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ROH table

[edit]
Royal Opera House chief executive Opera company music director Director of Opera Notes
1946 to 1970
David Webster
1946 to 1951
Karl Rankl
none none
1955 to 1958
Rafael Kubelík
none
none 1959 to 1960
Lord Harewood
none
1960 to 1962
Bernard Keeffe
none
1961 to 1971
Georg Solti
none
1962 to 1971
Joan Ingpen
none
1970 to 1988
John Tooley
none
1971 to 1986
Colin Davis
none none
1973 to 1981
Helga Schmidt
none
1983 to 1987
Peter Katona
none
1987 to 2002
Bernard Haitink
1987 to 1993
Paul Findlay
none
1988 to 1996
Jeremy Isaacs
none
1993 to 1998
Nicholas Payne
none
January to May 1997
Genista McIntosh
none
September 1997 to March 1998
Mary Allen
none
September 1998 to June 2000
Michael Kaiser
none none
none 2000 to 2011
Elaine Padmore
none
May 2001 to present
Tony Hall
none
2002 to present
Antonio Pappano
none
2011 to present
Kasper Holten
none

without fourth column: rows start disappearing

[edit]
Royal Opera House chief executive Opera company music director Director of Opera
1946 to 1970: David Webster 1946 to 1951: Karl Rankl none
1955 to 1958: Rafael Kubelík
none 1959 to 1960: Lord Harewood
1960 to 1962: Bernard Keeffe
1961 to 1971: Georg Solti
1962 to 1971: Joan Ingpen
1970 to 1988: John Tooley
1971 to 1986: Colin Davis none
1973 to 1981: Helga Schmidt
1983 to 1987: Peter Katona
1987 to 2002: Bernard Haitink 1987 to 1993: Paul Findlay
1988 to 1996: Jeremy Isaacs
1993 to 1998: Nicholas Payne
January to May 1997: Genista McIntosh
September 1997 to March 1998: Mary Allen
September 1998 to June 2000: Michael Kaiser none
none 2000 to 2011: Elaine Padmore
May 2001 to present: Tony Hall
2002 to present: Antonio Pappano
2011 to present: Kasper Holten

Larkin refs

[edit]

uncited books

[edit]
  • Booth, James (2005) Philip Larkin: The Poet's Plight, Palgrave Macmillan. ISBN 1-4039-1834-1
  • Whalen, Terry (1986) Philip Larkin and English Poetry, University of British Columbia Press. ISBN 0-7748-0232-4

Rambles

[edit]

Lead

[edit]
  • "Issued in 1844, it is her last" - mixing tenses?
  • "The sites that Rambles describes are similar to those of other travel books of the time" - doesn't seem to mesh quite, though can't identify any error
  • "tradition of her mother, Mary Wollstonecraft, and Lady Morgan" - there's a tiny ambiguity here (are we talking about 2 ppl or 3?) "tradition of Lady Morgan and Mary Wollstonecraft, her mother" would avoid this
  • "Shelley's aim was to arouse sympathy in England for the Italian revolutionaries, such as Gatteschi" - lose the "the"?
  • In that paragraph mixture of tenses: "challenged", "aim was ", "She rails", "She describes" - just checking that's ok?
  • "Shelley's political commentary on Italy was specifically singled out for praise, particularly since it was written by a woman. However, for most of the nineteenth and twentieth centuries, Shelley was known only" - feel the need for an extra word or two somewhere, eg "..was generally known.

Risorgimento

[edit]
  • "Prior to the nineteenth century, Italy was divided" would prefer something like "From xxx until the 19th..." or "By the start of the 19th....": currently suggest that Italy had never previously been anything other than "duchies and city-states"
  • "Giuseppe Mazzini, a Carbonari who was exiled from Italy" - just checking this plural-looking word is correct for a single person?
  • "These nationalist revolutionaries, ironically with foreign support" - I can see the irony, but actually its pretty typical for other countries to interfere like this (eg French in US), so the word feels a bit naive to me

1840

[edit]
  • Put the pre-1840 info into the pluperfect tense eg "Mary Shelley and her husband Percy Bysshe Shelley had lived in Italy from 1818 to 1823" maybe? [I do mean "pluperfect" don't I? I remembering from Latin lessons when I was nine]. Especially as you go into it later in paragraph "Mary Shelley had always wanted"
  • "since none of them spoke German, the group was forced to remain together" makes it sound like they actively wanted to get away from one another, when presumably you mean that they had no opportunity to etc etc?
  • "reminisced about how she and Percy had almost rented a villa with Lord Byron" - where? there?
  • "in Italy] I might live – as once I lived—hoping—loving—aspiring enjoying" inconsistency of dashes?

184–24

[edit]
  • "She also spent time sitting at Percy Bysshe Shelley’s grave in Rome" something about this bothers me, in the context, but can't work out why. I think I'm wanting to know if it was a series of regular visits, or one long one
  • "He was young—not yet 30—and had participated in a failed Carbonari rebellion against Austria in 1830–31; as a result, he was in exile" would prefer something like "He was young - not yet 30 - and in exile, following his participation in ...." to get rid of slight ambiguity ("He was young....as a result, he was in exile")
  • "Moskal points out that "the strength of [Shelley’s] devotion overturned her previous resolve not to publish again" - can you "point out" an opinion?
  • I know that you're writing in American English but "she wrote Moxon" really jars English eyes. Would "she wrote to Moxon" be possible in American English?

Description of text Part 1

[edit]
  • "Shelley becomes ill in Germany and again pauses at Baden-Baden to recover her health" - the "again" is confusing me
  • "After recovering her health and her spirits, the group proceeds..." sounds like the group recovered her health

History of the travel narrative

[edit]
  • "Over the course of the eighteenth century, the Grand Tour became increasingly popular; travel to the Continent for Britain’s elite was not only educational but also nationalistic. All aristocratic gentlemen took similar trips and visited similar sites, often devoted to developing an appreciation of Britain from abroad" I feel that the structure of these two sentences could be rejigged so that the point I think you're making about the "nationalistic" element is made more straightforwardly. Even just replacing the semi-colon with a fullstop and the fullstop with a colon would help my progress
  • "During the Napoleonic Wars, the Continent was closed to British travellers" Entirely closed? Largely closed? So closed as to make any attempt pointless? A qualifier would stop me wondering
  • "and the Grand Tour came under increasing criticism, particularly from radicals such as Mary Shelley's father, William Godwin, who scorned its aristocratic connections" I feel a better word that connections might be available - "aristocratic connections" are those I imagine a person, not a thing, having
  • "That is, they claimed to have experienced the true culture of an area and their reactions to it were specifically personal, as opposed to the generic guidebooks, in which the response is specifically impersonal" feels odd to be comparing people ("they" the writers) with books ("generic guidebooks")

Rambles as a travel narrative

[edit]
  • "Although Shelley even dedicated Rambles to Rogers, her preface acknowledged Lady Morgan" I found this a little chewy
  • "In order to make her politics more palatable to her audience, however, Shelley often uses the analysis of literature and art to make her points" better without the "the"?
  • "Shelley's travel narrative...is a part of the Romantic emphasis on the individual" is there a better way of phrasing this?

Travel narratives by women writers

[edit]
  • "Mary Shelley violated the mid-nineteenth century taboo on women discussing politics" - is "on" the right word? "against"? "about"?
  • "Wollstonecraft is described as asking "men’s questions" when she is curious about her surroundings and both Lady Morgan’s and Elizabeth Barrett Browning’s travel narratives received hostile reviews because they discussed political issues. Both Shelley and her mother, Mary Wollstonecraft" - Two "both"s in quick succession
  • "Also like her mother...Shelley emphasised her role as a mother in the text" seems a bit clumsy.

Italian politics

[edit]
  • "In writing about the Italian situation, Shelley was also advocating" - you've been using the present tense ("Shelley’s stated aim in Rambles is to raise awareness" "On a general level, she articulates" etc) up to now in this paragraph (mostly!)

National character

[edit]
  • "It was, in fact, how political events affected the people that Shelley was most interested in describing in Rambles." - I had to read this sentence three times before I got the right end of the stick
  • "she did so again" - again, are you going to be consistent with your use of the present tense?
  • "Shelley's trips to Italy were a way for her to revisit memories of her deceased husband, Percy Shelley, and the children they had buried there. Moskal argues that Shelley needed to "expiate" her survivor guilt.[102] Shelley writes about this process in Rambles" - which process? I'm a little unsure what exactly you're referring back to?
  • "using the trope of a pilgrimage" - this means nothing to me, I'm afraid. I'm, like, totally "huh?"

Playing with tables

[edit]

