist Church

Looking for Christmas presents? South Bank Studios Art & Craft Winter Fair, Southlands Methodist Church, November 19, 10am to 5pm

SOUTH Bank Studios’ winter fair assembles 28 artists and crafters, who will be displaying and selling their original artwork and creations, targeted at the Christmas market.

Browers and buyers alike can tour the 18 studios within the church building’s upper floors with a chance to meet assorted artists in situ. Entry is free and refreshments are available throughout the day.

Julie Madly Deeply: Sarah-Louise Young celebrating the life and songs of Dame Julie Andrews at Theatre@41. Picture: Steve Ullathorne

Truly scrumptious show of the week: Sarah-Louise Young in Julie Madly Deeply, Theatre@41, Monkgate, York, November 20, 7.30pm

AFTER her glorious An Evening Without Kate Bush, Fringe favourite Sarah-Louise Young returns to York with her West End and Off-Broadway smash in celebration of “genuine showbiz icon” Dame Julie Andrews.

Fascinating Aida alumna Young’s charming yet cheeky cabaret takes a look at fame and fandom by intertwining Andrews’ songs from Mary Poppins, The Sound Of Music and My Fair with stories and anecdotes of her life, from her beginnings as a child star to the challenges of losing her singing voice, in a humorous, candid love letter to a showbusiness survivor. Box office: tickets.41monkgate.co.uk.

Strictly between them: Ten – yes ten, count’em – Strictly Come Dancing professionals will be sashaying their way to York Barbican next May

Hot ticket of the week: Get a move on for Strictly Come Dancing – The Professionals, York Barbican, May 12 2023

 HURRY, hurry! The last few tickets are still on sale for a spectacular line-up of ten professional dancers from the hit BBC show: Strictly professionals Dianne Buswell; Vito Coppola; Carlos Gu; Karen Hauer; Neil Jones; Nikita Kuzmin; Gorka Marquez; Luba Mushtuk; Jowita Przystal and Nancy Xu.

“Don’t miss your chance to see these much-loved dancers coming together to perform in a theatrical ensemble that will simply take your breath away,” says the Barbican blurb. Box office: ticketmaster.co.uk/strictly-come-dancing-the-professionals-2023-york.

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York Opera head to sea in Gilbert and Sullivan’s love-struck HMS Pinafore at York Theatre Royal from November 16 to 19

Madly in love but kept apart by social hierarchy: Lovesick sailor Ralph (Jack Storey-Hunter) and the Captain’s daughter, Josephine (Alexandra Mather), in York Opera’s HMS Pinafore

YORK Opera will set sail at York Theatre Royal with Gilbert & Sullivan’s operetta HMS Pinafore or The Lass That Loved A Sailor from November 16, steered by a new production team of Annabel van Griethuysen and Tim Selman.

Stage director Annabel and conductor Tim will be at the helm of a production at the Theatre Royal for the first time.

HMS Pinafore was G&S’s first big success, both in Great Britain and the United States, establishing their still undiminished position at the pinnacle of light opera in this country.

Although they had had significant success with Trial By Jury and The Sorcerer, the world of light opera in the 1850s and 1860s was dominated by the works of Jacques Offenbach, full of catchy tunes and brilliantly orchestrated. 

Breaking into this field of theatre and dominating it across the English-speaking world must be due greatly to the witty and topical libretti by W.S. Gilbert. In conjunction with Sullivan’s sparkling and tuneful musical settings, HMS Pinafore established the rock on which all the subsequent G&S repertoire would be founded.

Annabel van Griethuysen’s Carmen in York Opera’s Carmen at York Theatre Royal in October 2018. Now dietician Annabel switches from mezzo-soprano singing to stage directing HMS Pinafore

The story follows Ralph, a lovesick sailor, and Josephine, the Captain’s daughter, who are madly in love but kept apart by social hierarchy. The musical numbers, loved by young and old alike, include We Sail The Ocean Blue, Never Mind The Why And Wherefore and When I Was A Lad.

As usual with York Opera’s G & S productions, a healthy mix of youth and experience combines in the cast. New to the company are Jack Storey-Hunter in the leading tenor role of Ralph Rackstraw and Polina Bielova as Cousin Hebe. 

Well-known cast members in the line-up include Alexandra Mather in the leading soprano role of Josephine; John Soper as Sir Joseph Porter; Ian Thomson-Smith as Captain Corcoran; Rebecca Smith as Little Buttercup and Anthony Gardner as Dick Deadeye.

York Opera in Gilbert & Sullivan’s HMS Pinafore, York Theatre Royal, November 16 to 19, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 623568 or yorktheatreroyal.co.uk

Sea-bound: Jack Storey-Hunter’s Ralph and Alexandra Mather’s Josephine in York Opera’s HMS Pinafore
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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.

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OBITUARY: Roy Gittins, 1929-2020, York Opera director and chairman

Roy Gittins, York Opera director and chairman

YORK Opera members past and present have been saddened to hear of the death of founder member, director and chairman Roy Gittins.

A chemistry teacher – indeed head of chemistry at Tadcaster Grammar School until his retirement – Roy also had a lifelong love of theatre.

Initially, this was as an amateur actor in roles ranging from William Shakespeare to Samuel Beckett and Harold Pinter, before he was introduced by teaching colleague John Warburton to a group of young singers on the cusp of “graduating” from the York Youth Operatic and Choral Society.

Not finding a company in York to suit their love of opera and operetta, instead they formed City Opera Group in 1966, Roy joining as their mentor and first chairman.

Over a 25-year span, he directed around 40 operas, including Verdi’s Nabucco and Macbeth, Rossini’s William Tell and Vaughan Williams’s unjustly neglected English folk opera Hugh The Drover, a production highly praised by the composer’s widow, Ursula Vaughan Williams, who came to see it.

After working for many years in the Joseph Rowntree Theatre, Roy oversaw the move of major shows to York Theatre Royal with his production of Puccini’s Turandot in 1986, when the company became known as York Opera.

His contribution to York Opera and the musical and artistic life of York has been immense and he will be remembered with great affection and gratitude. Roy leaves a daughter, Rachel Morgan, and son, Paul Gittins, to whom York Opera send their love and deepest sympathy.