All repertoire in one table, as on 20.07.10

[edit]
Season Opera[1] Composer Principal cast Conductor Director Designer[2]
1978–79 Samson et Dalila Saint-Saëns Gilbert Py (Samson), Katherine Pring (Dalila), John Rawnsley (High Priest) David Lloyd-Jones Patrick Libby John Stoddart
1978–79 Les mamelles de
Tirésias
[3]
Poulenc Joy Roberts (Thérèse), Stuart Harling (The Husband) Clive Timms John Copley Robin Don
1978–79 Dido and Aeneas[4] Purcell Ann Murray (Dido), Sandra Dugdale (Belinda), Ian Caddy (Aeneas) Clive Timms Ian Watt‑Smith Alexander
McPherson
1978–79 La bohème Puccini Robert Ferguson (Rodolfo), Eilene Hannan (Mimi), John Rawnsley (Marcello), Margaret Haggart (Musetta) David Lloyd‑Jones/
Clive Timms
Patrick Libby Margaret Harris
1978–79 Orpheus in the
Underworld
Offenbach Peter Jeffes (Orpheus), Sandra Dugdale (Euridice), Eric Shilling/Thomas Lawlor (Jupiter), Bonaventura Bottone (John Styx) Clive Timms Wendy Toye Malcolm Pride
1978–79 The Magic Flute Mozart Robert Ferguson (Tamino), Eiddwen Harrhy (Pamina), Stuart Harling (Papageno), Don Garrard/John Tranter (Sarastro), Margaret Haggart/Iris Saunders (Queen of the Night) David Lloyd-Jones Anthony Besch John Stoddart
1978–79 Hänsel und Gretel Humperdinck Claire Powell (Hansel), Elizabeth Gale (Gretel), Ann Howard (Witch) David Lloyd-Jones Patrick Libby Adam Pollock
1978–79 Die Fledermaus J Strauss Nigel Douglas (Eisenstein), Sheila Armstrong (Rosalinda), Joy Roberts (Adele), Ramon Remedios (Alfredo) David Parry Patrick Libby Jane Kingshill
1978–79 Peter Grimes Britten Robert Ferguson (Grimes), Ava June (Ellen Orford), Geoffrey Chard (Balstrode) David Lloyd-Jones Colin Graham Alix Stone
1978–79 The Marriage of Figaro Mozart Paul Hudson (Figaro), Joy Roberts (Susanna), Stuart Harling (Count), Eiddwen Harrhy (Countess), Marie McLaughlin (Cherubino) David Lloyd-Jones/
John Pryce-Jones
Patrick Libby Robin Don
1978–79 La traviata Verdi Lois McDonall (Violetta), Ryland Davies (Alfredo), Christian du Plessis (Germont) Clive Timms John Copley David Walker
1979–80 Rigoletto Verdi John Rawnsley/Michael Lewis (Rigoletto), Michael Renier/Robert Ferguson (Duke), Joy Roberts/Margaret Neville (Gilda) John Pryce-Jones/
Clive Timms
Patrick Libby Maria Björnson
1979–80 Tosca Puccini Elizabeth Vaughan (Tosca), Kenneth Collins (Cavaradossi), Geoffrey Chard (Scarpia) David Lloyd-Jones Steven Pimlott Margaret Harris
1979–80 The Flying Dutchman Wagner Peter Glossop (The Dutchman), Arlene Saunders (Senta), Paul Hudson (Daland), Robert Ferguson (Erik) David Lloyd-Jones Basil Coleman Robin Don
1979–80 The Merry Widow Lehár Elizabeth Harwood (Hanna Glawari), David Hillman (Danilo), Bente Marcussen (Valencienne), Adrian Martin (Camille), Thomas Lawlor (Baron Zeta) David Lloyd-Jones/
John Pryce-Jones
Wendy Toye Bob Ringwood
1979–80 Hänsel und Gretel Humperdinck Fiona Kimm (Hansel), Kate Flowers (Gretel), Ann Howard (Witch) David Parry Revival of 1978–9 production
1979–80 Carmen Bizet Gillian Knight/Ann Howard (Carmen), Robert Ferguson (Don José), Michael Lewis (Escamillo), Joy Roberts (Micaela) Clive Timms John Copley Stefanos Lazaridis
1979–80 Der Rosenkavalier R Strauss Lois McDonall (The Marschallin), Eiddwen Harrhy (Octavian), Laureen Livingstone (Sophie), Dennis Wicks (Baron Ochs) David Lloyd-Jones John Copley David Walker
1979–80 The Mines of Sulphur Bennett Fiona Kimm (Rosalind), Robert Ferguson (Bocconnion, Eric Garrett (Sherrin), Sally Burgess (Jenny), John Fryatt (Trim) Clive Timms Colin Graham Alix Stone
1979–80 Nabucco Verdi Ludmilla Andrew (Abigaille), Camillo Meghor (Nabucco), John Tranter (Zaccaria) Elgar Howarth Steven Pimlott Stefanos Lazaridis
1979–80 A Village Romeo
and Juliet
Delius Adrian Martin (Sali), Laureen Livingstone (Vrenchen), Stuart Harling (The Dark Fiddler) David Lloyd-Jones Patrick Libby John Fraser
1979–80 Le Comte Ory Rossini Graham Clark (Count Ory), Eiddwen Harrhy (Countess Adèle), Della Jones (Isolier), Russell Smythe (Raimbaud), Paul Hudson (Ory's Tutor) David Lloyd-Jones Anthony Besch Peter Rice
1980–81 Jenůfa Janáček Lorna Haywood (Jenůfa), Margaret Kingsley (Kostelnička), Robert Ferguson (Laca), Philip Mills (Števa) David Lloyd-Jones David Pountney Maria Björnson
1980–81 L'elisir d'amore Donizetti Lillian Watson (Adina), Ryland Davies (Nemorino), Forbes Robinson (Dulcamara), Richard Jackson (Belcore) Clive Timms Michael Geliot Michael Beaven
1980–81 La traviata Verdi Elizabeth Vaughan (Violetta), Franco Bonanome (Alfredo), Michael Lewis (Germont) Gabrielle Bellini Revival of 1978–9 production
1980–81 The Merry Widow Lehár Elizabeth Robson (Hanna Glawari), Christopher Booth-Jones (Danilo), Eirian James (Valencienne), Arthur Davies (Camille), Thomas Lawlor (Baron Zeta) David Lloyd-Jones Revival of 1979–80 production
1980–81 The Tales of Hoffmann Offenbach David Hillman (Hoffmann), Joan Carden (Olympia, Antonia, Giulietta, Stella), Norman Bailey (Lindorf, Coppelius, Dr Miracle, Dapertutto) David Lloyd-Jones Anthony Besch John Stoddart
1980–81 La bohème Puccini Robert Ferguson (Rodolfo), Sally Burgess (Mimi), Terence Sharpe (Marcello), Bente Marcussen (Musetta) Clive Timms Revival of 1978–9 production
1980–81 Oedipus rex[5] Stravinsky Robert Ferguson (Oedipus), Josephine Veasey (Jocasta), Hugh-Nigel Sheehan (Creon), John Tranter (Tiresias) David Lloyd-Jones Patrick Libby Stefanos Lazaridis
1980–81 Les mamelles de
Tirésias
[6]
Poulenc Kate Flowers (Thérèse), Stuart Harling (The Husband) Clive Timms Revival of 1978–9 production
1980–81 Tosca Puccini Elizabeth Vaughan (Tosca), Kenneth Collins (Cavaradossi), Geoffrey Chard (Scarpia) David Lloyd-Jones Revival of 1979–80 production
1980–81 The Magic Flute Mozart Adrian Martin (Tamino), Helen Walker (Pamina), Michael Lewis (Papageno), John Tranter (Sarastro), Margaret Haggart (Queen of the Night) David Lloyd-Jones Revival of 1978–9 production
1980–81 Don Giovanni Mozart Tom McDonnell (Don Giovanni), Elizabeth Robson (Donna Anna), Felicity Palmer (Donna Elvira), Michael Rippon (Leporello), Robin Leggate (Don Ottavio) David Lloyd-Jones David Pountney Maria Björnson
1980–81 The Barber of Seville Rossini Michael Lewis (Figaro), Della Jones (Rosina), John Brecknock (Almaviva), Derek Hammond-Stroud (Dr Bartolo) John Pryce-Jones Patrick Libby Frances Tempest/
Steve Addison
1980–81 Der Freischütz Weber Robert Ferguson (Max), Sally Burgess/Bente Marcussen (Agathe), Malcolm Rivers (Caspar), Sandra Dugdale (Aennchen) Clive Timms Steven Pimlott John Fraser
1981–82 Carmen Bizet Gillian Knight (Carmen), Robert Ferguson (Don José), Michael Lewis (Escamillo), Barbara Walker (Micaela) John Pryce-Jones Revival of 1978-9 production
1981–82 Macbeth Verdi John Rawnsley (Macbeth), Elizabeth Vaughan (Lady Macbeth), Anthony Roden (Macduff) David Lloyd-Jones Michael Geliot John Gunter/
Sally Gardner
1981–82 Hänsel und Gretel Humperdinck Patricia Parker (Hansel), Laureen Livingstone (Gretel), Patricia Payne (Witch) Clive Timms Revival of 1978-9 production
1981–82 Orpheus in the
Underworld
Offenbach John Winfield (Orpheus), Patricia Cope (Euridice), Thomas Lawlor (Jupiter) John Pryce-Jones
/Roy Laughlin
Revival of 1978-9 production
1981–82 Rigoletto Verdi John Rawnsley/Terence Sharpe (Rigoletto), Robert Ferguson (Duke), Helen Field/Hilary Jackson (Gilda) Robin Stapleton Revival of 1979-80 production
1981–82 The Bartered Bride Smetana Marie Slorach (Mařenka), Arthur Davies (Jeník), Eric Garrett/Thomas Lawlor (Kecal), Justin Lavender (Vašek) David Lloyd-Jones
/Clive Timms
Steven Pimlott Stefano Lazaridis
1981–82 A Midsummer Night’s
Dream
Britten Kevin Smith (Oberon), Nan Christie (Tytania), Stephen Rhys-Williams (Bottom), Ian Caley (Lysander), Barbara Walker (Helena), Fiona Kimm (Hermia), Christopher Booth-Jones (Demetrius) Elgar Howarth Ian Watt-Smith Alexander
McPherson
1981–82 Manon Lescaut Puccini Arlene Saunders (Manon), Benito Maresca (Des Grieux), Christian du Plessis (Lescaut) David Lloyd-Jones Christopher
Renshaw
Bruno Santini
1981–82 Nabucco Verdi Pauline Tinsley (Abigaille), Norman Bailey (Nabucco), John Tranter (Zaccaria) Clive Timms Revival of 1979-80 production
1981–82 Così fan tutte Mozart Eiddwen Harrhy (Fiordiligi), Patricia Parker (Dorabella), Robin Leggate (Ferrando), Robert Dean (Guglielmo), Kate Flowers (Despina), Rodney Macann (Don Alfonso) David Lloyd-Jones Graham Vick Russell Craig
1981–82 Werther Massenet John Brecknock (Werther), Carol Wyatt (Charlotte), Lesley Garrett (Sophie) Clive Timms Steven Pimlott Maria Björnson
1981–82 The Flying Dutchman Wagner Friedrich Pleyer Revival of 1978-9 production
1982–83 Prince Igor Borodin Malcolm Donnelly (Igor), Margaret Curphey (Yaroslavna), Tom McDonnell (Galitsky), Roderick Kennedy (Khan Konchak) David Lloyd-Jones Steven Pimlott Stefano Lazaridis
1982–83 The Marriage of Figaro Mozart William Shimell (Figaro), Lesley Garrett (Susanna), Stephen Roberts (Count), Margaret Neville (Countess), Elise Ross (Cherubino) Richard Hickox Revival of 1978-9 production
1982–83 Samson et Dalila Saint-Saëns Gilbert Py (Samson), Ann Howard (Dalila), Jonathan Summers (High Priest) Clive Timms Revival of 1978-9 production
1982–83 Madama Butterfly Puccini Elizabeth Vaughan (Butterfly), Kristian Johannsson (Pinkerton), Terence Sharpe (Sharpless), Maureen Morelle (Suzuki) David Lloyd-Jones John Copley Robin Don
1982–83 La Cenerentola Rossini Della Jones (Cenerentola), John Brecknock/Richard Morton (Don Ramiro), ??? (Don Magnifico), Stuart Harling (Dandini), Rodney Macann (Alidoro) Guido
Amojne-Marsan
/Roy Laughlin
Colin Graham Roger Butlin
1982–83 The Tales of Hoffmann Offenbach David Hillman (Hoffmann), Suzanne Murphy (Olympia, Antonia, Giulietta, Stella), Raimund Herincx (Lindorf, Coppelius, Dr Miracle, Dapertutto) Clive Timms Revival of 1980-1 production
1982–83 La bohème Puccini William Livingston (Rodolfo), Anne Williams-King (Mimi), William Shimell (Marcello), Maria Moll (Musetta) David Lloyd-Jones Revival of 1978-9 production
1982–83 Don Giovanni Mozart Christian du Plessis (Don Giovanni), Suzanne Murphy (Donna Anna), Eiddwen Harrhy (Donna Elvira), Roderick Earle (Leporello), ??? (Don Ottavio) Clive Timms Revival of 1980-1 production
1982–83 Káťa Kabanová Janáček Marie Slorach (Katya), Keith Mills (Boris), Bonaventura Bottone (Kudryash), Barbara Walker (Varvara), Judith Pierce (Kabanicha) David Lloyd-Jones Graham Vick Stefano Lazaridis
1982–83 Béatrice et Bénédict Berlioz Claire Powell (Beatrice), John Brecknock (Benedict), Eilene Hannan (Hero) David Lloyd-Jones David Alden David Fielding
1982–83 L'elisir d'amore Donizetti Gillian Sullivan (Adina), Alexander Oliver/Bonaventura Bottone (Nemorino), Michael Rippon (Dulcamara), Gordon Sandison (Belcore) John Pryce-Jones Revival of 1980-1 production
1982–83 Der Freischütz Weber John Mitchinson (Max), Margaret Curphey (Agathe), Malcolm Rivers (Caspar), Kate Flowers (Aennchen) Clive Timms Revival of 1980-1 production
1983–84 Die Fledermaus J Strauss Jonny Blanc (Eisenstein), Penelope Mackay (Rosalinda), Lynda Russell (Adele), Adrian Martin/Bonaventura Bottone (Alfredo) Clive Timms Hans Hollman John Gunter/
Sue Blane
1983–84 Così fan tutte Mozart Marie Slorach (Fiordiligi), Cynthia Buchan (Dorabella), John Graham-Hall (Ferrando), Robert Dean/Geoffrey Dolton (Guglielmo), Elizabeth Gale (Despina), Rodney Macann (Don Alfonso) John Pryce-Jones Revival of 1981-2 production
1983–84 Rebecca
(world premiere)
Josephs Gillian Sullivan (The second Mrs de Winter), Peter Knapp (Maxim de Winter), Ann Howard (Mrs Danvers) David Lloyd-Jones Colin Graham Stefano Lazaridis
1983–84 Il trovatore Verdi Natalia Rom (Leonora), Eduardo Alvares (Manrico), Cynthia Buchan (Azucena), James Dietsch (Count di Luna) Yan Pascal
Tortelier
Andrei Şerban Michael Yeargan
1983–84 Eugene Onegin Tchaikovsky Eilene Hannan (Tatyana), Jonathan Summers (Onegin), Robin Leggate (Lensky), Fiona Kimm (Olga) David Lloyd-Jones Graham Vick Roger Butlin
1983–84 The Cunning Little Vixen Janáček Helen Field (Vixen), Willard White (Forester), Gordon Christie (Fox), Neil Jenkins (Schoolmaster), Thomas Lawlor (Priest) Wyn Davies David Pountney Maria Björnson
1983–84 Orfeo ed Euridice Gluck Felicity Palmer (Orfeo), Patricia Rozario (Euridice), Cathryn Pope (Amor) David Lloyd-Jones Philip Prowse Philip Prowse
1983–84 Tosca Puccini Valerie Popova (Tosca), Kristian Johannsson (Cavaradossi), Brent Ellis (Scarpia) John Pryce-Jones Revival of 1979-80 production
1983–84 The Bartered Bride Smetana Eiddwen Harrhy (Mařenka), Lawrence Dale (Jeník), Thomas Lawlor (Kecal), Mark Curtis (Vašek) Clive Timms Revival of 1981-2 production
1983–84 Salome R Strauss Penelope Daner (Salome), Philip Joll (Jokanaan), Nigel Douglas (Herod), Della Jones (Herodias) David Lloyd-Jones Joachim Herz Rudolf Heinrich
1983–84 A Village Romeo
and Juliet
Delius Peter Jeffes (Sali), Anne Williams-King (Vrenchen), David Wilson-Johnson (The Dark Fiddler) Nicholas Cleobury Robert Carsen Russell Craig/
John Fraser
1983–84 Madama Butterfly Puccini Mani Mekler (Butterfly), Franco Farina (Pinkerton), Rodney Macann (Sharpless), Anne Mason (Suzuki) Clive Timms Revival of 1982-3 production
1983–84 The Threepenny Opera Weill Peter Savidge (Macheath), Beverley Mills (Polly), Eiddwen Harrhy (Jenny Diver), Mark Lufton (Peachum), Clare Moll (Mrs Peachum) John Pryce-Jones Philip Prowse Philip Prowse
1984–85 Cavalleria rusticana[7] Mascagni Phyllis Cannan/Jane Eaglen (Santuzza), Frederick Donaldson (Turiddu) David Lloyd-Jones
/Clive Timms
Steven Pimlott Raimonda Gaetani
1984–85 Pagliacci[8] Leoncavallo Angelo Marengi (Canio), Kate Flowers (Nedda), Florian Cerny (Tonio) David Lloyd-Jones
/Clive Timms
Steven Pimlott Raimonda Gaetani
1984–85 Nabucco Verdi Elizabeth Vaughan (Abigaille), Jonathan Summers (Nabucco), Giovanni Gusmeroli (Zaccaria) Elgar Howarth/
John Pryce-Jones
Revival of 1979-80 production
1984–85 Jonny spielt auf
(British premiere)
Krenek Jonathan Sprague (Jonny), Kenneth Woollam (Max), Penelope Mackay (Anita), Gillian Sullivan (Anita) David Lloyd-Jones Anthony Besch John Stoddart
1984–85 The Magic Flute Mozart Lawrence Dale (Tamino), Jane Leslie Mackenzie (Pamina), Alan Watt (Papageno), Geoffrey Moses (Sarastro), Evelyn Nicholson (Queen of the Night) Peter Hirsch Graham Vick Russell Craig
1984–85 The Gondoliers Sullivan Beverley Mills/Louise Winter (Tessa), Gordon Christie (Marco), Peter Savidge (Giuseppe), Gillian Sullivan (Gianetta) David Lloyd-Jones
/Anthony Shelley
Christopher
Renshaw
Tim Goodchild
1984–85 The Threepenny Opera Weill Peter Savidge (Macheath), Beverley Mills (Polly), Eiddwen Harrhy (Jenny Diver), Mark Lufton (Peachum), Clare Moll (Mrs Peachum) John Pryce-Jones Revival of 1983-4 production
1984–85 La traviata Verdi Helen Field/Natalia Rom (Violetta), Adrian Martin (Alfredo), Jonathan Summers (Germont) Roderick Brydon François Rochaix Jean-Claude Maret
1984–85 Tamerlano Handel Felicity Palmer (Tamburlaine), Richard Morton (Bajazet), Sally Burgess (Andronicus), Eiddwen Harrhy (Asteria), Wendy Vercoe (Irene) Clive Timms Philip Prowse Philip Prowse
1984–85 Die Meistersinger
von Nürnberg
Wagner Michael Burt (Sachs), Denes Striny (Walther), Nicholas Folwell (Beckmesser) Marie Slorach (Eva), Bonaventura Bottone (David), John Tranter (Pogner) David Lloyd-Jones
/Clive Timms
Ladislav Stros Vladímir Nyvlt/
Josef Jelínek
1984–85 Il trovatore Verdi Wilhelmenia Fernandez (Leonora), Gordon Greer (Manrico}, Patricia Payne (Azucena), Keith Latham (Count di Luna) John Pryce-Jones Revival of 1983-4 production
1984–85 Werther Massenet Tibère Raffalli (Werther), Cynthia Buchan (Charlotte), Patricia Rozario (Sophie) Yan Pascal
Tortelier
Revival of 1981-2 production
1985–86 I puritani Bellini Dennis O'Neill (Arturo), Suzanne Murphy (Elvira), Donald Maxwell (Riccardo), Roderick Earle (Giorgio) Clive Timms Andrei Şerban Michael Yeargan
1985–86 The Magic Flute Mozart Richard Morton (Tamino), Jane Leslie Mackenzie (Pamina), Henry Newman (Papageno), Stephen Richardson (Sarastro), Evelyn Nicholson (Queen of the Night) Martin
Fischer-Dieskau
Revival of 1984-5 production
1985–86 The Midsummer
Marriage
Tippett Rita Cullis (Jenifer), Donald Stephenson (Mark), Peter Jeffes (Jack), Patricia O’Neill (Bella), Philip Joll (King Fisher), Penelope Walker (Sosostris) David Lloyd-Jones Tim Albery Tom Cairns/
Antony McDonald
1985–86 La fanciulla del West Puccini Mary Jane Johnson (Minnie), John Treleaven (Dick Johnson), Malcolm Donnelly (Jack Rance) David Lloyd-Jones David Pountney Günther Schneider
-Siemssen
1985–86 The Golden Cockerel Rimsky-
Korsakov
Andrew Shore (King Dodon), Elizabeth Gale (Queen of Shemakha), Justin Lavender (Astrologer), Bronwen Mills (Cockerel) Alexander Rahbari David Pountney Maria Björnson/
Sue Blane
1985–86 La traviata Verdi Natalia Rom/Helen Field (Violetta), Adrian Martin (Alfredo), Donald Maxwell (Germont) John Pryce-Jones Revival of 1984-5 production
1985–86 The Mikado Sullivan Harry Nicoll (Nanki-Poo), Kate Flowers (Yum-Yum), Alan Oke (Ko-Ko), Thomas Lawlor (Pooh-Bah), John Tranter (The Mikado) Clive Timms Christopher
Renshaw
Tim Goodchild
1985–86 Aida Verdi Wilhelminia Fernandez/Valerie Popova (Aida), Frederick Donaldson/Seppo Ruohonen (Radames), Sally Burgess/Linda Finnie (Amneris), Keith Latham (Amonasro) David Lloyd-Jones
John Pryce-Jones
Philip Prowse Philip Prowse
1985–86 Intermezzo R Strauss Peter Savidge (Robert Storch), Rita Cullis (Christine), Harry Nicoll (Baron Lummer) Stephen Barlow John Cox Martin Battersby
1985–86 The Rake's Progress Stravinsky Anthony Rolfe Johnson (Tom Rakewell), William Shimmell (Nick Shadow), Jane Leslie Mackenzie (Ann Trulove) Roderick Brydon François Rochaix Jean-Claude Maret
1985–86 Faust Gounod Jerome Pruett (Faust), Valerie Masterson (Marguerite), John Tomlinson (Méphistophélès), Keith Latham (Valentin) Clive Timms Ian Judge John Gunter/
Deidre Clancy
1985–86 Don Giovanni Mozart Peter Savidge (Don Giovanni), Christine Teare (Donna Anna), Kathryn Harries (Donna Elvira), Nicholas Folwell (Leporello), Glenn Winslade (Don Ottavio) David Lloyd-Jones Tim Albery Maria Björnson/
Antony McDonald
1986–87 Les Troyens (part 1:
The Capture of Troy)
Berlioz Kristine Ciesinski (Cassandra), Ronald Hamilton (Aeneas), Richard Salter (Chorebus) David Lloyd-Jones Tim Albery Antony McDonald
/Tom Cairns
1986–87 Madama Butterfly Puccini Natalia Rom (Butterfly), Arthur Davies/Frederick Donaldson (Pinkerton), Keith Latham (Sharpless), Claire Primrose (Suzuki) Rico Saccani Sally Day Robin Don
1986–87 The Barber of Seville Rossini Peter Savidge (Figaro), Beverley Mills (Rosina), Harry Nicoll (Almaviva), David Wilson-Johnson (Dr Bartolo) Clive Timms Giles Havergal Russell Craig
1986–87 La bohème Puccini Adrian Martin (Rodolfo), Eirian Davies/Lynne Dawson (Mimi), William Shimmell/Anthony Michaels-Moore (Marcello), Anna Steiger/Roisin McGibbon (Musetta) Elgar Howarth/
Clive Timms
David Freeman David Roger
1986–87 Norma Bellini Monica Pick-Hieronimi (Norma), Eiddwen Harrhy (Adalgisa), Frederick Donaldson (Pollione) Clive Timms Andrei Şerban Michael Yeargan
1986–87 Oedipus rex[9] Stravinsky Anthony Roden (Oedipus), Della Jones (Jocasta), Keith Latham (Creon), John Tranter (Tiresias) David Lloyd-Jones Revival of 1980-1 production
1986–87 Die Entführung
aus dem Serail
Mozart Sally Wolf (Konstanze), Lawrence Dale/Jerome Pruett (Belmonte), Tom Haenan (Osmin), Elizabeth Gale/Bronwen Mills (Blonde), Bonaventura Bottone (Pedrillo) Tomasz Bugaj Graham Vick Kevin Rupnik
1986–87 La traviata Verdi Sheri Greenawald (Violetta), Jerome Pruett/Patrick Power, Keith Latham (Germont) John Pryce-Jones Revival of 1984-5 production
1986–87 Daphne
(British premiere)
R Strauss Helen Field (Daphne), William Lewis (Apollo), Peter Jeffes (Leukippos) David Lloyd-Jones Philip Prowse Philip Prowse
1987–88 Les Troyens (part 2:
The Trojans at Carthage)
Berlioz Sally Burgess (Dido), William Lewis (Aeneas), Patricia Bardon (Anna) David Lloyd-Jones Tim Albery Tom Cairns/
Antony McDonald
1987–88 The Marriage of Figaro Mozart Robert Hayward (Figaro), Helen Field (Susanna), Peter Savidge (Count), Iva-Maria Turri (Countess), Beverley Mills (Cherubino) Stephen Barlow Peter Gill Alison Chitty
1987–88 Macbeth Verdi Brent Ellis/Keith Latham (Macbeth), Josephine Barstow (Lady Macbeth) John Pryce-Jones Ian Judge John Gunter/
Deidre Clancy
1987–88 Carmen Bizet Cynthia Buchan (Carmen), Dennis O’Neill/Edmund Barham/Arthur Davies (Don José), Anthony Michaels-Moore/Donald Maxwell (Escamillo), Marie Slorach (Micaela) Alexander Rahbari
/Clive Timms
/Anthony Jenner
Richard Jones Nigel Lowery
1987–88 Rebecca Josephs Anne Williams-King (The second Mrs de Winter), Peter Knapp (Maxim de Winter), Ann Howard (Mrs Danvers) David Lloyd-Jones Revival of 1983-4 production
1987–88 The Merry Widow Lehár Kathryn Harries (Hanna Glawari), Peter Savidge (Danilo), Andrea Bolton (Valencienne), Paul Nilon (Camille), Thomas Lawlor (Baron Zeta) Clive Timms Revival of 1979-80 production
1987–88 Káťa Kabanová Janáček Eiddwen Harrhy (Katya), Edmund Barham (Boris), Paul Nilon (Kudryash), Louise Winter (Varvara), Catherine Wilson (Kabanicha) Elgar Howarth Revival of 1982-3 production
1987–88 Tosca Puccini Mary Jane Johnson/Valerie Popova (Tosca), John Treleaven (Cavaradossi), Sergei Leiferkus (Scarpia) Clive Timms Ian Judge Gerard Howland/
Ann Curtis
1987–88 Fidelio Beethoven Janice Cairns (Leonore), Jeffrey Lawton (Florestan), Donald Maxwell (Pizarro), Mark Munkittrick (Rocco) David Lloyd-Jones
/Roy Laughlin
Michael
McCarthy
Peter Mumford
1988–89 The Love for
Three Oranges
Prokofiev Peter Jeffes (The Prince), Paul Harrhy (Truffaldino), Andrew Shore/Robert Poulton (Leander), Pauline Tinsley (Fata Morgana) David Lloyd-Jones Richard Jones The Brothers Quay
/Sue Blane
1988–89 Lucia di Lammermoor Donizetti Valerie Masterson (Lucia), Jorge Pita/Ingus Peterson (Edgardo), Keith Latham (Enrico) Clive Timms David Gann Ultz/
Stephen Rodwell
1988–89 La bohème Puccini Adrian Martin (Rodolfo), Joan Rodgers (Mimi), Peter Savidge (Marcello), Marie Angel (Musetta) Diego Masson Revival of 1986-7 production
1988–89 Les pêcheurs de perles Bizet Arthur Davies/Adrian Martin (Nadir), Sergei Leiferkus/Keith Latham (Zurga), Anne Dawson (Leila) David Lloyd-Jones Philip Prowse/
Sally Day
Philip Prowse
1988–89 Aida Verdi Janice Cairns (Aida), John Treleaven (Radames), Sally Burgess (Amneris), Keith Latham (Amonasro) Clive Timms Revival of 1985-6 production
1988–89 The Flying Dutchman Wagner Donald Maxwell (The Dutchman), Kristine Ciesinski (Senta), David Gwynne (Daland), Jeffrey Lawton (Erik) Jacek Kaspszyk Stephen Medcalf Lez Brotherston
1988–89 The Marriage of Figaro Mozart Anthony Michaels-Moore (Figaro), Judith Howarth (Susanna), Peter Savidge/Geoffrey Dolton (Count), Ida-Maria Turri (Countess), Linda Kitchen (Cherubino) Elgar Howarth Revival of 1987-8 production
1988–89 Manon Massenet Helen Field (Manon), Patrick Power (Des Grieux), Lescaut (Geoffrey Dolton) Clive Timms Richard Jones Richard Hudson
1988–89 Boris Godunov Mussorgsky John Tomlinson (Boris), Edmund Barham (Grigory), Kim Begley (Shuisky), Sean Rea (Pimen) David Lloyd-Jones Ian Judge Russell Craig/
Deidre Clancy
1989–90 Peter Grimes Britten John Treleaven (Peter Grimes), Marie Slorach (Ellen Orford), Malcolm Donnelly (Balstrode) David Lloyd-Jones
/Roy Laughlin
Ronald Eyre Mark Thompson
1989–90 Tosca Puccini Mary Jane Johnson/Edith Davis/Janice Cairns (Tosca), Edmund Barham (Cavaradossi), Donald Maxwell/Keith Latham (Scarpia) Carlo Rizzi Revival of 1987-8 production
1989–90 La finta giardiniera Mozart Anne Dawson (Sandrina), Paul Nilon (Belfiore), Nigel Robson (Podestà), Peter Savidge (Nardo), Katherine Steffan (Ramiro) Alan Hacker Tim Albery Tom Cairns
1989–90 Show Boat Kern Linda Kitchen (Magnolia), Peter Savidge (Ravenal), Sally Burgess (Julie), Karla Burns/Ellia English (Queenie), Bruce Hubbard/José Garcia (Joe), Trevor Peacock (Cap’n Andy), Dilys Laye (Parthy) Graeme Jenkins
/Wyn Davies
Ian Judge Russell Craig/
Alexander Reid
1989–90 The Barber of Seville Rossini Russell Smythe (Figaro), Clare Shearer (Rosina), Neill Archer (Almaviva), Andrew Shore (Dr Bartolo) Marco Guidarini Revival of 1986-7 production
1989–90 Don Pasquale Donizetti Andrew Shore/Roger Bryson (Pasquale), Adrian Martin (Ernesto), Juliet Booth/Judith Howarth (Norina), Robert Hayward (Malatesta) David Lloyd-Jones
/Hilary Griffiths
Patrick Mason Joe Vaněk
1989–90 Jérusalem
(British premiere)
Verdi Arthur Davies (Gaston), José Garcia (Roger), Janice Cairns (Hélène), Keith Latham (Count of Toulouse) Paul Daniel/
Roy Laughlin
Pierre Audi Michael Simon/
Jorge Jara
1989–90 L'heure espagnole[10] Ravel Louise Winter (Concepción), Jason Howard (Ramiro), Harry Nicoll (Gonzalve), Andrew Shore (Don Inigo Gomez) David Lloyd-Jones Martin Duncan Tom Cairns
1989–90 Gianni Schicchi[11] Puccini Andrew Shore (Schicchi), David Maxwell-Anderson (Rinuccio), Juliet Booth (Lauretta) David Lloyd-Jones Martin Duncan Tom Cairns
1989–90 Orfeo ed Euridice Gluck Sally Burgess (Orfeo), Jane-Leslie Mackenzie (Euridice), Claire Daniels (Amor) Clive Timms Revival of 1983-4 production
1989–90 Maskarade (British
professional premiere)
Nielsen Paul Nilon (Leander), Mary Hegarty (Leonora), Geoffrey Dolton (Henrik), Meriel Dickinson (Magdelone), Clive Bayley (Jeronimus) Elgar Howarth Helena
Kaut-Howson
Lez Brotherston
1990–91 Ariane et Barbe-bleue Dukas Anne-Marie Owens (Ariane), Jonathan Best (Bluebeard) Paul Daniel Patrick Mason Joe Vaněk
1990–91 La traviata Verdi Eva Jenisová (Violetta), Bonaventura Bottone (Alfredo), Anthony Michaels-Moore/Jason Howard (Germont) Carlo Rizzi Revival of 1984-5 production
1990–91 The Threepenny Opera Weill Alan Oke (Macheath), Linda Kitchen (Polly), Kate Flowers (Jenny Diver), Mark Lufton (Peachum), Sandra Francis (Mrs Peachum) Martin Pickard Revival of 1983-4 production
1990–91 Così fan tutte Mozart Jane Leslie MacKenzie (Fiordiligi), Beverley Mills (Dorabella), Paul Nilon (Ferrando), Robert Hayward (Guglielmo), Kate Flowers (Despina), Eric Roberts (Don Alfonso) Alan Hacker Revival of 1981-2 production
1990–91 Attila Verdi John Tomlinson/Jan Galla (Attila), Karen Huffstodt/Josephine Barstow (Odabella), Edmund Barham (Foresto), Jason Howard (Ezio) Paul Daniel Ian Judge John Gunter/
Deirdre Clancy
1990–91 The Jewel Box
(world premiere)
Mozart[12] Barry Banks (Pedrolino), Mary Hegarty (Columbina), Pamela Helen Stephen (Composer), Jennifer Rhys-Davies (Singer), Mark Curtis (Dottore), Quentin Hayes (Pantalone), Stephen Richardson (Father) Elgar Howarth Francisco Negrin Anthony Baker
1990–91 Faust Gounod Arthur Davies (Faust), Anne Dawson (Marguerite), Richard Van Allan (Méphistophélès), Peter Savidge/Geoffrey Dolton (Valentin) David Lloyd-Jones/
Roy Laughlin
Revival of 1985-6 production
1990–91 Carmen Bizet Sally Burgess (Carmen), Edmund Barham (Don José), Robert Hayward/Jason Howard (Escamillo), Anne Williams-King (Micaela) Oliver von Dohnányi Revival of 1987-8 production
1990–91 King Priam Tippett Andrew Shore (Priam), Christopher Ventris (Paris), Patricia Bardon (Helen), Neill Archer (Achilles), Eiddwen Harrhy (Hecuba), Geoffrey Dolton (Hector), Linda McLeod (Andromache) Paul Daniel Tom Cairns Tom Cairns
1990–91 Don Giovanni Mozart Robert Hayward (Don Giovanni), Helen Field (Donna Anna), Jane Leslie MacKenzie (Donna Elvira), John Hall (Leporello), Paul Nilon (Don Ottavio) Paul Daniel Tim Albery Ashley
Martin-Davis
1991–92 L’étoile Chabrier Pamela Helen Stephen (Lazuli), Mary Hegarty (Princess Laoula), Anthony Mee (King Ouf), John Hall (Sirocco), Kate Flowers (Aloès), Alan Oke (Hérisson), Mark Curtis (Tapioca) Jean‑Yves Ossonce
/Martin Pickard
Phyllida Lloyd Anthony Ward
1991–92 La finta giardiniera Mozart Lynne Dawson (Sandrina), Paul Nilon (Belfiore), Neil Jenkins (Podestà), Richard Jackson (Nardo), Luretta Bybee/Ann Taylor (Ramiro) Alan Hacker Revival of 1989-90 production
1991–92 Don Giovanni Mozart Robert Hayward (Don Giovanni), Helen Field/Bronwen Mills (Donna Anna), Jane Leslie MacKenzie (Donna Elvira), John Hall (Leporello), Paul Nilon (Don Ottavio) Christopher Gayford Revival of 1990-91 production
1991–92 The Jewel Box Mozart Barry Banks (Pedrolino), Mary Hegarty (Columbina), Pamela Helen Stephen (Composer), Jennifer Rhys-Davies (Singer), Mark Curtis (Dottore), Quentin Hayes (Pantalone), Mark Glanville (Father) Roy Laughlin/
Elgar Howarth
Revival of 1990-91 production
1991–92 Caritas
(world premiere)
Saxton Eirian Davies (Christine), Jonathan Best (Bishop Henry), Christopher Ventris (Robert), David Gwynne (Richard) Diego Masson Patrick Mason Joe Vaněk
1991–92 Maskarade Nielsen Paul Nilon (Leander), Mary Hegarty (Leonora), Geoffrey Dolton (Henrik), Linda Ormiston (Magdelone), Clive Bayley (Jeronimus) Roy Laughlin Revival of 1989-90 production
1991–92 Madama Butterfly Puccini Maryanne Telese (Butterfly), Richard Taylor/David Maxwell Anderson (Pinkerton), Keith Latham (Sharpless), Patricia Bardon (Suzuki) Martin André Jonathan Alver Lez Brotherston/
Stephen Rodwell
1991–92 Der ferne Klang
(British premiere)
Schreker Virginia Kerr (Grete), Kim Begley (Fritz), William Dazeley (Count), Peter Sidhom (Dr Vigelius) Paul Daniel Brigitte
Fassbaender
Ultz
1991–92 La gazza ladra Rossini Anne Dawson (Ninetta), Barry Banks (Giannetto), Andrew Shore (Podestà), Matthew Best (Fernando), Elizabeth McCormack (Pippo) Ivor Bolton Martin Duncan Sue Blane
1991–92 Rigoletto Verdi Keith Latham/Michael Lewis (Rigoletto), David Maxwell Anderson (Duke), Juliet Booth (Gilda) John Pryce-Jones Patrick Mason Joe Vaněk
1991–92 Boris Godunov Mussorgsky John Tomlinson (Boris), Paul Charles Clarke (Grigory), Jeffrey Lawton (Shuisky), Matthew Best (Pimen) Paul Daniel Revival of 1988-89 production
1992–93 The Duenna
(British premiere)
Gerhard Susan Chilcott (Luisa), Pamela Helen Stephen (Clara), Adrian Clarke (Ferdinand), Gordon Wilson (Antonio), Andrew Shore (Jerome), Eric Roberts (Isaac), Gillian Knight (The Duenna) Antoni Ros-Marbà Helena
Kaut-Howson
Sue Blane
1992–93 Rigoletto Verdi Michael Lewis (Rigoletto), David Maxwell Anderson (Duke), Rosa Mannion (Gilda) Paul Daniel Revival of 1991-2 production
1992–93 The Marriage of Figaro Mozart Gerald Finley/David Mattinson (Figaro), Linda Kitchen/Mary Plazas (Susanna), Robert Hayward/William Dazeley (Count), Jane Leslie MacKenzie (Countess), Ann Taylor-Morley/Pamela Helen Stephen (Cherubino) Andrew Parrott Caroline Gawn Alison Chitty
1992–93 Orpheus in the Underworld Offenbach Harry Nicoll (Orpheus), Yvonne Barclay (Euridice), Eric Roberts (Jupiter) Wyn Davies Martin Duncan Tim Hatley
1992–93 Billy Budd Britten Jason Howard (Billy Budd), Nigel Robson/Philip Langridge (Captain Vere), John Tomlinson (Claggart) Elgar Howarth Graham Vick Chris Dyer
1992–93 Iolanta[13] Tchaikovsky Joan Rodgers (Iolanta), Kim Begley (Vaudémont), Robert Hayward (Robert), Gwynne Howell/Norman Bailey (King René) David Lloyd-Jones/
Martin Pickard
Martin Duncan Anthony Ward
1992–93 Don Carlos Verdi Richard Burke (Carlos), Linda McLeod (Elisabetta), Anthony Michaels-Moore (Posa), John Tomlinson (Philip II), Claire Powell (Eboli) Paul Daniel/
Roy Laughlin
Tim Albery Hildegard Bechtler
/Nicky Gillibrand
1992–93 La bohème Puccini William Burden (Rodolfo), Jane Leslie MacKenzie (Mimi), Robert Hayward (Marcello), Juliet Booth (Musetta) Roy Laughlin/
Paul Daniel
Phyllida Lloyd Anthony Ward
1992–93 La Gioconda Ponchielli Rosalind Plowright/Marie Slorach (Gioconda), Edmund Barham (Enzo), Sally Burgess (Laura), Keith Latham (Barnaba) Oliver von Dohnányi Philip Prowse Philip Prowse
1992–93 Wozzeck Berg Andrew Shore (Wozzeck), Vivian Tierney (Marie), Jeffrey Lawton (Captain), John Rath (Doctor), Alan Woodrow (Drum-Major) Paul Daniel Deborah Warner Hildegard Bechtler
/Nicky Gillibrand
1993–94 The Love for Three Oranges Prokofiev Christopher Ventris (The Prince), Paul Harrhy (Truffaldino), Andrew Shore (Leander), Maria Moll (Fata Morgana) Wyn Davies/
Martin Pickard
Revival of 1988-9 production
1993–94 La bohème Puccini Gordon Wilson (Rodolfo), Juliet Booth (Mimi), Robert Hayward (Marcello), Janis Kelly (Musetta) Bruno Aprea Revival of 1992-3 production
1993–94 Tamerlano Handel Christopher Robson (Tamburlaine), Philip Langridge (Bajazet), Graham Pushee (Andronicus), Rosa Mannion (Asteria), Patricia Bardon (Irene) Roy Goodman Revival of 1984-5 production
1993–94 Baa-Baa Black Sheep
(world premiere)
Berkeley William Dazeley (Mowgli), Fiona Kimm (Auntirosa), Henry Newman (Captain) Paul Daniel Jonathan Moore David Blight
1993–94 Il re pastore Mozart Joan Rodgers (Amyntas), Mary Hegarty (Elisa), Martyn Hill (Alexander), Patricia Bardon (Tamyris), Philip Salmon (Agenor) Paul Daniel David McVicar Frank Higgins/
David McVicar
1993–94 Gloriana Britten Josephine Barstow (Elizabeth I), Thomas Randle (Essex), Susan Chilcott (Lady Rich), Karl Daymond (Mountjoy), Yvonne Burnett (Lady Essex), Clive Bayley (Raleigh), Eric Roberts (Cecil) Paul Daniel Phyllida Lloyd Anthony Ward
1993–94 La traviata Verdi Michal Shamir (Violetta), David Maxwell Anderson (Alfredo), Peter Sodhom (Germont) Jean‑Yves Ossonce
/Roy Laughlin
Revival of 1984-5 production
1993–94 L’étoile Chabrier Pamela Helen Stephen (Lazuli), Mary Hegarty (Princess Laoula), Paul Nilon (King Ouf), Jonathan Best/Richard Van Allan (Sirocco), Kate Flowers (Aloès), Alan Oke (Hérisson), Mark Curtis (Tapioca) Valentin Reymond Revival of 1991-2 production
1993–94 La rondine Puccini Helen Field (Magda), Tito Beltrán (Ruggero), Peter Bronder (Prunier), Anna Maria Panzarella (Lisette), Peter Savidge (Rambaldo) David Lloyd-Jones Francesca
Zambello
Bruno Schwengl
1993–94 The Magic Flute Mozart William Burden (Tamino), Linda Kitchen (Pamina), William Dazeley (Papageno), John Rath (Sarastro), Eileen Hulse (Queen of the Night) Andrew Parrott Annabel Arden Rae Smith
1993–94 Playing Away
(world premiere)
Mason Philip Sheffield (Terry Bond), Rebecca Caine (LA Lola), Richard Suart (Stan Stock) Paul Daniel David Pountney Huntley Muir
1994–95 Le roi malgré lui
(British premiere)
Chabrier Russell Smythe (Henri), Justin Lavender (Nangis), Rosa Mannion (Minka), Nicholas Folwell (Laski) Paul Daniel Jeremy Sams Lez Brotherston
1994–95 The Magic Flute Mozart William Burden (Tamino), Linda Kitchen (Pamina), Karl Daymond (Papageno), John Rath (Sarastro), Eileen Hulse (Queen of the Night) Harry Bicket Revival of 1993-4 production
1994–95 Il trovatore Verdi Edmund Barham (Manrico), Katerina Kudriavchenko (Leonora), Sally Burgess/Claire Powell (Azucena), Ettore Kim (Count di Luna) Paul Daniel/
Roy Laughlin
Inga Levant Charles Edwards
1994–95 Il matrimonio segreto Cimarosa Paul Nilon (Paolino), Linda Kitchen (Carolina), Andrew Shore (Geronimo), Jonathan Best (Count Robinson), Mary Plazas (Elisetta), Tamsin Dives (Fidalma) Richard Farnes Jonathan Miller John Conklin/
Stephen Rodwell
1994–95 Oberto Verdi John Tomlinson (Oberto), Rita Cullis (Leonora), David Maxwell Anderson (Riccardo) Linda Finnie (Cuniza) David Porcelijn John Tomlinson Russell Craig
1994–95 Tosca Puccini Josephine Barstow/Marie Slorach (Tosca), Patrick Power (Cavaradossi), Matthew Best (Scarpia) Stefano Ranzani Revival of 1987-8 production
1994–95 Troilus and Cressida Walton Arthur Davies (Troilus), Judith Howarth (Cressida), Nigel Robson (Pandarus), Alan Opie (Diomede), Clive Bayley (Calkas), Yvonne Howard (Evadne) Richard Hickox/
Martin Pickard
Matthew Warchus Neil Warmington
1994–95 Les pêcheurs de perles Bizet Arthur Davies (Nadir), André Cognet (Zurga), Maria D’Aragnes (Leila) Dietfried Bernet Revival of 1988-9 production
1994–95 Orpheus in the Underworld Offenbach Jamie MacDougall (Orpheus), Yvonne Barclay (Euridice), Eric Roberts (Jupiter) Paul McGrath Revival of 1992-3 production
1994–95 Pelléas et Mélisande Debussy Joan Rodgers (Mélisande), William Dazeley (Pelléas), Robert Hayward (Golaud) Paul Daniel Richard Jones Antony McDonald
/Nicky Gillibrand
1995–96 Hamlet Thomas Anthony Michaels-Moore/Karl Daymond (Hamlet), Rebecca Caine (Ophélie), Linda Finnie (Gertrude), Jan Galla (Claudius), John Rath (Ghost) Oliver von Dohnányi David McVicar Michael Vale
1995–96 Les pêcheurs de perles Bizet Léonard Pezzino (Nadir), André Cognet/Peter Savidge (Zurga), Maria D’Aragnes (Leila) Brad Cohen Revival of 1988-9 production
1995–96 Jenůfa Janáček Stephanie Friede (Jenůfa), Josephine Barstow (Kostelnička), Julian Gavin (Laca), Neill Archer/Jeffrey Stewart (Števa) Paul Daniel Tom Cairns Tom Cairns
1995–96 Luisa Miller Verdi Susannah Glanville (Luisa), Arthur Davies (Rodolfo), Alan Opie (Miller), Matthew Best (Walter), Clive Bayley (Wurm) Paul Daniel Tim Albery Stewart Lang
1995–96 La bohème Puccini Tito Beltrán/Alan Oke (Rodolfo), Margaret Richardson (Mimi), Karl Daymond (Marcello), Elena Ferrari (Musetta) Jean‑Yves Ossonce
/Martin Fitzpatrick
Revival of 1992-3 production
1995–96 Love Life Weill Margaret Preece (Susan), Alan Oke (Sam), Geoffrey Dolton (Magician/Vaudevillian/Hobo) Wyn Davies Caroline Gawn Charles Edwards/
Nicky Gillibrand
1995–96 Médée Cherubini Josephine Barstow (Médée), Thomas Randle (Jason), Nicola Sharkey (Dircé), Norman Bailey (Creon) Paul Daniel Phyllida Lloyd Ian MacNeil/
Kandis Cook
1995–96 The Duenna Gerhard Susannah Glanville (Luisa), Ann Taylor (Clara), Adrian Clarke (Ferdinand), Neill Archer (Antonio), Richard Van Allan (Jerome), Eric Roberts (Isaac), Claire Powell (The Duenna) Antoni Ros-Marbà Revival of 1992-3 production
1995–96 The Marriage of Figaro Mozart Clive Bayley (Figaro), Linda Kitchen (Susanna), William Dazeley (Count), Janis Kelly (Countess), Alice Coote/Ann Taylor (Cherubino) Richard Farnes Caroline Gawn Alice Purcell
1996–97 The Marriage of Figaro Mozart Richard Whitehouse (Figaro), Mary Hegarty (Susanna), Roderick Williams (Count), Janis Kelly (Countess), Ann Taylor (Cherubino) Paul Goodwin Revival of 1995-6 production
1996–97 Madama Butterfly Puccini Chen Sue (Butterfly), Mark Nicolson (Pinkerton), Peter Savidge/Simon Thorpe (Sharpless), Liane Keegan (Suzuki) Marco Zambelli/
Martin Pickard/
Paul Daniel
Dalia
Ibelhauptaitė
Oleg Cheintsis
1996–97 Iphigénie en Aulide Gluck Lynne Dawson (Iphigenia), Neill Archer (Achilles), Christopher Purves (Agammemnon), Della Jones (Clytemnestra), John Rath (Calchas) Valentin Reymond Tim Hopkins Nigel Lowery
1996–97 Wozzeck Berg Andrew Shore (Wozzeck), Josephine Barstow (Marie), Peter Bronder (Captain), Clive Bayley (Doctor), Jacque Trussel/Keith Mills (Drum-Major) Paul Daniel Revival of 1992-3 production
1996–97 Gloriana Britten Josephine Barstow (Elizabeth I), Thomas Randle (Essex), Susannah Glanville (Lady Rich), Karl Daymond (Mountjoy), Ruth Peel (Lady Essex), Clive Bayley (Raleigh), Eric Roberts (Cecil) James Holmes/
Paul Daniel
Revival of 1993-4 production
1996–97 Falstaff Verdi Andrew Shore (Falstaff), Rita Cullis (Alice Ford), Robert Hayward (Ford), Paul Nilon (Fenton), Margaret Richardson (Nanetta), Frances McCafferty (Mistress Quickly), Yvonne Howard (Meg Page) Paul Daniel Matthew Warchus Laura Hopkins
1996–97 Il ritorno d'Ulisse in patria Monteverdi Alice Coote (Penelope), Nigel Robson (Ulysses) Harry Bicket/
Martin Pickard
Annabel Arden Tim Hatley
1996–97 Tannhäuser Wagner Jeffrey Lawton (Tannhäuser), Rita Cullis (Elisabeth), Anne-Marie (Venus), Keith Latham (Wolfram), Norman Bailey (Landgrave) Paul Daniel/
James Holmes
David Fielding David Fielding
1996–97 Cosí fan tutte Mozart Susannah Glanville (Fiordiligi), Emma Selway (Dorabella), Paul Nilon (Ferrando), William Dazeley (Guglielmo), Linda Kitchen (Despina), Jonathan Best (Don Alfonso) Claire Gibault/
Martin Fitzpatrick
Tim Albery Matthew Howland
Robin Rawstorne
/Tania Spooner
1997–98 Aida Verdi Josephine Barstow (Aida), Edmund Barham (Radames), Sally Burgess (Amneris), Jonathan Summers (Amonasro) Giuliano Carella Revival of 1985-6 production
1997–98 Così fan tutte Mozart Elena Ferrari (Fiordiligi), Alice Coote/Claire Evans (Dorabella), Jeffrey Stewart (Ferrando), Garry Magee (Guglielmo), Margaret Preece (Despina), Eric Roberts (Don Alfonso) Martin Fitzpatrick Revival of 1996-7 production
1997–98 Julietta Martinů Rebecca Caine (Julietta), Paul Nilon (Mischa) Steuart Bedford David Pountney Stefanos Lazaridis
/Marie-Jeanne
Lecca
1997–98 The Magic Flute Mozart Jamie MacDougall/Jeffrey Stewart (Tamino), Margaret Richardson (Pamina), Eric Roberts (Papageno), Clive Bayley (Sarastro), Cara O’Sullivan/Laure Meloy (Queen of the Night) Brad Cohen/
Martin Pickard
Annabel Arden Roswitha Gerlitz
1997–98 Sweeney Todd Sondheim Steven Page (Sweeney Todd), Beverley Klein (Mrs Lovett) James Holmes David McVicar Michael Vale/
Kevin Knight
1997–98 The Barber of Seville Rossini Roderick Williams (Figaro), Ann Taylor (Rosina), Iain Paton (Almaviva), Eric Roberts (Dr Bartolo) Daniel Beckwith/
Dominic Wheeler
Revival of 1986-7 production
1997–98 Eugene Onegin Tchaikovsky Alwyn Mellor (Tatyana), Peter Savidge (Onegin), Paul Nilon (Lensky), Emer McGilloway (Olga) Steven Sloane/
Martin Pickard
Dalia Ibelhauptaitė Giles Cadle/
Sue Willmington
1997–98 Giovanna d'Arco Verdi Susannah Glanville (Giovanna), Julian Gavin (Carlo VII), Keith Latham (Giacomo) Richard Farnes Philip Prowse Philip Prowse
1997–98 Of Thee I Sing Gershwin William Dazeley (Wintergreen), Margaret Preece (Mary), Kim Criswell (Diana Devereux), Steven Beard (Alexander Throttlebottom) Wyn Davies Caroline Gawn Charles Edwards/
Nicky Gillibrand
1998–99 Il re pastore Mozart Rebecca Caine (Amyntas), Mary Hegarty (Elisa), Peter Bronder (Alexander), Alice Coote (Tamyris), Nicholas Sears (Agenor) Paul Goodwin Revival of 1993-4 production
1998–99 The Bartered Bride Smetana Alwin Mellor (Mařenka), Neill Archer (Jeník), Clive Bayley (Kecal), Iain Paton (Vašek) Oliver von
Dohnányi
Daniel Slater Robert
Innes Hopkins
1998–99 Don Carlos Verdi Julian Gavin (Carlos), Lori Phillips (Elisabetta), Jeffrey Black (Posa), Alastair Miles (Philip II), Sally Burgess (Eboli) Yves Abel Revival of 1992-3 production
1998–99 The Nightingale’s to Blame Holt Donald Maxwell (Perlimpin), Patricia Rozario (Belisa), Fiona Kimm (Marcolfa), Frances McCafferty (Belisa’s mother) Richard Farnes Martin Duncan Neil Irish
1998–99 Carmen Bizet Ruby Philogene (Carmen), Antoni Garfield Henry (Don José), Mark Stone (Escamillo), Susannah Glanville/Majella Cullagh (Micaela) András Ligeti Phyllida Lloyd Tim Hatley
1998–99 La gazza ladra Rossini Mary Hegarty (Ninetta), Jeffrey Stewart (Giannetto), Christopher Purves (Podestà), Jonathan Best (Fernando), Ann Taylor (Pippo) David Charles
Abell
Revival of 1991-2 production
1998–99 Arabella R Strauss Susannah Glanville (Arabella), Robert Hayward (Mandryka), Isabel Molnar (Zdenka), Jeffrey Lloyd-Roberts (Matteo), Richard Angas (Waldner), Carole Wilson (Adelaide) Elgar Howarth Francisco Negrin Paul Steinberg/
Jon Morrell
1998–99 Gloriana Britten Josephine Barstow (Elizabeth I), Thomas Randle (Essex), Susannah Glanville (Lady Rich), David Ellis (Mountjoy), Emer McGilloway (Lady Essex), Clive Bayley (Raleigh), Eric Roberts (Cecil) Paul Daniel Revival of 1993-4 production
1999–00 La traviata Verdi Janis Kelly (Violetta), Thomas Randle (Alfredo), Keith Latham (Germont) Richard Farnes/
Martin Pickard
Annabel Arden Nicky Gillibrand
1999–00 Káťa Kabanová Janáček Vivian Tierney (Katya), Alan Oke (Boris), Jamie MacDougall (Kudryash), Ann Taylor (Varvara), Gillian Knight (Kabanicha) Steven Sloane Tim Albery Hildegard Bechtler
1999–00 Don Giovanni Mozart Garry Magee (Don Giovanni), Majella Cullach (Donna Anna), Claron McFadden/Emma Bell (Donna Elvira), Jonathan Best/Iain Patterson (Leporello), ??? (Don Ottavio) Dominic Wheeler David McVicar Kevin Knight
1999–00 A Midsummer Night's Dream Britten Christopher Josey (Oberon), Claron McFadden (Tytania), Jonathan Best (Bottom), Nicholas Sears (Lysander), Helen Williams (Helena), Ann Taylor (Hermia), Mark Stone (Demetrius) Steven Sloane Moshe Leiser &
Patrice Caurier
Christian Fenouillat
/Agostino Cavalca
1999–00 Madama Butterfly Puccini Lada Biriucov/Rosalind Sutherland (Butterfly), Julian Gavin/David Maxwell Anderson (Pinkerton), Steven Page (Sharpless), Jane Irwin (Suzuki) Stephen Barlow Revival of 1996-7 production
1999–00 Falstaff Verdi Conal Coad (Falstaff), Josephine Barstow (Alice Ford), Brent Ellis (Ford), Wynne Evans (Fenton), Thora Einarsdottir (Nanetta), Frances McCafferty (Mistress Quickly), Yvonne Howard (Meg Page) Steven Sloane/
Lionel Friend
Revival of 1996-7 production
1999–00 La Gioconda Ponchielli Claire Rutter (Gioconda), David Maxwell Anderson (Enzo), Katja Lytting (Laura), Jonathan Summers (Barnaba) Oliver von
Dohnányi
Revival of 1992-3 production
1999–00 Radamisto Handel David Walker (Radamisto), Alice Coote (Zenobia), Helen Williams (Polissena), Emma Bell (Tigrane), Michael John Pearson (Tiridate), Elizabeth McCormack (Fraarte) Harry Bicket Tim Hopkins Charles Edwards
1999–00 Orpheus in the Underworld Offenbach Jamie MacDougall (Orpheus), Yvonne Barclay (Euridice), Eric Roberts (Jupiter) Wyn Davies Revival of 1992-3 production
2000–01 Genoveva Schumann Patricia Schuman (Genoveva), Christopher Purves (Siegfried), Paul Nilon (Golo), Clive Bayley (Drago), Keith Latham (Hidulfus), Sally Burgess (Margaretha) Steven Sloane/
James Holmes
David Pountney Ralph Koltai/
Sue Willmington
2000–01 The Marriage of Figaro Mozart James Rutherford/Christopher Purves (Figaro), Colette Delahunt (Susanna), Roderick Williams/Stephan Loges (Count), Majella Cullagh/Simone Sauphanor (Countess), Emer McGilloway (Cherubino) Roderick Bryden
/Stephen Clarke
Revival of 1995-6 production
2000–01 La rondine Puccini Janis Kelly (Magda), Jorge Antonio Pita (Ruggero), Wynne Evans (Prunier), Mary Hegarty (Lisette), Jonathan Best (Rambaldo) Dietfried Bernet Revival of 1993-4 production
2000–01 L'elisir d'amore Donizetti Mary Hegarty (Adina), Paul Nilon (Nemorino), Christopher Purves (Dulcamara), Richard Whitehouse (Belcore) David Parry Daniel Slater Robert Innes
Hopkins
2000–01 Pelléas et Mélisande Debussy Joan Rodgers (Mélisande), William Dazeley (Pelléas), Robert Hayward (Golaud) Paul Daniel/
James Holmes
Revival of 1994-5 production
2000–01 Tristan und Isolde[14] Wagner Mark Lundberg (Tristan), Susan Bullock (Isolde), Anne-Marie Owens (Brangäne), John Wegner (Kurwenal), Donald McIntyre (King Marke) Steven Sloane Keith Warner Keith Warner/
Elaine Robertson
2000–01 Eugene Onegin Tchaikovsky Giselle Allen (Tatyana), William Dazeley/Richard Whitehouse (Onegin), Iain Paton (Lensky), Cécile van de Sant (Olga) Richard Farnes Revival of 1997-8 production
2000–01 Moscow, Cheryomushki Shostakovich Alan Oke (Sergei), Rachel Taylor (Lusya), Janie Dee (Lidochka), Loren Geeting (Boris), Daniel Broad (Sasha), Gillian Kirkpatrick (Masha) Steven Sloane/
James Holmes
David Pountney Robert Innes
Hopkins
2001–02 The Cunning Little Vixen Janáček Janis Kelly (Vixen), Christopher Purves (Forester), Giselle Allen (Fox), Nigel Robson (Schoolmaster), Richard Angas/Michael John Pearson (Priest) Steven Sloane Annabel Arden Richard Hudson
2001–02 La bohème Puccini Harrie van der Plas/Peter Auty (Rodolfo), Mary Plazas/Barbara Haveman (Mimi), William Dazeley/Mark Stone (Marcello), Christine Buffle/Giselle Allen (Musetta) Steven Sloane/
Dietfried Bernet
Revival of 1992-3 production
2001–02 Gloriana Britten Josephine Barstow (Elizabeth I), Thomas Randle (Essex), Susannah Glanville (Lady Rich), Karl Daymond (Mountjoy), Ruth Peel (Lady Essex), Mark Beesley (Raleigh), Eric Roberts (Cecil) Richard Farnes Revival of 1993-4 production
2001–02 Albert Herring Britten Iain Paton (Albert), Josephine Barstow (Lady Billows), Richard Whitehouse (Sid), Heather Shipp (Nancy), Ethna Robinson (Mrs Herring) James Holmes Phyllida Lloyd Scott Pask
2001–02 Sweeney Todd Sondheim Steven Page (Sweeney Todd), Beverley Klein (Mrs Lovett) James Holmes Revival of 1997-8 production
2001–02 L'enfant et les sortilèges[15] Ravel Claire Wild (The child), Emmanuel
Plasson
Amir
Hosseinpour/
Nigel Lowery
Nigel Lowery
2001–02 Oedipus rex Stravinsky Stuart Skelton (Oedipus), Natascha Petrinsky (Jocasta), Ashley Holland (Creon), Jeremy White (Tiresias) Steven Sloane Charles Edwards Charles Edwards
2002–03 Tosca Puccini Nina Pavlovski/Susannah Glanville (Tosca), Rafael Rojas/Ian Storey (Cavaradossi), Robert McFarland/Matthew Best (Scarpia) Steven Sloane/
Richard Farnes
Christopher Alden Charles Edwards/
Jon Morrell
2002–03 Jenůfa Janáček Giselle Allen (Jenůfa), Josephine Barstow (Kostelnička), Jeffrey Lloyd-Roberts (Laca), Kevin Anderson (Števa) Elgar Howarth Revival of 1995-6 production
2002–03 Der Rosenkavalier R Strauss Deanne Meek (Octavian), Janis Kelly (Marschallin), Conal Coad (Baron Ochs), Marie Arnet (Sophie), Christopher Purves (Faninal) Dietfried Bernet David McVicar David McVicar &
Michael Vale/
Tanya McCallin
2002–03 Il matrimonio segreto Cimarosa Wynne Evans (Paolino), Mary Nelson (Carolina), Henry Waddington (Geronimo), Richard Morrison (Count Robinson), Natasha Jouhl (Elisetta), Louise Mott (Fidalma) Wyn Davies Revival of 1994-5 production
2002–03 Idomeneo Mozart Paul Nilon (Idomeneo), Paula Hoffman (Idamante), Natasha Marsh (Ilia), Janis Kelly (Elettra) David Parry Tim Albery Dany Lyne
2002–03 Julietta Martinů Rebecca Caine (Julietta), Paul Nilon (Mischa), Martin André Revival of 1997-8 production
2002–03 The Magic Flute Mozart Philippe Do (Tamino), Thora Einarsdottir (Pamina), Matthew Sharpe (Papageno), Mark Coles (Sarastro), Helen Williams (Queen of the Night) William Lacey Tim Supple Jean Kalman/
Tom Pye
2002–03 La damnation de Faust[16] Berlioz Stephen O’Mara (Faust), Alastair Miles (Mephistophélès), Lilli Paasikivi (Marguérite) Frederic Chaslin Matthias Janser
2003–04 La traviata Verdi Janis Kelly/Anne-Sophie Duprels (Violetta), Thomas Randle/Peter Auty (Alfredo), Robert McFarland/Robert Poulton (Germont) Mark Shanahan/
Richard Farnes
Revival of 1999-2000 production
2003–04 Rusalka Dvořák Giselle Allen (Rusalka), Stuart Skelton (Prince), Richard Angas (Water Sprite), Susannah Glanville (Foreign Princess), Susan Bickley (Jezibaba) Sebastian
Lang-Lessing
Olivia Fuchs Nicki Turner
2003–04 Manon Massenet Malin Byström (Manon), Julian Gavin (Des Grieux), William Dazeley (Lescaut) Grant Llewellyn Daniel Slater Francis O’Connor
2003–04 The Barber of Seville Rossini Garry Magee (Figaro), Deanne Meek (Rosina), Nick Sales (Almaviva), Eric Roberts (Dr Bartolo) Wyn Davies Revival of 1986-7 production
2003–04 The Bartered Bride Smetana Giselle Allen (Mařenka), Jeffrey Lloyd-Roberts (Jeník), Jeremy White (Kecal), Iain Paton (Vašek) Martyn Brabbins Revival of 1998-9 production
2003–04 Der Zwerg Zemlinsky Paul Nilon (The Dwarf), Stefanie Krahnenfeld (Donna Clara), Majella Cullagh (Gita), Graeme Broadbent (Don Estoban) David Parry David Pountney Johan Engels/
Marie-Jeanne
Lecca
2003–04 La vida breve Falla Mary Plazas (Salud), Leonardo Capalbo (Paco), Susan Gorton (Grandmother) Martin André Christopher Alden Johan Engels/
Sue Willmington
2003–04 Il tabarro Puccini Nina Pavlovski (Giorgetta), Jonathan Summers (Michele), Leonardo Capalbo (Luigi), Anne-Marie Owens (La Frugola) Martin André David Pountney Johan Engels/
Sue Willmington
2003–04 L'occasione fa il ladro Rossini Mark Stone (Don Parmenione), Iain Paton (Count Alberto), Majella Cullagh (Berenice), Kim-Marie Woodhouse (Ernestina), Adrian Clarke (Martino), Nicholas Sharratt (Don Eusebio) David Parry Christopher Alden Johan Engels/
Tom Pye
2003–04 Francesca da Rimini Rachmaninoff Nina Pavlovski (Francesca), Jeffrey Lloyd-Roberts (Dante/Paolo), Jonathan Summers (Ghost of Virgil/Malatesta) Martin André David Pountney Johan Engels/
Sue Willmington
2003–04 Pagliacci Leoncavallo Geraint Dodd (Canio), Majella Cullagh (Nedda), Jonathan Summers (Tonio), Iain Paton (Beppe), Mark Stone (Silvio) David Parry Christopher Alden Johan Engels/
Sue Willmington
2003–04 Djamileh Bizet Patricia Bardon (Djamileh), Paul Nilon (Haroun), Mark Stone (Splendiano) David Parry Christopher Alden Johan Engels/
Sue Willmington
2003–04 The Seven Deadly Sins Weill Beate Vollack (Anna I), Iain Paton (Tenor I), Nicholas Sharratt (Tenor II), Adrian Clarke (Father), Graeme Broadbent (Mother) James Holmes David Pountney Johan Engels/
Marie-Jeanne
Lecca
2004–05 Orfeo ed Euridice Gluck Daniel Taylor (Orfeo), Isabel Monar (Euridice), Claire Ormshaw (Amor) Nicholas Kok Emio Greco Pieter C Sholten
/Clifford Portier
2004–05 Manon Lescaut Puccini Natalia Dercho (Manon), Hugh Smith (Des Grieux), Christopher Purves (Lescaut) Richard Farnes Daniel Slater Robert Innes
Hopkins
2004–05 Così fan tutte Mozart Malin Byström (Fiordiligi), Ann Taylor (Dorabella), Iain Paton (Ferrando), Roderick Williams (Guglielmo), Claire Wild (Despina), Peter Savidge (Don Alfonso) Yves Abel Tim Albery Tobias Hoheisel
2004–05 One Touch of Venus Weill Karen Coker (Venus), Loren Geeting (Rodney Hatch), Christianne Tisdale (Molly), Ron Li-Paz (Whitelaw Savory) James Holmes Tim Albery Antony McDonald
/Emma Ryott
2004–05 Don Giovanni Mozart Roderick Williams (Don Giovanni), Susannah Glanville (Donna Anna), Giselle Allen (Donna Elvira), Andrew Foster-Williams (Leporello), Iain Paton (Don Ottavio) Richard Farnes Olivia Fuchs Niki Turner
/Emma Ryott
2004–05 La gazza ladra Rossini Mary Hegarty (Ninetta), Ashley Catling (Giannetto), Robert Poulton (Podestà), Jonathan Best (Fernando), Anne-Marie Gibbons (Pippo) David Parry Revival of 1991-2 production
2004–05 Bluebeard's Castle[17] Bartók John Tomlinson (Bluebeard), Sally Burgess (Judith) Richard Farnes Giles Havergal Adam Wiltshire
2005–06 Saul[18] Handel Robert Hayward (Saul), Tim Mead (David), Lucy Crowe (Michal), Sarah Fox (Merab), Mark Wilde (Jonathan) Christian Curnyn John Fulljames Soutra Gilmour
2005–06 Hänsel und Gretel[19] Humperdinck Julianne Young (Hansel), Jeni Bern (Gretel), Peter Hoare (Witch), Christopher Purves (Peter) Richard Farnes John Fulljames Soutra Gilmour
2005–06 The Marriage of Figaro Mozart Wyn Pencarreg (Figaro), Jenni Bern/Lucy Crowe (Susanna), Howard Reddy/James McOran-Campbell (Count), Linda Richardson (Countess), Julianne Young (Cherubino) Christian Gansch Revival of 1995-6 production
2005–06 La rondine Puccini Janis Kelly (Magda), Rafael Rojas (Ruggero), Alan Oke (Prunier), Gail Pearson (Lisette), Peter Savidge/Jonathan Best (Rambaldo) Richard Farnes Revival of 1993-4 production
2005–06 Der Kuhhandel Weill Leonardo Capalbo (Juan), Mary Plazas/Deborah Norman (Juanita), Jeffrey Lawton (Mendez), Adrian Clarke (Jones), Robert Burt (Ximenes), Donald Maxwell (Conchas) James Holmes David Pountney Duncan Hayler
2006–07 Rigoletto Verdi Alan Opie/Jonathan Summers (Rigoletto), Rafael Rojas (Duke), Henriette Bonde-Hansen/Linda Richardson (Gilda) Martin André/
Mark Shanahan
Charles Edwards Charles Edwards
2006–07 Peter Grimes Britten Jeffrey Lloyd-Roberts (Grimes), Giselle Allen (Ellen Orford), Christopher Purves (Balstrode) Richard Farnes Phyllida Lloyd Anthony Ward
2006–07 La voix humaine Poulenc Joan Rodgers (Elle) Paul Watkins Tom Pye Tom Pye
2006–07 The Magic Flute Mozart Ed Lyon/Peter Wedd (Tamino), Noriko Urata (Pamina), Roderick Williams/Riccardo Simonetti (Papageno), Chester Patton (Sarastro), Penelope Randall-Davis (Queen of the Night) Paul McGrath Revival of 2002-3 production
2006–07 L'elisir d'amore Donizetti Anna Ryberg (Adina), Andrew Kennedy (Nemorino), Peter Savidge (Dulcamara), Riccardo Simonetti (Belcore) Tecwyn Evans Revival of 2000-1 production
2006–07 L'Orfeo Monteverdi Paul Nilon (Orfeo) Christopher
Moulds
Christopher Alden Paul Steinberg
/Doey Lüethi
2006–07 Káťa Kabanová Janáček Giselle Allen (Katya), Peter Wedd (Boris), Ashley Catling (Kudryash), Wendy Dawn Thompson (Varvara), Sally Burgess (Kabanicha) Richard Farnes Tim Albery Hildegard Bechtler
2006–07 Dido and Aeneas[20] Purcell Susan Bickley (Dido), Amy Freston (Belinda), Adam Green (Aeneas) Nicholas Kok Aletta Collins Giles Cadle/
Gabriella Dalton
2007–08 Madama Butterfly Puccini Anne Sophie Duprels (Butterfly), Rafael Rojas (Pinkerton), Peter Savidge (Sharpless), Ann Taylor (Suzuki) Wyn Davies Tim Albery Hildegard Bechtler
/Ana Jebens
2007–08 Falstaff Verdi Robert Hayward (Falstaff), Susannah Glanville (Alice Ford), Olafur Sigurdarson (Ford), Ashley Catling (Fenton), Valérie Condoluci (Nanetta), Susan Bickley (Mistress Quickly), Deanne Meek (Meg Page) Richard Farnes Revival of 1996-7 production
2007–08 Croesus Keiser Paul Nilon (Croesus), Michael Maniaci (Atis), Gillian Keith (Elmira), Henry Waddington (Cyrus), William Dazeley (Orsanes), Fflur Wyn (Clerida) Harry Bicket Tim Albery Leslie Travers
2007–08 The Adventures of
Pinocchio

(world premiere)
Dove Victoria Simmonds (Pinocchio), Jonathan Summers (Geppetto), Mary Plazas (Blue Fairy), Mark Wilde (Cat), James Laing (Fox) David Parry Martin Duncan Francis O’Connor
2007–08 Peter Grimes Britten Jeffrey Lloyd-Roberts (Grimes), Giselle Allen (Ellen Orford), Christopher Purves (Balstrode) Richard Farnes Revival of 2006-7 production
2007–08 Macbeth Verdi Robert Hayward (Macbeth), Antonia Cifrone/Yvonne Howard (Lady Macbeth), Peter Auty (Macduff) Richard Farnes/
Martin Pickard
Tim Albery

Johan Engels/
Brigitte Reiffenstuel

2007–08 A Midsummer
Night's Dream
Britten James Laing (Oberon), Jeni Bern (Tytania), Henry Waddington (Bottom), Peter Wedd (Lysander), Elizabeth Atherton (Helena), Frances Bourne (Hermia), Mark Stone (Demetrius) Stuart Stratford Martin Duncan Johan Engels
/Ashley
Martin-Davis
2007–08 Roméo et Juliette Gounod Leonardo Capalbo (Roméo), Bernarda Bobro (Juliette), Frances Bourne (Stéphano), Stephan Loges (Mercutio), Henry Waddington (Frère Laurent) Martin André/
Peter Selwyn
John Fulljames Johan Engels/
Adam Wiltshire
2008–09 Of Thee I Sing Gershwin William Dazeley (Wintergreen), Bibi Heal (Mary), Heather Shipp (Diana Devereux), Steven Beard (Alexander Throttlebottom) Mark W Dorrell Revival of 1997-8 production
2008–09 Tosca Puccini Takesha Meshé Kizart (Tosca), Rafael Rojas (Cavaradossi), Robert Hayward (Scarpia) Andrea Licata/
Martin Pickard
Revival of 2002-3 production
2008–09 I Capuleti e
i Montecchi
Bellini Sarah Connolly (Romeo), Marie Arnett (Giulietta), Edgaras Montvidas (Tebaldo) Manlio Benzi Orpha Phelan Leslie Travers
2008–09 Skin Deep
(world premiere)
Sawer Geoffrey Dolton (Needlemeier), Janis Kelly (Lania), Heather Shipp (Donna), Amy Freston (Elsa), Andrew Tortise (Robert), Mark Stone/Riccardo Simonetti (Luke), Gwendoline Christie (Susannah) Richard Farnes Richard Jones Stewart Laing
2008–09 Let 'Em Eat Cake Gershwin William Dazeley (Wintergreen), Bibi Heal (Mary), Steven Beard (Alexander Throttlebottom), Richard Burkhard (Kruger), Richard Suart (General Snookfield) Wyn Davies/
Mark W Dorrell
Caroline Gawn Tim Hopkins/
Gabrielle Dalton
2008–09 Moscow,
Cheryomushki
Shostakovich Philip O’Brien (Sergei), Claire Pascoe (Lusya), Summer Strallen (Lidochka), Eaton James (Boris), Grant Doyle (Sasha), Bibi Heal (Masha) James Holmes Revival of 2000-1 production
2008–09 Don Carlos Verdi Julian Gavin (Carlos), Janice Watson (Elisabetta), William Dazeley (Posa), Brindley Sherratt/Alastair Miles (Philip II), Jane Dutton (Eboli) Richard Farnes Revival of 1992-3 production
2008–09 Die Entführung
aus dem Serail
Mozart Kate Valentine (Konstanze), Allan Clayton/Joshua Ellicott (Belmonte), Clive Bayley (Osmin), Elena Xanthoudakis (Blonde), Nicholas Sharratt (Pedrillo) Rory Macdonald Tim Hopkins Tim Hopkins/
Gideon Davey
2009–10 Così fan tutte Mozart Elizabeth Atherton (Fiordiligi), Victoria Simmonds (Dorabella), Allan Clayton (Ferrando), Quirijn de Lang (Guglielmo), Amy Freston (Despina), Geoffrey Dolton (Don Alfonso) Andrew Parrott/
Justin Doyle
Revival of 2004-5 production
2009–10 Werther Massenet Paul Nilon (Werther), Alice Coote/Ann Taylor (Charlotte), Fflur Wyn (Sophie) Richard Farnes Tom Cairns Hildegard Bechtler
/Amy Roberts
2009–10 The Excursions of
Mr. Brouček to the
Moon and to the
15th Century
Janáček John Graham-Hall (Brouček), Jeffrey Lloyd-Roberts (Mazal), Anne Sophie Duprels (Málinka), Donald Maxwell (Würfl), Jonathan Best (Sacristan) Martin André John Fulljames Alex Lowde
2009–10 La bohème Puccini Bülent Bezdüz (Rodolfo), Anne Sophie Duprels (Mimi), Marcin Bronikowski (Marcello), Sarah Fox (Musetta) Richard Farnes/
Geoffrey Paterson
Revival of 1992-3 production
2009–10 Ruddigore Sullivan Grant Doyle (Robin/Ruthven), Amy Freston (Rose), Hal Cazalet (Richard), Richard Burkhardt (Despard), Heather Shipp (Mad Margaret), Steven Page (Sir Roderick), Anne-Marie Owens (Dame Hannah) John Wilson/
Anthony Kraus
Jo Davies Richard Hudson/

Gabrielle Dalton

2009–10 Rusalka Dvořák Giselle Allen (Rusalka), Richard Berkeley-Steele (Prince), Richard Angas (Water Sprite), Susannah Glanville (Foreign Princess), Anne-Marie Owens (Jezibaba) Oliver
von Dohnanyi
Revival of 2003-4 production
2009–10 Maria Stuarda Donizetti Sarah Connolly (Maria), Antonia Cifrone (Elisabetta), Bülent Bezdüz (Leicester), David Kempster (Cecil), Frédéric Bourreau (Talbot) Guido Johannes
Rumstadt
Antony McDonald Antony McDonald

comparison

[edit]
Season Opera[21] Composer Principal cast Conductor Director Designer[22]
2004–05 Orfeo ed Euridice Gluck Daniel Taylor (Orfeo), Isabel Monar (Euridice), Claire Ormshaw (Amor) Nicholas Kok Emio Greco Pieter C Sholten/Clifford Portier
2004–05 Manon Lescaut Puccini Natalia Dercho (Manon), Hugh Smith (Des Grieux), Christopher Purves (Lescaut) Richard Farnes Daniel Slater Robert Innes Hopkins
2004–05 Così fan tutte Mozart Malin Byström (Fiordiligi), Ann Taylor (Dorabella), Iain Paton (Ferrando), Roderick Williams (Guglielmo), Claire Wild (Despina), Peter Savidge (Don Alfonso) Yves Abel Tim Albery Tobias Hoheisel
2004–05 One Touch of Venus Weill Karen Coker (Venus), Loren Geeting (Rodney Hatch), Christianne Tisdale (Molly), Ron Li-Paz (Whitelaw Savory) James Holmes Tim Albery Antony McDonald/Emma Ryott
2004–05 Don Giovanni Mozart Roderick Williams (Don Giovanni), Susannah Glanville (Donna Anna), Giselle Allen (Donna Elvira), Andrew Foster-Williams (Leporello), Iain Paton (Don Ottavio) Richard Farnes Olivia Fuchs Niki Turner/Emma Ryott
2004–05 La gazza ladra Rossini Mary Hegarty (Ninetta), Ashley Catling (Giannetto), Robert Poulton (Podestà), Jonathan Best (Fernando), Anne-Marie Gibbons (Pippo) David Parry Revival of 1991-2 production
2004–05 Bluebeard's Castle[23] Bartók John Tomlinson (Bluebeard), Sally Burgess (Judith) Richard Farnes Giles Havergal Adam Wiltshire


Season Opera[24] Composer Principal cast Conductor Director Designer[25]
2004–05 Orfeo ed Euridice Gluck Daniel Taylor (Orfeo), Isabel Monar (Euridice), Claire Ormshaw (Amor) Nicholas Kok Emio Greco Pieter C Sholten
/Clifford Portier
2004–05 Manon Lescaut Puccini Natalia Dercho (Manon), Hugh Smith (Des Grieux), Christopher Purves (Lescaut) Richard Farnes Daniel Slater Robert
Innes Hopkins
2004–05 Così fan tutte Mozart Malin Byström (Fiordiligi), Ann Taylor (Dorabella), Iain Paton (Ferrando), Roderick Williams (Guglielmo), Claire Wild (Despina), Peter Savidge (Don Alfonso) Yves Abel Tim Albery Tobias Hoheisel
2004–05 One Touch of Venus Weill Karen Coker (Venus), Loren Geeting (Rodney Hatch), Christianne Tisdale (Molly), Ron Li-Paz (Whitelaw Savory) James Holmes Tim Albery Antony McDonald
/Emma Ryott
2004–05 Don Giovanni Mozart Roderick Williams (Don Giovanni), Susannah Glanville (Donna Anna), Giselle Allen (Donna Elvira), Andrew Foster-Williams (Leporello), Iain Paton (Don Ottavio) Richard Farnes Olivia Fuchs Niki Turner
/Emma Ryott
2004–05 La gazza ladra Rossini Mary Hegarty (Ninetta), Ashley Catling (Giannetto), Robert Poulton (Podestà), Jonathan Best (Fernando), Anne-Marie Gibbons (Pippo) David Parry Revival of 1991-2 production
2004–05 Bluebeard's Castle[26] Bartók John Tomlinson (Bluebeard), Sally Burgess (Judith) Richard Farnes Giles Havergal Adam Wiltshire

previous

[edit]
Season Opera[27] Composer Principal cast Conductor Director Designer[28]
1980-1981 Oedipus rex[29] Stravinsky Robert Ferguson (Oedipus), Josephine Veasey (Jocasta), Hugh-Nigel Sheehan (Creon), John Tranter (Tiresias) David Lloyd-Jones Patrick Libby Stefanos Lazaridis
1980-1981 Les mamelles de Tirésias[30] Poulenc Kate Flowers (Thérèse), Stuart Harling (The Husband) Clive Timms Revival of 1978-9 production
1980-1981 Tosca Puccini Elizabeth Vaughan (Tosca), Kenneth Collins (Cavaradossi), Geoffrey Chard (Scarpia) David Lloyd-Jones Revival of 1979-80 production
1980-1981 The Magic Flute Mozart Adrian Martin (Tamino), Helen Walker (Pamina), Michael Lewis (Papageno), John Tranter (Sarastro), Margaret Haggart (Queen of the Night) David Lloyd-Jones Revival of 1978-9 production
1980-1981 Don Giovanni Mozart Tom McDonnell (Don Giovanni), Elizabeth Robson (Donna Anna), Felicity Palmer (Donna Elvira), Michael Rippon (Leporello), Robin Leggate (Don Ottavio) David Lloyd-Jones David Pountney Maria Björnson
1980-1981 The Barber of Seville Rossini Michael Lewis (Figaro), Della Jones (Rosina), John Brecknock (Almaviva), Derek Hammond-Stroud (Dr Bartolo) John Pryce-Jones Patrick Libby Frances Tempest Steve Addison
1980-1981 Der Freischütz Weber Robert Ferguson (Max), Sally Burgess/Bente Marcussen (Agathe), Malcolm Rivers (Caspar), Sandra Dugdale (Aennchen) Clive Timms Steven Pimlott John Fraser

something new

[edit]
Season Opera[31] Composer Principal cast Conductor Director Designer[32]
1979–1980 The Merry Widow Lehár Elizabeth Harwood (Hanna Glawari), David Hillman (Danilo), Bente Marcussen (Valencienne), Adrian Martin (Camille), Thomas Lawlor (Baron Zeta) David Lloyd-Jones/
John Pryce-Jones
Wendy Toye Bob Ringwood
1979–1980 Hansel and Gretel Humperdinck Fiona Kimm (Hansel), Kate Flowers (Gretel), Ann Howard (Witch) David Parry Revival of 1978–9 production
1979–1980 Carmen Bizet Gillian Knight/Ann Howard (Carmen), Robert Ferguson (Don José), Michael Lewis (Escamillo), Joy Roberts (Micaela) Clive Timms John Copley Stefanos Lazaridis
1979–1980 Der Rosenkavalier R Strauss Lois McDonall (The Marschallin), Eiddwen Harrhy (Octavian), Laureen Livingstone (Sophie), Dennis Wicks (Baron Ochs) David Lloyd-Jones John Copley David Walker
1979–1980 The Mines of Sulphur Bennett Fiona Kimm (Rosalind), Robert Ferguson (Bocconnion, Eric Garrett (Sherrin), Sally Burgess (Jenny), John Fryatt (Trim) Clive Timms Colin Graham Alix Stone]
1979–1980 Nabucco Verdi Ludmilla Andrew (Abigaille), Camillo Meghor (Nabucco), John Tranter (Zaccaria) Elgar Howarth Steven Pimlott Stefanos Lazaridis
1979–1980 A Village Romeo and Juliet Delius Adrian Martin (Sali), Laureen Livingstone (Vrenchen), Stuart Harling (The Dark Fiddler) David Lloyd-Jones Patrick Libby John Fraser
1979–1980 Count Ory Rossini Graham Clark (Count Ory), Eiddwen Harrhy (Countess Adèle), Della Jones (Isolier), Russell Smythe (Raimbaud), Paul Hudson (Ory's Tutor) David Lloyd-Jones Anthony Besch Peter Rice
1980–1981 Jenůfa Janáček Lorna Haywood (Jenůfa), Margaret Kingsley (Kostelnička), Robert Ferguson (Laca), Philip Mills (Števa) David Lloyd-Jones David Pountney Maria Björnson
1980–1981 The Elixir of Love Donizetti Lillian Watson (Adina), Ryland Davies (Nemorino), Forbes Robinson (Dulcamara), Richard Jackson (Belcore) Clive Timms Michael Geliot Michael Beaven
1980–1981 La traviata Verdi Elizabeth Vaughan (Violetta), Franco Bonanome (Alfredo), Michael Lewis (Germont) Gabrielle Bellini Revival of 1978–9 production
1980–1981 The Merry Widow Lehár Elizabeth Robson (Hanna Glawari), Christopher Booth-Jones (Danilo), Eirian James (Valencienne), Arthur Davies (Camille), Thomas Lawlor (Baron Zeta) David Lloyd-Jones Revival of 1979–80 production
1980–1981 The Tales of Hoffmann Offenbach David Hillman (Hoffmann), Joan Carden (Olympia, Antonia, Giulietta, Stella), Norman Bailey (Lindorf, Coppelius, Dr Miracle, Dapertutto) David Lloyd-Jones Anthony Besch John Stoddart
1980–1981 La bohème Puccini Robert Ferguson (Rodolfo), Sally Burgess (Mimi), Terence Sharpe (Marcello), Bente Marcussen (Musetta) Clive Timms Revival of 1978–9 production
1980–1981 Oedipus rex[33] Stravinsky Robert Ferguson (Oedipus), Josephine Veasey (Jocasta), Hugh-Nigel Sheehan (Creon), John Tranter (Tiresias) David Lloyd-Jones Patrick Libby Stefanos Lazaridis
1980–1981 Les mamelles de Tirésias[34] Poulenc Kate Flowers (Thérèse), Stuart Harling (The Husband) Clive Timms Revival of 1978–9 production
1980–1981 Tosca Puccini Elizabeth Vaughan (Tosca), Kenneth Collins (Cavaradossi), Geoffrey Chard (Scarpia) David Lloyd-Jones Revival of 1979–80 production
1980–1981 The Magic Flute Mozart Adrian Martin (Tamino), Helen Walker (Pamina), Michael Lewis (Papageno), John Tranter (Sarastro), Margaret Haggart (Queen of the Night) David Lloyd-Jones Revival of 1978–9 production
1980–1981 Don Giovanni Mozart Tom McDonnell (Don Giovanni), Elizabeth Robson (Donna Anna), Felicity Palmer (Donna Elvira), Michael Rippon (Leporello), Robin Leggate (Don Ottavio) David Lloyd-Jones David Pountney Maria Björnson
1980–1981 The Barber of Seville Rossini Michael Lewis (Figaro), Della Jones (Rosina), John Brecknock (Almaviva), Derek Hammond-Stroud (Dr Bartolo) John Pryce-Jones Patrick Libby Frances Tempest/
Steve Addison
1980–1981 Der Freischütz Weber Robert Ferguson (Max), Sally Burgess/Bente Marcussen (Agathe), Malcolm Rivers (Caspar), Sandra Dugdale (Aennchen) Clive Timms Steven Pimlott John Fraser

Librarian quotes

[edit]

Two of Larkin's colleagues at Hull University felt that his career as a librarian was in itself worthy of note. Douglas Dunn wrote "Librarianship became a profession through the examples set by notable librarians. Philip Larkin was such a librarian" and Brian Dyson called him "a great figure in post-war British librarianship". Having started out by running Wellington Public Library single-handed, Larkins soon developed an assurance beyond the norm. His boss at Belfast University, Graneek, said that he had "come increasingly to rely on Larkin's judgement ... I have delegated to him rather larger areas of responsibility than normally falls to the lot of a sub-librarian ... He has the ability to assess a problem, arrive at a decision and act upon it without delay, which is not too common among academic administrators." When Larkin took up his appointment in Hull the plans for a larger university library—the first to be built since the war—were already far advanced. Larkin made a great effort in just a few months to come to terms with these plans before they were placed before the University Grants Committee; he suggested a number of emendations, some major and structural, all of which were taken on board. The library was completed in 1969; ten years later Larkin took the equally ground-breaking decision to computerise the entire library stock. Richard Goodman has written: "with this step, Hull became the first library in Europe to install a GEAC system". In a general tone Goodman also wrote "it is as an administrator boss, committee man and arbitrator that Larkin revealed one of his strongest suits as a librarian. He treated his staff decently, and he motivated them. He did this with a combination of efficiency, high standards, humour and compassion. Those who have left written accounts of their time at Hull have said he was an excellent librarian and a very caring boss". In his articel in Larkin at Sixty Barry Bloomfield noted that Larkin "pioneered new techniques and introduced methods which have been copied in other academic libraries in the United Kingdom". During his thirty years as Librarian the stock sextrupled, and the budget expanded from £4,500 to £448,500.[35]

quotes

[edit]

His colleague Brian Dyson goes so far as to call him "a great figure in post-war British librarianship" (Dyson in TMAL, ix).

"Librarianship became a profession through the examples set by notable librarians", fellow poet and colleague Douglas Dunn wrote. "Philip Larkin was such a librarian" (Dunn in TMAL, viii).

It might well be said that the freedom and responsibility given to Larkin so early in his career helped provide him with the extraordinary assurance he showed years later at the University of Hull where his management challenges were truly daunting. Not content, as his predecessor was, to let things remain as they were, the young Larkin began to change them:

Graneek actually placed the advertisement for the job on Larkin's desk. He told Hull that he had:

come increasingly to rely on Larkin's judgement ... / have delegated to him rather larger areas of responsibility than normally falls to the lot of a sub-librarian ... He has the ability to assess a problem, arrive at a decision and act upon it without delay, which is not too common among academic administrators. (Motion, 245)

the most urgent task facing Larkin on arrival in Hull was to familiarise himself with the plans "already at an advanced stage" - for a new library building, one of the first to be built in post-war Britain. Since the plans had to be submitted to the University Grants Committee (the funding body) by December, the matter was pressing. Larkin had no experience of the building of new libraries, nor had anyone else, not even architects, since no university libraries had been built in the United Kingdom since before the war. Since he realized this new library would have a strong influence on nearly every aspect of his work, he felt he had no alternative but to study the plans in depth and grapple with them alone.

What Larkin found was a two-part plan for the building of the library. The first part (Stage I) was to consist of a three-storey administrative building with stacks and reading rooms. Stage II, to be built some years later, was planned as a tall stacks building to be connected to the first. He quickly saw that "when the two stages were complete, readers and books would be separated from each other by the central administrative block" (Motion, 253). He took the rather bold step of recommending to the University that this be altered. They were impressed with his presentation and reasoning

In 1960 he published a detailed report on the new library in the Library Association Record (LAR 42, no. 6, 185-189). It is a meticulous presentation of the plan and workings of a major new university library and shows Larkin's complete familiarity with every function of the new building.

Just a glance at the plans, with the accompanying table identifying the various areas and departments, leaves an indelible impression of the complexity of a library of this size. Larkin's pride and modesty in the accomplishment are to be seen in his account of the history of the construction of the new library (part of an overall history of the library he wrote on the occasion of its fiftieth anniversary) and in his report of the Queen Mother's dedication of Stage I in June 1960 (ALS-S, 5-9). In fact, all the documents relating to the library's construction still make worthy reading and could well be assembled to create a casebook

Indeed, it is as an administrator boss, committee man and arbitrator that Larkin revealed one of his strongest suits as a librarian. He treated his staff decently, and he motivated them. He did this with a combination of efficiency, high standards, humour and. compassion. Those who have left written accounts of their time at Hull have said he was an excellent librarian and a very caring boss

Edwin Dawes, Chairman of the Library Committee from 1974 to 1987 observed:

Anyone who might have held the notion that Philip was a fey, otherwordly poet would have had such ideas ruthlessly dispelled on first contact at one of these briefing sessions. His mastery of all aspects of library operation ... was striking, and his sense of political timing for committees astute. (Dawes in PL, 20)

Larkin's influence as a librarian extended beyond the boundaries of Hull. As a member of the Standing Committee of National and University Libraries (SCONUL), he attended its conferences, and served on its committees. One of his most passionate pleas to the British library establishment was to keep contemporary British writers' manuscripts and papers in England.

As early as 1961 he alerted SCONUL to the indifference of British libraries to the loss of manuscripts of contemporary British writers to foreign bidders, usually American libraries. Stimulated by this warning, the Arts Council initiated a National Manuscript Collection of Contemporary Poets (later Writers) ... and from 1972 to 1979 Larkin was its Chairman. (Brennan in ALS-S. 40)

During the seventies and particularly the eighties, Larkin was thrown dramatically into the modem age. He faced what have come to be probably the two most pressing issues in librarianship in recent years: computers and cutbacks. The first he met, after some delay, with surprising ingenuity and innovativeness surprising, perhaps for a man whose poetry hearkens in a Hardy-esque way to an earlier, more traditional England, and who harboured a deep mistrust of computers. But in fact, that is what he did. In 1979, the library decided to purchase a GEAC system - made by a Canadian company which today continues to provide systems for libraries - and to put the library's collection on-line. With this step, Hull became the first library in Europe to install a GEAC system. Thus, having directed between 1955 and 1969 the construction of the new Library at Hull, a decade later Larkin presided over its second major transformation, namely the conversion of the entire stock to machine readable form. Once this decision had been taken, he was anxious that the on-line catalogue should be as accurate and as easy to use as the card version, as well as being more versatile

Once the decision was made to convert, Larkin made several concomitant decisions which proved to be of lasting value. One was "to create a database of fairly full catalogue records, even though brief citations would have been adequate for circulation-related activities" (Wallace in TMAL, 82). (Remember, we are speaking of 640,000 records. This is a librarian working here.) By April 1982, the transfer of the entries was complete, and the system was operating fully. To have done this with a staff "almost entirely without experience of automation" (Brennan in ALS-S, 26) all the while providing much the same services expected of a university library, was no small feat.

In 1985, the year of his thirtieth anniversary at Hull, the Library had altered beyond all recognition from the one he took over in 1955. It was now thoroughly modern and recognised as one of the best University libraries in the United Kingdom. The stock had increased from the 1955 number of 124,000 to 750,000 volumes. The budget had increased from £4,500 to £448,500 (Brennan in ALS-S, 39). Larkin was in large measure responsible for this. He had also, as Bloomfield notes, "pioneered new techniques and introduced methods which have been copied in other academic libraries in the United Kingdom" (Bloomfield in Larkin at 60, 50).

all from here

The operas of Verdi is a book in three volumes by Julian Budden

  • The Operas of Verdi, Volume 1 (3rd edition), New York: Oxford University Press, 1983 ISBN 0-19-816261-8
  • The Operas of Verdi, Volume 2 (3rd edition), New York: Oxford University Press, 1983 ISBN 0-19-816262-6
  • The Operas of Verdi, Volume 3 (3rd edition), New York: Oxford University Press, 1983 ISBN 0-19-816263-4

Mr Larkin's Awkward Day

[edit]

Mr Larkin's Awkward Day was a comedy radio play by Chris Harrald, broadcast on BBC Radio 4 on Tuesday 29 April 2008.[36]

In 1957 Philip Larkin's friend Robert Conquest, of the group known as The Movement, played a practical joke on him. Mr Larkin's Awkward Day tells the true story of the joke, one that had Larkin fearing he might be sent to prison.

In September 1957, a pre-fame Larkin prepares for another ordinary day and picks up his post. But one letter stands out: an official-looking envelope embossed with the words Scotland Yard. The letter reveals that there is an ongoing investigation into him, conducted under the Obscene Publications Act 1921. The letter informs Larkin that he might have to appear in court since it is alleged he has been buying pornography—and he knows all too well that he has. Larkin begins to fret about what to do—should he destroy the evidence under the gaze of a watchful landlady before the police arrive? Eventually, he goes to his librarian job. As he leaves the library he freezes when Inspector Cough introduces himself and says that he is very interested in Larkin's literary tastes. Larkin begins to defend himself until it transpires that the men have crossed wires—one fears he is being quizzed about purchasing dubious magazines, the other thinks he is having a friendly chat about literature. Finally, Larkin prises himself free from the Inspector to dash off to a meeting with his solicitors, who ask him what journals he has been buying. After he returns to his lodgings his landlady knocks on Larkin's door—someone wants him on the 'phone. It's Larkin's historian friend, Bob Conquest, and he is laughing. He asks Larkin about the silly joke he played on him, the embossed envelope and so on. When it becomes clear that Larkin was completely taken in, Conquest offers to pay his solicitors' costs.[37]

  1. ^ Titles in Bold are new productions. Unbolded titles that are not revivals of Opera North productions are productions that originated at English National Opera, Scottish Opera, Welsh National Opera and Glyndebourne Festival Opera. Opera titles are the titles used in Wikipedia articles and not necessarily those used by Opera North.
  2. ^ Where two designers are credited, the first-named designed the set and the second designed the costumes
  3. ^ Performed as a double-bill with Dido and Aeneas
  4. ^ Performed as a double-bill with Les mamelles de Tirésias
  5. ^ Performed as a double-bill with Les mamelles de Tirésias
  6. ^ Performed as a double-bill with Oedipus rex
  7. ^ Performed as a double-bill with Pagliacci
  8. ^ Performed as a double-bill with Cavalleria rusticana
  9. ^ Performed as a double-bill with Pulcinella
  10. ^ Performed as a double-bill with Gianni Schicchi
  11. ^ Performed as a double-bill with L'heure espagnole
  12. ^ Arranged by Paul Griffiths
  13. ^ Performed as a double-bill with Adventures in Motion Pictures’ version of The Nutcracker to celebrate the centenary of both works.
  14. ^ Semi-staged concert performances.
  15. ^ Performed as a double-bill with Petrushka
  16. ^ Semi-staged concert performances
  17. ^ Semi-staged production, performed as a double-bill with concert performances of Daphnis et Chloé.
  18. ^ Semi-staged concert performances
  19. ^ Semi-staged concert performances
  20. ^ Performed as a double-bill with Les noces
  21. ^ Titles in Bold are new productions.
  22. ^ Where two designers are credited, the first-named designed the set and the second designed the costumes
  23. ^ Semi-staged production, performed as a double-bill with concert performances of Daphnis et Chloé.
  24. ^ Titles in Bold are new productions.
  25. ^ Where two designers are credited, the first-named designed the set and the second designed the costumes
  26. ^ Semi-staged production, performed as a double-bill with concert performances of Daphnis et Chloé.
  27. ^ Titles in Bold are new productions
  28. ^ Where two designers are credited, the first-named designed the set and the second designed the costumes
  29. ^ Performed as a double-bill with Les mamelles de Tirésias
  30. ^ Performed as a double-bill with Oedipus rex
  31. ^ Titles in Bold are new productions. Unbolded titles that are not revivals of Opera North productions are productions that originated at English National Opera, Scottish Opera, Welsh National Opera and Glyndebourne Festival Opera.
  32. ^ Where two designers are credited, the first-named designed the set and the second designed the costumes
  33. ^ Performed as a double-bill with Les mamelles de Tirésias
  34. ^ Performed as a double-bill with Oedipus rex
  35. ^ Richard Goodman "My particular talents": Philip Larkin's 42-year career as a Librarian
  36. ^ BBC Radio 4 Publicity (29 April 2008). "Mr Larkin's Awkward Day". BBC Radio 4.{{cite web}}: CS1 maint: numeric names: authors list (link)
  37. ^ Motion, Andrew (1993). Larkin: A Writer's Life. London: Faber and Faber. pp. 266–7. ISBN 0-571-17065-X. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)

Accumulated quotes, directed by entries in the indexes

[edit]

Motion: PL: Criticisms of

[edit]

Motion 1993, p.281: The poet Charles Tomlinson, writing the in journal Essays in Criticism in April, had attacked Larkin's 'tenderly nursed sense of defeat' in an article headed 'The Middlebrow Muse'

Motion 1993, p.328: During the spring of 1962 the then much-respected literary critic A. Alvarez, compiling The New Poetry for Penguin, had attacked Larkin in his Introduction, charging him with 'gentility', neo-Georgian pastoralism, and a failure to deal with the violent extremes of contemporary life.

Motion: PL: The Less Deceived reviews

[edit]

Motion 1993, p.269: Then, on 22 December, The Times changed everything; it included The Less Deceived in its round-up of the year's outstanding books ... Other reviews quickly followed. The TLS was anonymously cautious but encouraging; the New Statesman was enthusiastic; and Donald Davie, Anne Ridler and Roy Fuller, among others, produced praising pieces later in the spring. For the rest of 1956 and into the following year, articles and appreciations followed at regular intervals. Most of them concentrated ... on the the book's emotional impact and its sophisticated, witty language

Motion: PL: The Whitsun Weddings reception

[edit]

Motion 1993, p.343: Reviewers were quick to identify if not always to appreciate [its] qualities. A. Alvarez ... writing in the Observer, felt the world Larkin described was too circumscribed and 'commonplace'. To those who felt the poems made the familiar strange (like Betjeman in the Listener, Enright in the New Statesman and Thwaite, anonymously, in the TLS) its acheivement was correspondingly great.

Motion: PL: The North Ship reissue and reviews

[edit]

Motion 1993, p.358–60: Most critics were content to see it as an interesting stage in the evolution of a poet they admired. John Carey in the New Stateman, Christopher Ricks in the Sunday Times, and Edmund Blunden in the Daily Telegraph were all appreciative. Elizabeth Jennings in the Spectator went one better by welcoming the poems themselves, as well as the information they gave about Larkin's development. 'Few will question' she wrote 'the instrinsic value of The North Ship or the importance of its being reprinted now. It is good to know that Larkin could write so well when still so young.'

Motion: The North Ship

[edit]

Motion 1993, p.132: Its only contemporary reviewer (in the Coventry Evening Telegraph) ... said 'Mr Larkin has an inner vision that must be sount for with care. His recondite imagery is counched in phrases that make up in a kind of wistful hinted beauty what they lack in lucidy. Mr Larkin's readers must at oresent be confined to a small circle. Perhaps his work will gain wider appeal as his genius becomes more mature?'

Motion 1993, p.191: Three months later he had a rare drop of encouragement. The poet and critic Charles Madge wrote to compliment him on the poems in The North Ship which he had recently read.

Motion: The Less Deceived

[edit]

Motion 1993, p.275: June 1956, TES: As native as a Whitstable oyster, as sharp an expression of contemporary thought and experience as anything written in out time, as immediate in its appeal as the lyric poetry of an earlier day, it may well be regarded by posterity as a poetic monument that marks the triumph over the formless mystifications of the last twenty years. With Larkin poetry is on its way back to the middlebrow public.

Motion 1993, p.291: T. S. Eliot had seen The Less Deceived and told [Charles] Monteith, 'Yes — [Larkin] often makes words do what he wants.'

Motion 1993, p.328: The Less Deceived was respectfully but quietly reviewed [in America] ... Robert Lowell declared, 'No post-war poetry has so caught the moment, and caught it without straining after its ephemera. It's a hesitant, groping mumble, resolutely experienced, resolutely perfect in its artistic methods.'

Motion: The Whitsun Weddings

[edit]

[nothing additional to above]

Motion: High Windows

[edit]

Motion 1993, p.444: Most of the book's reviewers agreed [that it was his best yet]. Whether they were friends (like Amis, writing in the Observer), or aficionados like Alan Brownjohn (who was soon to publish a short study of Larkin's work) in the New Statesman, or unaffiliated but enthusiastic critics like Clive James in Encounter, they were impressed by the book's mixture of impatience and fastidiousness.

Bradford: The North Ship

[edit]

[Nothing]

Bradford: The Less Deceived

[edit]

Bradford 2005, p.144 But just before Christmas The Times included it, with generous words of praise, in its books-of-the-year list. This was intriguing, given that no one else had even acknowledged its existence, and this sense of a significant new figure arriveing unannounced prompted and often informed a sudden rush to review the collection following the new year. Anthony Hartley, who had recently invented the Movement, wrote in the Spectator that he saw it as 'in the running for the best [poetry collection] published in this country since the war'; G. S. Fraser, ally of Hartley and editor of one of the founding Movement volumes, contended that Larkin could now be seen 'to exemplify everything that is good in this "new movement" and none of its faults'; and the anon. reviewer in the TLS found him to be now established as 'a poet of quite exceptional importance'. F. W. Bateson in the new academic journal Essays in Criticism contended that The Less Deceived could spearhead a return of serious poetry from the sequestered impenetrability of Modernism to the approval and appreciation of the broader reading public — 'Come buy!' he urged them.

Bradford 2005, p.144 David Wright in Encounter ... denounced the volume as attempting to replace the avant-garde element of Modernism-and-after with the 'palsy of playing safe'. Most famously there was Charles Tomlinson's 1957 Essays in Criticism piece 'The Middlebrow Muse', in which he accused the Movement writers in general and Larkin in particular of 'middle-cum-lowbrowism', 'the suburban mental ratio' and 'parochialism'.

Bradford 2005, p.145 In June [1956] the TES ... celebrated him as contributing to 'the clarity over the formless mystifications of the last twenty years'.

Bradford 2005, p.202 A. Alvarez ... regarded ... Larkin ... as insufferably parochial in outlook and manner

Bradford: The Whitsun Wedding

[edit]

Bradford 2005, p. 202 Alvarez in the Observer followed up his New Poetry diatribe abd accused Larkin of dwelling upon the ordinariness of England in a way that suited the drab circumspection of his subject, but the doubters were outnumbered by the celebrants, most memorably John Betjeman. He had become, wrote B., 'the John Clare of the building estates'. More significantly he had 'closed the gap between poeyrt and the public which the experiments and obscurity of the last fifty years have done so much to widen' ... Christopher Ricks in his NYRB review ... found a perfect 'refinement of self-conciousness, usually flawless in its execution' and argued that poetry had become reconnected with the lives of its potential readers, 'the world of all of us, the place where, in the end, we find our happiness, or not at all'. The volume had ... established L. as 'the best poet England now has'

Bradford: High Windows

[edit]

Bradford 2005, p.238 The reviews were generally favourable, with the notable exception of Robert Nye in The Times, but each reflected the difficulty of writing a 500–1000-word piece on a collection which, while short, compelled fascination and confusion. The admiration for the volume was genuine for most reviewers, but one also senses anxiety in their prose, particularly on how to describe the individual genius at work in poems such as 'Annus Mirabilis', 'The Explosion' and 'The Building' and at the same time explain why each is so radically different. Nye overcomes this problem by treating the differences as ineffective masks for a consistently nasty presence.

Material reordered by subject

[edit]

The North Ship

[edit]

Motion 1993, p.132: Its only contemporary reviewer (in the Coventry Evening Telegraph) ... said 'Mr Larkin has an inner vision that must be sount for with care. His recondite imagery is counched in phrases that make up in a kind of wistful hinted beauty what they lack in lucidy. Mr Larkin's readers must at oresent be confined to a small circle. Perhaps his work will gain wider appeal as his genius becomes more mature?'

Motion 1993, p.191: Three months later he had a rare drop of encouragement. The poet and critic Charles Madge wrote to compliment him on the poems in The North Ship which he had recently read.

Motion 1993, p.358–60: Most critics were content to see it as an interesting stage in the evolution of a poet they admired. John Carey in the New Stateman, Christopher Ricks in the Sunday Times, and Edmund Blunden in the Daily Telegraph were all appreciative. Elizabeth Jennings in the Spectator went one better by welcoming the poems themselves, as well as the information they gave about Larkin's development. 'Few will question' she wrote 'the instrinsic value of The North Ship or the importance of its being reprinted now. It is good to know that Larkin could write so well when still so young.'

The Less Deceived

[edit]

Motion 1993, p.269: Then, on 22 December, The Times changed everything; it included The Less Deceived in its round-up of the year's outstanding books ... Other reviews quickly followed. The TLS was anonymously cautious but encouraging; the New Statesman was enthusiastic; and Donald Davie, Anne Ridler and Roy Fuller, among others, produced praising pieces later in the spring. For the rest of 1956 and into the following year, articles and appreciations followed at regular intervals. Most of them concentrated ... on the the book's emotional impact and its sophisticated, witty language

Bradford 2005, p.144 But just before Christmas The Times included it, with generous words of praise, in its books-of-the-year list. This was intriguing, given that no one else had even acknowledged its existence, and this sense of a significant new figure arriveing unannounced prompted and often informed a sudden rush to review the collection following the new year. Anthony Hartley, who had recently invented the Movement, wrote in the Spectator that he saw it as 'in the running for the best [poetry collection] published in this country since the war'; G. S. Fraser, ally of Hartley and editor of one of the founding Movement volumes, contended that Larkin could now be seen 'to exemplify everything that is good in this "new movement" and none of its faults'; and the anon. reviewer in the TLS found him to be now established as 'a poet of quite exceptional importance'. F. W. Bateson in the new academic journal Essays in Criticism contended that The Less Deceived could spearhead a return of serious poetry from the sequestered impenetrability of Modernism to the approval and appreciation of the broader reading public — 'Come buy!' he urged them.

Bradford 2005, p.144 David Wright in Encounter ... denounced the volume as attempting to replace the avant-garde element of Modernism-and-after with the 'palsy of playing safe'. Most famously there was Charles Tomlinson's 1957 Essays in Criticism piece 'The Middlebrow Muse', in which he accused the Movement writers in general and Larkin in particular of 'middle-cum-lowbrowism', 'the suburban mental ratio' and 'parochialism'.

Motion 1993, p.281: The poet Charles Tomlinson, writing the in journal Essays in Criticism in April, had attacked Larkin's 'tenderly nursed sense of defeat' in an article headed 'The Middlebrow Muse'

Bradford 2005, p.145 In June [1956] the TES ... celebrated him as contributing to 'the clarity over the formless mystifications of the last twenty years'.

Motion 1993, p.328: During the spring of 1962 the then much-respected literary critic A. Alvarez, compiling The New Poetry for Penguin, had attacked Larkin in his Introduction, charging him with 'gentility', neo-Georgian pastoralism, and a failure to deal with the violent extremes of contemporary life.

Bradford 2005, p.202 A. Alvarez ... regarded ... Larkin ... as insufferably parochial in outlook and manner

Motion 1993, p.291: T. S. Eliot had seen The Less Deceived and told [Charles] Monteith, 'Yes — [Larkin] often makes words do what he wants.'

The Whitsun Weddings

[edit]

Motion 1993, p.275: June 1956, TES: As native as a Whitstable oyster, as sharp an expression of contemporary thought and experience as anything written in out time, as immediate in its appeal as the lyric poetry of an earlier day, it may well be regarded by posterity as a poetic monument that marks the triumph over the formless mystifications of the last twenty years. With Larkin poetry is on its way back to the middlebrow public.

Motion 1993, p.328: The Less Deceived was respectfully but quietly reviewed [in America] ... Robert Lowell declared, 'No post-war poetry has so caught the moment, and caught it without straining after its ephemera. It's a hesitant, groping mumble, resolutely experienced, resolutely perfect in its artistic methods.'

Motion 1993, p.343: Reviewers were quick to identify if not always to appreciate [its] qualities. A. Alvarez ... writing in the Observer, felt the world Larkin described was too circumscribed and 'commonplace'. To those who felt the poems made the familiar strange (like Betjeman in the Listener, Enright in the New Statesman and Thwaite, anonymously, in the TLS) its acheivement was correspondingly great.

Bradford 2005, p. 202 Alvarez in the Observer followed up his New Poetry diatribe abd accused Larkin of dwelling upon the ordinariness of England in a way that suited the drab circumspection of his subject, but the doubters were outnumbered by the celebrants, most memorably John Betjeman. He had become, wrote B., 'the John Clare of the building estates'. More significantly he had 'closed the gap between poeyrt and the public which the experiments and obscurity of the last fifty years have done so much to widen' ... Christopher Ricks in his NYRB review ... found a perfect 'refinement of self-conciousness, usually flawless in its execution' and argued that poetry had become reconnected with the lives of its potential readers, 'the world of all of us, the place where, in the end, we find our happiness, or not at all'. The volume had ... established L. as 'the best poet England now has'

High Windows

[edit]

Motion 1993, p.444: Most of the book's reviewers agreed [that it was his best yet]. Whether they were friends (like Amis, writing in the Observer), or aficionados like Alan Brownjohn (who was soon to publish a short study of Larkin's work) in the New Statesman, or unaffiliated but enthusiastic critics like Clive James in Encounter, they were impressed by the book's mixture of impatience and fastidiousness.

Bradford 2005, p.238 The reviews were generally favourable, with the notable exception of Robert Nye in The Times, but each reflected the difficulty of writing a 500–1000-word piece on a collection which, while short, compelled fascination and confusion. The admiration for the volume was genuine for most reviewers, but one also senses anxiety in their prose, particularly on how to describe the individual genius at work in poems such as 'Annus Mirabilis', 'The Explosion' and 'The Building' and at the same time explain why each is so radically different. Nye overcomes this problem by treating the differences as ineffective masks for a consistently nasty presence.

First drafts of paragraphs to be pasted into Philip Larkin, as opening of ‘Legacy’ section

[edit]

The North Ship

[edit]

When first published in 1945, The North Ship received just one review, in the Coventry Evening Telegraph, which concluded “Mr Larkin has an inner vision that must be sought for with care. His recondite imagery is counched in phrases that make up in a kind of wistful hinted beauty what they lack in lucidy. Mr Larkin's readers must at present be confined to a small circle. Perhaps his work will gain wider appeal as his genius becomes more mature?”[1] A few years later, though, the poet and critic Charles Madge came across the book and wrote to Larkin with his compliments.[2] When the collection was reissued in 1966 it was presented as a work of juvenilia, and the reviews were gentle and respectful; the most forthright praise came from Elizabeth Jennings in the Spectator: “Few will question the instrinsic value of The North Ship or the importance of its being reprinted now. It is good to know that Larkin could write so well when still so young.”[3]

The Less Deceived

[edit]

The Less Deceived was first noticed by The Times, who included it in its list of Books of 1955. In its wake many other reviews followed; “most of them concentrated ... on the the book's emotional impact and its sophisticated, witty language” (Andrew Motion).[4] The Spectator felt the collection was “in the running for the best published in this country since the war”; G. S. Fraser, referring to Larkin's perceived association with The Movement felt that Larkin exemplified “everything that is good in this ‘new movement’ and none of its faults”.[5] The TLS called him “a poet of quite exceptional importance”[6] and in June 1956 the Times Educational Supplement was fulsome: “As native as a Whitstable oyster, as sharp an expression of contemporary thought and experience as anything written in out time, as immediate in its appeal as the lyric poetry of an earlier day, it may well be regarded by posterity as a poetic monument that marks the triumph over the formless mystifications of the last twenty years. With Larkin poetry is on its way back to the middlebrow public.”[7] Reviewing the book in America the poet Robert Lowell wrote, “No post-war poetry has so caught the moment, and caught it without straining after its ephemera. It's a hesitant, groping mumble, resolutely experienced, resolutely perfect in its artistic methods.”[8]

In time, though, there was a reaction: David Wright wrote in Encounter that The Less Deceived suffered from the “palsy of playing safe”;[9] in April 1957 Charles Tomlinson wrote a piece for the journal Essays in Criticism, "The Middlebrow Muse", attacking The Movement's poets for their “middle-cum-lowbrowism”, “suburban mental ratio” and “parochialism” — Larkin had a “tenderly nursed sense of defeat”.[10] In 1962 A. Alvarez, the compilor of an anthology entitled The New Poetry, famously accused Larkin of “‘gentility’, neo-Georgian pastoralism, and a failure to deal with the violent extremes of contemporary life.” (Motion)[11]

The Whitsun Weddings

[edit]

When The Whitsun Weddings was released Alvarez continued his attacks in a review in the Observer, complaining of the “drab circumspection” of Larkin's “commonplace” subject-matter. However, praise outweighed criticism. John Betjeman felt Larkin had “closed the gap between poetry and the public which the experiments and obscurity of the last fifty years have done so much to widen”. In the New York Review of Books Christopher Ricks wrote of the “refinement of self-conciousness, usually flawless in its execution” and Larkin's summoning up of “the world of all of us, the place where, in the end, we find our happiness, or not at all”. He felt Larkin to be “the best poet England now has.”[12][13]

High Windows

[edit]

Of High Windows Richard Bradford writes “the reviews were generally favourable, with the notable exception of Robert Nye in The Times, but each reflected the difficulty of writing a 500–1000-word piece on a collection which, while short, compelled fascination and confusion. The admiration for the volume was genuine for most reviewers, but one also senses anxiety in their prose, particularly on how to describe the individual genius at work in poems such as 'Annus Mirabilis', 'The Explosion' and 'The Building' and at the same time explain why each is so radically different. Nye overcomes this problem by treating the differences as ineffective masks for a consistently nasty presence.”[14]

  1. ^ Motion 1993, p.132.
  2. ^ Motion 1993, p.191.
  3. ^ Motion 1993, p.358–60.
  4. ^ Motion 1993, p.269.
  5. ^ Bradford 2005, p.144.
  6. ^ Bradford 2005, p.144.
  7. ^ Motion 1993, p.275
  8. ^ Motion 1993, p.328.
  9. ^ Bradford 2005, p.144.
  10. ^ Motion 1993, p.281.
  11. ^ Motion 1993, p.328.
  12. ^ Motion 1993, p.343.
  13. ^ Bradford 2005, p. 202.
  14. ^ Bradford 2005, p.238

Larkin at Sixty

[edit]

To celebrate Larkin's 60th birthday in 1982, Faber and Faber published Larkin at Sixty.[1] The editor was Anthony Thwaite, and contributors included John Betjeman, Kingsley Amis, Robert Conquest, Douglas Dunn, Andrew Motion, Alan Bennett, Donald Mitchell, John Gross, Clive James, Alan Brownjohn, Christopher Ricks, Seamus Heaney, Peter Porter and Gavin Ewart.


In February 1982 Larkin turned sixty. This was marked most significantly by a collection of essays Larkin at Sixty edited by Anthony Thwaite and published by Faber and Faber.[2] There were also two television programmes: a South Bank Show presented by Melvyn Bragg — to which Larkin made off-camera contributions — and a half-hour special on the BBC, devised and presented by the Labour Shadow Cabinet Minister Roy Hattersley.[3]

The contributors were:

In amongst memoires by friends and colleagues such as Kingsley Amis, Noel Hughes and Charles Monteith and dedicatory poems by John Betjeman, Peter Porter and Gavin Ewart, the various strands of Larkin's output were analysed by critics and fellow poets: Andrew Motion, Christopher Ricks and Seamus Heaney looked at the poems, Alan Brownjohn wrote on the novels and Donald Mitchell and Clive James looked at his jazz criticism

Templates

[edit]

{{cite book}}: Empty citation (help)

{{cite book}}: Empty citation (help) {{cite book}}: Empty citation (help) {{cite book}}: Empty citation (help)

Beethoven

[edit]

What's it to you, chum?

[edit]

http://www.harlequin-agency.co.uk/index.php?page=12&action=repertoire&id=50&type=operatic

Poem title Completion date Book
Absences 1950-11-28 The Less Deceived


Britten Balstrode Peter Grimes

Donizetti Dulcamara L'Elisir d'Amore

Gounod Mephistopheles Faust

Mozart Guglielmo Cosi fan tutte

Masetto Don Giovanni (recorded)

Leporello Don Giovanni (recorded)

Don Giovanni Don Giovanni (recorded)

Sprecher Die Zauberflöte

Figaro Le Nozze di Figaro (recorded)

Offenbach Four Male Roles Les Contes d'Hoffmann

Puccini Gianni Schicchi Gianni Schicchi

Scarpia Tosca

Sharpless Madame Butterfly

Richard Strauss Spirit Messenger Die Frau ohne Schatten


Jochanaan Salome (recorded)

Sondheim Sweeney Todd Sweeney Todd

Stravinsky Nick Shadow The Rake's Progress (recorded)

Creon Oedipus Rex (recorded)

Verdi Falstaff Falstaff (recorded)

Ford Falstaff

Wagner Donner Das Rheingold

Wolfram Tannhäuser

Wotan Die Walküre

Wotan Das Rheingold

Der Fliegende Holländer Holländer

Operatic Repertoire

[edit]

All the roles that Bryn Terfel has performed operatically[4]

Composer Opera Role In repertoire Recorded
Britten Peter Grimes Balstrode [not known] No
Donizetti L'Elisir d'Amore Dulcamara 2001 No
Gounod Faust Mephistopheles 2004 No
Mozart Cosi fan tutte Guglielmo 1991 No
Mozart Don Giovanni Masetto 1992 Yes
Mozart Don Giovanni Leporello 1991 Yes
Mozart Don Giovanni Don Giovanni 1999 – Yes
Mozart Die Zauberflöte Sprecher [not known] No
Mozart Le Nozze di Figaro Figaro 1991 – 2008 Yes
Offenbach Les Contes d'Hoffmann Four Male Roles 2000 No
Puccini Gianni Schicchi Gianni Schicchi 2007 No
Puccini Tosca Scarpia 2006 No
Puccini Madame Butterfly Sharpless 1996 No
Richard Strauss Die Frau ohne Schatten Spirit Messenger [not known] No
Richard Strauss Salome Jochanaan 1993 Yes
Sondheim Sweeney Todd Sweeney Todd 2002 – No
Stravinsky The Rake's Progress Nick Shadow 1996 – 2000 Yes
Stravinsky Oedipus Rex Creon [not known] Yes
Verdi Falstaff Falstaff 1999 – Yes
Verdi Falstaff Ford 1992 No
Wagner Das Rheingold Donner [not known] No
Wagner Das Rheingold Wotan 2005 – No
Wagner Die Walküre Wotan 2005 – No
Wagner Tannhäuser Wolfram 1998 No
Wagner Der Fliegende Holländer Der Fliegende Holländer 2006 – No

Keenlyside rep - getting into alphabetical order

[edit]

| class="col-break " |

New section

[edit]

Wikipedia:Neutral point of view says:

  • "The neutral point of view is a means of dealing with conflicting verifiable perspectives on a topic as evidenced by reliable sources"
  • "NPOV requires views to be represented without bias...When editorial bias toward one particular point of view can be detected, the article needs to be fixed".

Wikipedia:Conflict of interest says:

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Wikipedia:Referencing for beginners says:

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  • "Questionable sources are those with a poor reputation for fact-checking. Such sources include websites and publications that express views that are widely acknowledged as extremist, are promotional in nature ... Self-published sources should never be used as third-party sources about living persons".

Please may I draw your attention, if you don't already know about it, to this page which gives the rules on biographies of living people? It in turn will direct you to some important Wikipedia policies and guidelines, especially:

Wikipedia:Neutral point of view says:

  • "The neutral point of view is a means of dealing with conflicting verifiable perspectives on a topic as evidenced by reliable sources"
  • "NPOV requires views to be represented without bias...When editorial bias toward one particular point of view can be detected, the article needs to be fixed".

Wikipedia:Referencing for beginners says:

  • "You must use reliable sources, such as published books, mainstream press, and authorised web sites. Blogs, MySpace, YouTube, fan sites and extreme minority texts are not usually acceptable".

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Your contributions to the Douglas Murray page, if they do not fall within these policies and guidelines, stand little chance of not being deleted. As the WP:BLP page makes clear:

  • "Unsourced or poorly sourced contentious material about living persons — whether the material is negative, positive, or just questionable — should be removed immediately and without waiting for discussion"

On a slightly different note, if you follow the link at the bottom of the Douglas Murray page to the Centre for Social Cohesion you'll see plenty to show that he's still alive and kicking. Yours,

Swaledale

[edit]
Swaledale

Swaledale is one of the northernmost dales in the Yorkshire Dales National Park in Northern England. It is the dale—valley—of the River Swale on the east side of the Pennines in North Yorkshire.

Geographical overview

[edit]

Swaledale starts to the east of Nine Standards Rigg, the prominent ridge with nine ancient tall cairns on the Cumbria–Yorkshire boundary which forms part of the main East–Weat Watershed of Northern England. To the west lies Kirkby Stephen and the Westmoreland Limestone Plateau.

The moors on the eastern flank of the Rigg's moorland become more and more concave as they descend, to become the narrow valley sides of upper Swaledale at the small village of Keld. From there, the valley runs briefly south then turns east at Thwaite to broaden progressively as it passes Muker, Gunnerside and Reeth. The Pennine valley ends at the market town of Richmond, where an important medieval castle still watches the important ford from the top of a cliff. Below Richmond, the valley sides flatten out and the Swale flows across lowland farmland to meet the Ure just east of Boroughbridge at a point known as Swale Nab. The Ure becomes the Ouse, and eventually (on merging with the Trent) the Humber.

From the North, Arkengarthdale and its river the Arkle Beck join Swaledale at Reeth. To the south, Wensleydale, home of the famous Wensleydale cheese, runs parallel with Swaledale. The two dales are separated by a ridge including Great Shunner Fell, and joined by the road over Buttertubs Pass.

Physical character

[edit]
Swaledale at East Applegarth, near Richmond.

Swaledale is a typical limestone Yorkshire dale, with its narrow valley-bottom road, green meadows and fellside fields, white sheep and white stone walls on the glacier-formed valley sides, and darker moorland skyline. The upper parts of the dale are particularly striking because of its large old limestone field barns and its profusion of wild flowers. The latter are thanks to the return to the practice of leaving the cutting of grass for hay or silage until wild plants have had a chance to seed. Occasionally visible from the valley bottom road are the slowly-fading fellside scars of the 18th and 19th century lead mining industry. Ruined stone mine buildings remain, taking on the same colours as the landscape into which they are crumbling.

Swaledale is home to many small but beautiful waterfalls, such as Cotter Force, Kidson Force and Catrake Force.

Agriculture and industry

[edit]

Sheep-farming has always been central to economic life in Swaledale, which has lent its name to a breed of round-horned sheep. Traditional Swaledale products are woollens and Swaledale cheese, which was formerly made from ewe’s milk. These days it is made from cow’s milk. During the 19th century, a major industry in the area was lead mining.

Current human activities

[edit]

Today, tourism has become important, and Swaledale attracts thousands of visitors a year. It is very popular with walkers, particularly because the Coast to Coast Walk passes along it. Unlike Wensleydale it has no large settlements on the scale of Hawse or Thirsk, nor an obvious tourist hook such as former's connection with James Herriot, and so, like Coverdale, its enjoys a quieter tone, especially as it is more remote compared to, say, Wharfedale, which is much further south and easily accessible from the West Yorkshire metropolis.

In May and June every year, Swaledale hosts the two-week long Swaledale Festival, which combines a celebration of small-scale music and a programme of guided walks.

Quotes from Hitchings' Dr Johnson's Dictionary

[edit]

"When Boswell came to this part of Johnson's life, more than three decades later, he pronounced that 'the world contemplated with wonder so stupendous a work acheived by one man, while other countries had thought such undertakings fit only for whole academies'."[34]

"Still, the Dictionary was enthusiastically written up in important periodicals such as the London Magazine and—none too surprisingly—the Gentleman's Magazine. In the latter it received an eight-page notice".[35]

"Of the less positive assessments the only properly judicious one came from Adam Smith in the pro-Whig Edinburgh Review ... he wished that Johnson 'had oftener passed his own censure upon those words which are not of approved use, though sometimes to be met with in authors of no mean name'. Furthermore, Johnson's approach was not 'sufficiently grammatical'".[36]

"The Dictionary was considered, from the moment of its inception, to be Johnson's, and from the time of its completion it was Johnson's Dictionary—his book and his property, his monument, his memorial."[37]

"The image of Johnson racing to write Rasselas to pay for his mother's funeral, romantic hyperbole though it is, conveys the precariousness of his existence, almost four years after his work on the Dictionary was done. His financial uncertainties continued. He gave up the house in Gough Square in March 1759, probably for lack of funds ... Yet, just as Johnson was plunging into another trough of despondency, the reputation of the Dictionary at last brought reward ... in July 1762 Johnson was granted a state pension of £300 a year by the twenty-four-year-old monarch, Geroge III ... The pension did not make him rich, but it ensured he would no longer have to grub around for the odd guinea."[38]

new chapter

[edit]

"In its reduced format the Dictionary became an instrument of cultural imperialsim. Johnson's version of Englishness was widely exported."[39]

"In his sparkling history of the Oxford English Dictionary, Simon Winchester assers of its eighteenth-century predecessor that 'by the end of the century every educated household had, or had access to, the great book. So firmly established did it swiftly become that any request for "The Dictionary" would bring forth Johnson and none other.' 'One asked for The Dictionary,' writes Winchester, 'much as one might demand The Bible.'"[40]

"The influence of the Dictionary was sweeping. Johnson established both a methodology for how dictionaries should be put together and a paradigm for how entries should be presented. Anyone who sought to create a dictionary, post-Johnson, did so in his shadow."[41]

"From an early stage there were noisy detractors. Perhaps the loudest of them was John Horne Tooke ... Not content to pronounce it 'imperfect and faulty', he complained that it was 'one of the most idle performances ever offered to the public', that its author 'possessed not one single requisite for the undertaking', that its grammatical and historical parts were 'most truly contemptible performances', and that 'nearly one third ... is as much the language of the Hottentots as of the English'."[42]

"Horace Warpole summed up for the unbelievers when he pronounced at the end of the eighteenth century, 'I cannot imagine that Dr Johnson's reputation will be very lasting.' His dictionary was 'a surprising work for one man', but 'the task is too much for one man, and ... a society should alone pretend to publish a standard dictionary.' Warpole's reservations notwithstanding, the admirers out-numbered the detractors, and the reputation of the Dictionary was repeatedly boosted by other philologists, lexicographers, educationalists and word detectives."[43]

"Furthermore, Johnson's influence extended beyond Britain and beyond English. The president of the Florentine Accademia declared that the Dictionary would be 'a perpetual Monument of Fame to the Author, an Honour to his own Country in particular, and a general Benefit to the Republic of Letters'. This was no empty commendation. Johnson's work served as a model for lexicographers abroad. It is no surprise that his friend Giuseppe Baretti chose to make the Dictionary the model for his Italian–English dictionary of 1760, and for this Spanish dictionary nearly two decades later. But there are numerous examples of influence beyond Johnson's own circle. His work was translated into French and German."[44]

"In 1777, when Ferdinando Bottarelli published a pocket dictionary of Italian, French and English (the three languages side by side), his authorities for the French and Italian words were the works of the French and Italian academies: for the English he used Johnson."[45]

"The American adoption of the Dictionary was a momentous event not just in its history, but in the history of lexicography. For Americans in the second half of hte eighteenth century, Johnson was the seminal authority on language, and the subsequent development of American lexicography was coloured by his fame."[46]

"America's two great nineteenth-century lexicographers, Noah Webster and Joseph Worcester, argued fiercely over Johnson's legacy ... In 1789 [Webster] declared that 'Great Britain, whose children we are, and whose language we speak, should no longer be our standard; for the taste of her writers is already corrupted, and her language on the decline.'"[47]

"Where Webster found fault with Johnson, Joseph Worcester saluted him ... In 1846 he completed his Universal and Critical Dictionary of the English Language. He defended Johnson's work, arguing that 'from the time of its publication, [it] has been, far more than any other, regarded as the standard for the language'."[48]

"James Murray acknowledged that a good number of Johnson's explanations were adopted without change, for 'When his definitions are correct, and his arrangement judicious, it seems to be expedient to follow him.' ... In the end the OED reproduced around 1,700 of Johnson's definitions, marking them simply 'J.'."[49]

"One unblushing admirer of the Dictionary was Jane Austen's father, who assembled a substantial collection of books by Johnson, by his friends and associates, and about both the man and his circle."[50]

"The Dictionary has also played its part in the law, especially in the United States. Legistlators are much occuped with ascertaining 'first meanings', with trying to secure the literal sense of their predecessors' legislation ... Often it is a matter of historicizing language: to understand a law, you need to understand what its terminology meant to its original architects ... as long as the American Constitution remains intact, Johnson's Dictionary will have a role to play in American law."[51]

Into Prose

[edit]

Initial Reception

[edit]

From the beginning there was universal appreciation not only the content of the Dictionary but Johnson's acheivement in single-handedly creating it: "When Boswell came to this part of Johnson's life, more than three decades later, he pronounced that 'the world contemplated with wonder so stupendous a work acheived by one man, while other countries had thought such undertakings fit only for whole academies'."[52] "The Dictionary was considered, from the moment of its inception, to be Johnson's, and from the time of its completion it was Johnson's Dictionary—his book and his property, his monument, his memorial."[53]

Immediately after publication "The Dictionary was enthusiastically written up in important periodicals such as the London Magazine and—none too surprisingly—the Gentleman's Magazine. In the latter it received an eight-page notice".[54] The reviews, such as they existed, were generous in tone; "Of the less positive assessments the only properly judicious one came from Adam Smith in the pro-Whig Edinburgh Review ... he wished that Johnson 'had oftener passed his own censure upon those words which are not of approved use, though sometimes to be met with in authors of no mean name'. Furthermore, Johnson's approach was not 'sufficiently grammatical'".[55]

Despite the Dictionary's critical acclaim, Johnson's general financial situation continued in its dismal fashion for some years after 1755: "The image of Johnson racing to write Rasselas to pay for his mother's funeral, romantic hyperbole though it is, conveys the precariousness of his existence, almost four years after his work on the Dictionary was done. His financial uncertainties continued. He gave up the house in Gough Square in March 1759, probably for lack of funds ... Yet, just as Johnson was plunging into another trough of despondency, the reputation of the Dictionary at last brought reward ... in July 1762 Johnson was granted a state pension of £300 a year by the twenty-four-year-old monarch, Geroge III ... The pension did not make him rich, but it ensured he would no longer have to grub around for the odd guinea."[56]

Criticism

[edit]

As lexicography developed, faults were found with Johnson's work: "From an early stage there were noisy detractors. Perhaps the loudest of them was John Horne Tooke ... Not content to pronounce it 'imperfect and faulty', he complained that it was 'one of the most idle performances ever offered to the public', that its author 'possessed not one single requisite for the undertaking', that its grammatical and historical parts were 'most truly contemptible performances', and that 'nearly one third ... is as much the language of the Hottentots as of the English'."[57] "Horace Warpole summed up for the unbelievers when he pronounced at the end of the eighteenth century, 'I cannot imagine that Dr Johnson's reputation will be very lasting.' His dictionary was 'a surprising work for one man', but 'the task is too much for one man, and ... a society should alone pretend to publish a standard dictionary.' Warpole's reservations notwithstanding, the admirers out-numbered the detractors, and the reputation of the Dictionary was repeatedly boosted by other philologists, lexicographers, educationalists and word detectives."[58]

Influence in Britain

[edit]

Despite the criticisms "The influence of the Dictionary was sweeping. Johnson established both a methodology for how dictionaries should be put together and a paradigm for how entries should be presented. Anyone who sought to create a dictionary, post-Johnson, did so in his shadow."[59] "In his sparkling history of the Oxford English Dictionary, Simon Winchester asserts of its eighteenth-century predecessor that 'by the end of the century every educated household had, or had access to, the great book. So firmly established did it swiftly become that any request for "The Dictionary" would bring forth Johnson and none other.' 'One asked for The Dictionary,' writes Winchester, 'much as one might demand The Bible.'"[60] One of the first editors of the OED "James Murray acknowledged that a good number of Johnson's explanations were adopted without change, for 'When his definitions are correct, and his arrangement judicious, it seems to be expedient to follow him.' ... In the end the OED reproduced around 1,700 of Johnson's definitions, marking them simply 'J.'."[61]

Reputation abroad

[edit]

Johnson's influence was not confined to Britain and English: "The president of the Florentine Accademia declared that the Dictionary would be 'a perpetual Monument of Fame to the Author, an Honour to his own Country in particular, and a general Benefit to the Republic of Letters'. This was no empty commendation. Johnson's work served as a model for lexicographers abroad. It is no surprise that his friend Giuseppe Baretti chose to make the Dictionary the model for his Italian–English dictionary of 1760, and for this Spanish dictionary nearly two decades later. But there are numerous examples of influence beyond Johnson's own circle. His work was translated into French and German."[62] And "In 1777, when Ferdinando Bottarelli published a pocket dictionary of Italian, French and English (the three languages side by side), his authorities for the French and Italian words were the works of the French and Italian academies: for the English he used Johnson."[63]

Influence in America

[edit]

The Dictionary was exported to America. "The American adoption of the Dictionary was a momentous event not just in its history, but in the history of lexicography. For Americans in the second half of hte eighteenth century, Johnson was the seminal authority on language, and the subsequent development of American lexicography was coloured by his fame."[64]. For American lexicographers the Dictionary was impossible to ignore: "America's two great nineteenth-century lexicographers, Noah Webster and Joseph Worcester, argued fiercely over Johnson's legacy ... In 1789 [Webster] declared that 'Great Britain, whose children we are, and whose language we speak, should no longer be our standard; for the taste of her writers is already corrupted, and her language on the decline.'"[65] "Where Webster found fault with Johnson, Joseph Worcester saluted him ... In 1846 he completed his Universal and Critical Dictionary of the English Language. He defended Johnson's work, arguing that 'from the time of its publication, [it] has been, far more than any other, regarded as the standard for the language'."[66] Notwithstanding the evolution of American lexicography "The Dictionary has also played its part in the law, especially in the United States. Legistlators are much occuped with ascertaining 'first meanings', with trying to secure the literal sense of their predecessors' legislation ... Often it is a matter of historicizing language: to understand a law, you need to understand what its terminology meant to its original architects ... as long as the American Constitution remains intact, Johnson's Dictionary will have a role to play in American law."[67]

Dr Johnson's Dictionary

[edit]

[68] Henry Hitchings's lively and entertaining biography of the book charts the struggle and ultimate triumph of one of the first attempts to 'fix' the language, which despite its imperfections proved to be one of the English language's most significant cultural monuments.

[69] Popular accounts of Johnson turn him into a lovable eccentric, which is a way of avoiding his brainpower. Hitchings will have none of this. He keeps drawing attention to the unremitting intelligence that Johnson's lexicographical labours demanded, not least in separating out the ramifying senses of common words

[70] Hitchings's task is to rescue Johnson from Boswell's attentions, much as Adam Sisman rescued the biographer from his own self-mythologising in Boswell's Presumptuous Task (2000), a logical companion piece to this work. The Johnson of the Dictionary was never known to Boswell, and as the older man was ill-disposed to animadvert on his younger self, Boswell got such basics as the great man's working methods on the Dictionary glaringly wrong. Not so Hitchings.

Into prose

[edit]

The first popular account of Dr Johnson's magnum opus, it "charts the struggle and ultimate triumph of one of the first attempts to 'fix' the language, which despite its imperfections proved to be one of the English language's most significant cultural monuments".[71] Avoiding the more usual portrayal of Dr Johnson as "a lovable eccentric" Hitchings "keeps drawing attention to the unremitting intelligence that Johnson's lexicographical labours demanded, not least in separating out the ramifying senses of common words".[72] Whilst declaring that "Hitchings's task is to rescue Johnson from Boswell's attentions" Will Self pointed out "The Johnson of the Dictionary was never known to Boswell, and as the older man was ill-disposed to animadvert on his younger self, Boswell got such basics as the great man's working methods on the Dictionary glaringly wrong. Not so Hitchings".[73]

The Secret Life of Words

[edit]

http://www.boston.com/ae/books/articles/2008/10/05/the_hidden_joyful_world_of_words/ The book follows the "pedigree and career" of the English language through history, exposing its debt to invasions, to threats from abroad, and to an island people's dealings with the world beyond its shores. In doing this, Hitchings lays bare the general spirit of acquisitiveness that informs English as no other language. But, for all that, his true object is to reveal past frames of mind and to show how our present outlook is informed by the history squirreled away in the words we use

http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2008/04/12/bohit112.xml

Rather than using history to explain language, Hitchings's sounder approach is to pick words apart to get at their origins ... Quite how Hitchings has managed to wrestle this dizzying mountain of dense information into such an elegant narrative in the mere two years since his study of Dr Johnson's dictionary is a feat almost as admirable as that of the great lexicographer

[74]

[75] Whatever is hybrid, fluid and unpoliced about English delights him.


Into prose

[edit]

Following the English language's history through "its debt to invasions, to threats from abroad, and to an island people's dealings with the world beyond its shores" the book examines its unbroken acquisitiveness—"but for all that [Hitchings'] true object is to reveal past frames of mind and to show how our present outlook is informed by the history squirreled away in the words we use".[76] Instead of using history to explain language, Hitchings "picks words apart to find their origins" and then molds this "mountain of dense information into an elegant narrative".[77] The Economist noted that "whatever is hybrid, fluid and unpoliced about English delights him".[78]

Books on the Dales

[edit]

new cite template

[edit]

Template:Citation

a, b; c, d (1900), e, f (ed.), Title, City: Book Books, ISBN 1234 12542 2 {{citation}}: Check |isbn= value: checksum (help)
Books with no author but one editor:
Vogel, Dan, ed. (1996), Early Mormon Documents, vol. 1, City: Signature Books, ISBN 1–56085–072–8 {{citation}}: Check |isbn= value: invalid character (help)

dale books

[edit]

White, Robert (2005), The Yorkshire Dales: A Landscape Through Time, Ilkley,: Great Northern Books, ISBN 1-905080-05-0 {{citation}}: Cite has empty unknown parameters: |laydate=, |coauthors=, |nopp=, |separator=, |month=, |laysummary=, |editorn=, |chapterurl=, and |lastauthoramp= (help); Text "editor-link" ignored (help); Text "editorn-first" ignored (help); Text "editorn-last" ignored (help); Text "editorn-link" ignored (help)CS1 maint: extra punctuation (link)

  • White, Robert (2005), The Yorkshire Dales: A Landscape Through Time (2nd ed.), Ilkley: Great Northern Books, ISBN 1-905080-05-0
  • Muir, Richard (1991), The Dales of Yorkshire: A Portrait, London: Macmillan, ISBN 9780333497869

Citation template for Larkin

[edit]


Books with no author but one editor:

Biographies and memoirs

[edit]


  • {{citation}}: Empty citation (help)
  • Larkin, Philip (1979), "The Brynmor Jones Library 1929-1979", in Brennan, Maeve (ed.), 'A Lifted Study-Storehouse': The Brynmor Jones Library 1929-1979, updated to 1985, Hull University Press (published 1987), ISBN 0-85958-561-1

DM

[edit]
  • Murray, Douglas, Bosie: A Biography of Lord Alfred Douglas, ISBN 0-340-76771-5
  • Murray, Douglas (2005), Neoconservatism: Why We Need It, ISBN 1-904-86305-1
  • Murray, Douglas; Verwey, Johan Pieter (2008), Victims of Intimidation: Freedom of Speech within Europe's Muslim Communities

Haydn

[edit]

In this opera Haydn combined the worlds of opera seria and buffa, achieving a balance between the heroic and the comic and allowing him to explore a wide variety of musical styles from serious emotions to hilarious parody.

The overture was used by Haydn as the finale of his Symphony No 73 'La Chasse'.

Both the noble characters Celia and Fileno have deeply felt cavatine early in the opera. The fright, cowardice and deranged state of Perrucchetto (literally 'wig-maker') are displayed in his breathless G minor aria, which ends with a request for a bottle of Bordeaux wine. Celia's aria "Deh soccorri un infelice" includes a difficult muted horn solo (often assigned to the bassoon).

The complex finale to Act I is based around keys related by thirds (four moves down a third, then a half tone step) to represent the downwards progression of the plot; this sequence is imitated in the opening numbers (after the overture) of Mozart's Cosi Fan Tutte. Haydn's key relationships in the Act II finale are developed even further by Mozart in Act II of his opera.[79]

In Act II, the Count has a comic song "Di questo audace ferro" addressed to the not-quite-inert boar, while Melibeo's "Mi dica, il mio signore" is delightfully comic. Celia contemplates her own death in a musically adventurous scene "Ah come il core" (published separately as a solo cantata in 1782). While Amaranta's interaction with the others is usually comic, she is given a tender and tragic aria "Del amor mio fedele". In the Act II finale, Haydn's parody of Gluck's chorus of furies from Orfeo ed Euridice was probably intended to amuse his musical patron.

The dramatic action of La fedeltà premiata moves forward with great energy, successfully solving the problems of dramatic pacing that detract from some of his other operas.[80]

The work is scored for an orchestra consisting of flute, 2 oboes, bassoon, 2 trumpets, 2 horns, timpani, violins I & II, viola, cello, bass and continuo.

reworked

[edit]

In this opera Haydn combined the worlds of opera seria and buffa, achieving a balance between the heroic and the comic and allowing him to explore a wide variety of musical styles from serious emotions to hilarious parody.[citation needed]

On the one hand, both the nobly-born characters Celia and Fileno have deeply felt cavatine early in the opera and later Celia contemplates her own death in a musically adventurous scene "Ah come il core".

On the other hand, Melibeo's "Mi dica, il mio signore" is comic and in Act II, the Count has a comic song "Di questo audace ferro" addressed to the not-quite-inert boar. The fright, cowardice and deranged state of Perrucchetto - whose name literally means "wig-maker" - are displayed in his breathless G minor aria, which ends with a request for a bottle of Bordeaux wine.

While Amaranta's interaction with the others is usually comic, she is given a tender and tragic aria "Del amor mio fedele". This blurring of heroic and comic is also seen in the Act II finale, where Haydn parodies Gluck's chorus of furies from Orfeo ed Euridice.

The complex finale to Act I is based around keys related by thirds (four moves down a third, then a half tone step) - possibly to represent the downwards progression of the plot - Robbins Landon has observed that this sequence is imitated in the opening numbers of Mozart's Cosi Fan Tutte. Haydn's key relationships in the Act II finale are developed further in Cosi.[81]

J.A. Rice has written that the dramatic action of La fedeltà premiata moves forward with great energy, successfully solving the problems of dramatic pacing that detract from some of his other operas.[82]

The overture was used by Haydn as the finale of his Symphony No 73 'La Chasse'.

Celia's scene "Ah come il core" was published separately as a solo cantata in 1782.

The work is scored for an orchestra consisting of flute, 2 oboes, bassoon, 2 trumpets, 2 horns, timpani, violins I & II, viola, cello, bass and continuo. Celia's aria "Deh soccorri un infelice" includes a difficult hand horn solo.

Refs for AMM

[edit]

[1] [2] [3] [4] "lyrical" "monstruous" [a]

text

[edit]

Anthony Michaels-Moore (born x xxxx xxxx in xxxxxxx, xxxx) is an English baritone opera singer.

Michaels-Moore studied at Newcastle University and the Royal Scottish Academy of Music and Drama and in 1985 was the first British winner of the Luciano Pavarotti Competition. His career has been centred around the Italian repetoire, starting with lyric roles, but now focused on the great Verdi baritone roles. A review of his 2009 performances of Rigoletto with English National Opera noted his ability to be both "gloriously lyrical and terrifyingly baleful at the same time", combining beautiful Italianate legato with "monstrous power".

Michaels-Moore made his début at London's Royal Opera House in 1987 and has subsequently appeared in many productions there including L’Elisir d’amore, La Bohème, I Pagliacci, Il Barbiere di Siviglia, Tosca, Macbeth, The Marriage of Figaro, Andrea Chénier, Il Trovatore, Falstaff, Tosca, Lucia di Lammermoor and La Traviata. He has also appeared with all the other major British companies: English and Welsh National Operas, Opera North, Scottish Opera and Glyndebourne.

In Europe he has appeared at major houses such as the Vienna State Opera, the Teatro alla Scala in Milan, the Opéra National de Paris, Munich’s Bayerische Staatsoper, the Deutsche Oper and Staatsoper in Berlin, Barcelona’s Liceu, Brussels la Monnaie, the Grand Théâtre de Geneve and Madrid’s Teatro Real. He also appears regularly in North America, and has performed at New York’s Metropolitan Opera, the San Francisco Opera, Chicago’s Lyric Opera, Santa Fe Opera, Pittsburgh Opera, Opera Colorado and Florida Grand Opera . He has also appeared at the historic Teatro Colon in Buenos Aires.

Gary Lehman

[edit]

Gary Lehman is an american operatic tenor, specialising in the Heldentenor repertoire

He initially trained as a baritone at Youngstown State University, continued his studies at Indiana University, and as a member of the Lyric Opera Center for American Artists gave 90 performances with the Lyric Opera of Chicago [83] He made his debut as a tenor in 2006 as Samson in Samson et Dalila.[84]

Lehman's first Wagner performances were in the title role in Tannhauser in March 2007.[85] A year later he made his Met debut in Tristan.[86] He repeated the role with the Mariinsky Opera in June 2008, with Leipzig Opera in January 09 and gave concert performances with the Philharmonia Orchestrea throughout Europe in Aug and September of 2010.[87] Further Wagner roles have been Siegmund in Die Walkure, at the Met,[88] and the title role in Parsifal, which he has recorded.[89]

After Ben Heppner dropped out of ongoing Metropolitan Opera Ring Cycle it was announced in February 2011 that Lehman will sing Siegfried in both Siegfried in October 2011 and Gotterdammerung in January 2012.[90][91]

His repertoire also includes Canio in Pagliacci, the title role in Peter Grimes, Florestan in Fidelio, and Alwa in Lulu.[92]

Reformat refs

[edit]

www.garylehmantenor.com. "Biography".

"t". {{cite web}}: Cite has empty unknown parameters: |deadurl=, |doibroken=, |coauthors=, |separator=, |month=, and |embargo= (help); Missing or empty |url= (help)

He initially trained as a baritone at Youngstown State University, continued his studies at Indiana University, and as a member of the Lyric Opera Center for American Artists gave 90 performances with the Lyric Opera of Chicago.[93] He made his debut as a tenor in 2006 as Samson in Samson et Dalila.[94]

Lehman's first Wagner performances were in the title role in Tannhauser in March 2007.[95] A year later he made his both his Metropolitan Opera and role debuts in Tristan und Isolde.[96] He repeated the role with the Mariinsky Opera in June 2008, with Leipzig Opera in January 2009 and gave concert performances with the Philharmonia Orchestra throughout Europe in August and September of 2010.[97] Further Wagner roles have been Siegmund in Die Walküre, also at the Met,[98] and the title role in Parsifal, which he has recorded.[99]

After Ben Heppner dropped out of the ongoing Metropolitan Opera Ring Cycle it was announced in February 2011 that Lehman will sing Siegfried in both Siegfried in October 2011 and Götterdämmerung in January 2012.[100][101]

His repertoire also includes Canio in Pagliacci, the title role in Peter Grimes, Florestan in Fidelio, and Alwa in Lulu.[102]

Neil Howlett

[edit]

Neil Howlett is an English baritone opera singer.

Howlett studied at Cambridge University. While there he won the 1957 Kathleen Ferrier Award.[103] The peak of his career was the seventeen years he spent as principal baritone with English National Opera.[104] His wide range of repertoire included the heaviest Verdi roles, especially Iago in Otello, and many Heldenbaritone roles, such as Amfortas and Scarpia. Late in his career he also sang Wotan.

His recordings include Verdi's Otello with ENO in 1983, alongside Charles Craig and Rosalind Plowright, for Chandos Records.[105]

After retiring from full-time performance Howlett was Head of Vocal Studies at the Royal Northern College of Music.

Artur Ruciński

[edit]

Artur Ruciński (born in Warsaw in 1976) is a Polish baritone opera singer.

Ruciński studied at the Warsaw Academy of Music and made his debut as Papageno in The Magic Flute with Warsaw Chamber Opera in 2001.IMG Artists website

In 2002 he made his debut at Warsaw's National Theatre, taking the title role in Yevgeny Onegin. He has gone on to sing Onegin with the Berlin State Opera.[106]

Other roles have included Figaro in The Barber of Seville, Prince Yeletsky in The Queen of Spades, Marcello in La bohème, Riccardo in I puritani and Valentin in Faust.[107]

Anna Christy

[edit]

Anna Christy is an America soprano opera singer.

Christy sings a variety of lyric roles, such as Susanna, Papagena and Cleopatra, but has won especial reknown in coloratura roles such as Cunegonde in Candide (musical) and Oscar in Un ballo in maschera. She made her Metropolitan Opera debut in the 2004/5 season, and has sung with Santa Fe Opera, Lyric Opera of Chicago, San Francisco Opera, L'Opera National de Paris and the Royal Opera House, London.[108]

In February 2010 she reprised her interpretation of the title role in Donizetti's Lucia di Lammermoor for English National Opera.[109]

Sarah Tynan

[edit]

Sarah Tynan is a British soprano opera singer.

Studio Recordings

[edit]

Robert Merrill made at least 23 studio recordings of complete operas:[110]

Composer Opera Role Date
Bizet Carmen Escamillo 1951, 1963
Donizetti Lucia di Lammermoor Enrico 1961
Leoncavallo Pagliacci Silvio 1953
Leoncavallo Pagliacci Tonio 1967
Mascagni Cavalleria rusticana Alfio 1953
Ponchielli La Gioconda Barnaba 1967
Puccini La bohème Marcello 1956, 1961
Puccini Manon Lescaut Lescaut 1954
Puccini Il tabarro Michele 1962
Rossini Il barbiere di Siviglia Figaro 1958
Straus Der tapfere Soldat Bumerli 1952
Verdi Aida Amonasro 1961
Verdi Un ballo in maschera Renato 1966
Verdi Falstaff Ford 1963
Verdi La forza del destino Don Carlo 1964
Verdi Rigoletto Rigoletto 1956, 1963
Verdi La traviata Germont 1960, 1962
Verdi Il trovatore Conte di Luna 1964

Performances with the Metropolitan Opera

[edit]

Robert Merrill made 769 performances with the Metropolitan Opera in the following 21 roles:[111]

Composer Opera Role First performance Last performance Total performances
Verdi La traviata Germont 1945-12-15 1976-03-15 132
Donizetti Lucia di Lammermoor Enrico 1945-12-29 1965-01-23 16
Bizet Carmen Escamillo 1946-01-07 1972-01-04 81
Mussorgsky Boris Godunov Shchelkalov 1946-11-21 1947-04-21 5
Gounod Faust Valentin 1946-1223 1972-05-04 48
Verdi Aida Amonasro 1947-01-11 1973-06-01 72
Rossini Il Barbiere di Siviglia Figaro 1947-11-15 1966-06-04 46
Verdi Il trovatore Count di Luna 1947-12-11 1973-05-30 73
Saint-Saëns Samson et Dalila High Priest 1949-11-26 1950-04-30 10
Verdi Don Carlo Rodrigo 1950-11-06 1972-06-21 51
Leoncavallo Pagliacci Silvio 1951-02-09 1951-02-09 1
Leoncavallo Pagliacci Tonio 1952-03-14 1964-04-02 22
Verdi Rigoletto Rigoletto 1952-11-15 1972-02-05 56
Puccini La Boheme Marcello 1952-12-27 1954-02-01 10
Verdi Un ballo in maschera Renato 1955-02-26 1976-05-29 56
Donizetti Don Pasquale Maletesta 1956-04-09 1956-12-10 8
Ponchielli La Gioconda Barnaba 1958-12-11 1962-04-16 13
Verdi La forza del destino Don Carlo 1961-12-12 1972-06-09 33
Giordano Andrea Chénier Carlo Gérard 1962-10-15 1966-03-22 7
Verdi Otello Iago 1963-03-10 1965-05-07 18
Puccini Tosca Scarpia 1964-10-23 1974-12-09 11

References

[edit]
  1. ^ Thwaite, Anthony (1982). Larkin at Sixty. London: Faber and Faber. ISBN 0-571-11878-X.
  2. ^ cite book | last = Thwaite | first = Anthony| authorlink = Anthony Thwaite | title =Larkin at Sixty | publisher =Faber and Faber | location =London|year = 1982 | ISBN =0-571-11878-X }}
  3. ^ Motion 1993, p.494.
  4. ^ http://www.harlequin-agency.co.uk/index.php?page=12&action=repertoire&id=50&type=operatic
  5. ^ a b c d Cite error: The named reference Duch was invoked but never defined (see the help page).
  6. ^ For a complete list of Keenlyside's roles see also List of roles at www.simonkeenlyside.info
  7. ^ Kesting, Jürgen (2008). Die grossen Sänger, Vol. 4, p. 2065. Hoffmann und Campe (in German)
  8. ^ a b c d La Scala. Archives: Keenlyside (subscription required)
  9. ^ White, Michael (14 May 2003). "Sweet prince of song". Daily Telegraph
  10. ^ a b c d e f g h i j Royal Opera House. Archives: Keenlyside
  11. ^ Luten, C. J., (January 1996). Recording Review: Chabrier's Briseis by Rodgers, Harries, Padmore, Keenlyside, George and the BBC Scottish Orchestra and Chamber Chorus under Jean Yves Ossonce". Opera News (subscription required)
  12. ^ Gramophone (September 1995). Review: Harmonia Mundi CD HMC90 1515/7 (1996 live recording from Théâtre Royal de la Monnaie), p. 103
  13. ^ Metropolitan Opera. Archives: Keenlyside, Simon (Baritone)
  14. ^ a b c Milnes, Rodney (November 1997) "Simon Keenlyside". Opera, Vol. 53, Issue 1, pp. 80-87
  15. ^ Listed in the cast for the performances at the Opéra Garnier in September 1998. See L'Événement du jeudi, Issues 718-725, p. 82 (in French)
  16. ^ a b Glyndebourne Festival Opera. Archives: Keenlyside
  17. ^ Jahn, George (7 March 2009). "Splendid music, but the staging – brrr!". Associated Press
  18. ^ Listed in projected cast for the performances at the Royal Opera House in November-December 1990. See Opera, Vol. 41, Issues 7-12, p. 1201
  19. ^ Loveland, Kenneth (December 1991). Review: Die Fledermaus, Welsh National Opera, New Theatre, Cardiff, Opera, Volume 42, p. 1479
  20. ^ Listed in the cast for the concert performances at Birmingham Symphony Hall and the Queen Elisabeth Hall (March 1995). See Opera, Vol. 45, Issues 7-12, p. 1299
  21. ^ Smith, Mike (25 April 2008). "From Turandot to tree-planting with opera singer Simon Keenlyside". Western Mail
  22. ^ One of his earliest roles. According to simonkeenlyside.info, he sang this at the Hamburg State Opera in June 1988.
  23. ^ Tumelty, Michael (20 September 1989). "Review: Theatre Royal, Glasgow, The Merry Widow", p. 14. Glasgow Herald
  24. ^ Sulcas, Roslyn (28 June 1998). "Master of Movement Decides to Tell a Story With an Opera". New York Times
  25. ^ Jampol, Joshua (2010). Living Opera. Oxford University Press. ISBN 0195381386
  26. ^ Blyth, Alan (June 1996). "Taking off". Gramophone, p. 23
  27. ^ Radio Canada. Opéra du samedi, Calendrier de diffusion, Saison 1998-1999 (in French)
  28. ^ Monelle, Raymond (23 August 1999). "Edinburgh: This tragic no man's land". The Independent
  29. ^ Evans, Eian (27 June 2010). "Review: Rigoletto, Millennium Centre, Cardiff". The Guardian
  30. ^ Tanner, Michael (9 September 2000). "Brighter shades of pale". The Spectator
  31. ^ Western European stages, Volume 15 (2003), p. 42. Center for Advanced Study in Theatre Arts
  32. ^ Bayerische Staatsoper (2009) Cast list: La Traviata, 12 June 2009 (in German)
  33. ^ Christiansen, Rupert (1 November 2001). Review: "War and Peace ENO, Coliseum – All-conquering confidence". Daily Telegraph
  34. ^ Hitchings 2005, p.198
  35. ^ Hitchings 2005, p.198–9
  36. ^ Hitchings 2005, p.199
  37. ^ Hitchings 2005, p.200
  38. ^ Hitchings 2005, p.203
  39. ^ Hitchings 2005, p.211
  40. ^ Hitchings 2005, p.212
  41. ^ Hitchings 2005, p.220
  42. ^ Hitchings 2005, p.221
  43. ^ Hitchings 2005, p.222
  44. ^ Hitchings 2005, p.223
  45. ^ Hitchings 2005, p.224
  46. ^ Hitchings 2005, p.224
  47. ^ Hitchings 2005, p.225
  48. ^ Hitchings 2005, p.226–7
  49. ^ Hitchings 2005, p.227–8
  50. ^ Hitchings 2005, p.229
  51. ^ Hitchings 2005, p.229–31
  52. ^ Hitchings 2005, p.198
  53. ^ Hitchings 2005, p.200
  54. ^ Hitchings 2005, p.198–9
  55. ^ Hitchings 2005, p.199
  56. ^ Hitchings 2005, p.203
  57. ^ Hitchings 2005, p.221
  58. ^ Hitchings 2005, p.222
  59. ^ Hitchings 2005, p.220
  60. ^ Hitchings 2005, p.212
  61. ^ Hitchings 2005, p.227–8
  62. ^ Hitchings 2005, p.223
  63. ^ Hitchings 2005, p.224
  64. ^ Hitchings 2005, p.224
  65. ^ Hitchings 2005, p.225
  66. ^ Hitchings 2005, p.226–7
  67. ^ Hitchings 2005, p.229–31
  68. ^ Jemma Read. "Harmless drudge at work" The Observer, 24 April 2005
  69. ^ John Carey. "Dr Johnson's Dictionary by Henry Hitchings" The Sunday Times, 27 March 2005
  70. ^ Will Self. "The first literary celebrity" The New Statesman, 16 May 2005
  71. ^ Jemma Read. "Harmless drudge at work" The Observer, 24 April 2005
  72. ^ John Carey. "Dr Johnson's Dictionary by Henry Hitchings" The Sunday Times, 27 March 2005
  73. ^ Will Self. "The first literary celebrity" The New Statesman, 16 May 2005
  74. ^ Kate Colquhoun "How English became English" The Daily Telegraph, 12 April 2008
  75. ^ Economist's Reviewer "The Secret Life of Words" The Economist, 18 September 2008
  76. ^ Katherine A. Powers. "The hidden, joyful world of words" The Boston Globe, 5 October 2008
  77. ^ Kate Colquhoun "How English became English" The Daily Telegraph, 12 April 2008
  78. ^ Economist's Reviewer "The Secret Life of Words" The Economist, 18 September 2008
  79. ^ Robbins Landon H C. Mozart - the golden years. London, Thames and Hudson, 1989.
  80. ^ Rice J A. Opera, in Haydn (Oxford Composer Companion) ed Wyn Jones D. Oxford, Oxford University Press, 2002.
  81. ^ Robbins Landon H C. Mozart - the golden years. London, Thames and Hudson, 1989.
  82. ^ Rice J A. Opera, in Haydn (Oxford Composer Companion) ed Wyn Jones D. Oxford, Oxford University Press, 2002.
  83. ^ http://www.garylehmantenor.com/biography.asp
  84. ^ http://articles.orlandosentinel.com/2006-11-19/news/SAMSON_1_orlando-opera-samson-dalila-saint-saens-samson
  85. ^ http://www.wagneropera.net/Articles/Herheim-Tannhauser-Oslo.htm
  86. ^ http://www.nytimes.com/2008/03/20/arts/music/20tris.html?scp=1&sq=lehman%20tristan&st=cse
  87. ^ http://www.guardian.co.uk/music/2010/sep/21/tristan-und-isolde-viola-philharmonia
  88. ^ http://artsbeat.blogs.nytimes.com/2009/04/14/cast-for-mets-ring-goes-round-and-round/
  89. ^ http://www.telegraph.co.uk/culture/music/classicalcdreviews/8009983/Wagner-Parsifal-CD-review.html
  90. ^ http://artsbeat.blogs.nytimes.com/2011/02/08/ben-heppner-drops-out-of-the-mets-ring/
  91. ^ http://www.metoperafamily.org/metopera/season/index.aspx?nav=top
  92. ^ http://www.garylehmantenor.com/repertoire.asp
  93. ^ www.garylehmantenor.com. "Biography".
  94. ^ http://articles.orlandosentinel.com/2006-11-19/news/SAMSON_1_orlando-opera-samson-dalila-saint-saens-samson
  95. ^ http://www.wagneropera.net/Articles/Herheim-Tannhauser-Oslo.htm
  96. ^ http://www.nytimes.com/2008/03/20/arts/music/20tris.html?scp=1&sq=lehman%20tristan&st=cse
  97. ^ http://www.guardian.co.uk/music/2010/sep/21/tristan-und-isolde-viola-philharmonia
  98. ^ http://artsbeat.blogs.nytimes.com/2009/04/14/cast-for-mets-ring-goes-round-and-round/
  99. ^ http://www.telegraph.co.uk/culture/music/classicalcdreviews/8009983/Wagner-Parsifal-CD-review.html
  100. ^ http://artsbeat.blogs.nytimes.com/2011/02/08/ben-heppner-drops-out-of-the-mets-ring/
  101. ^ http://www.metoperafamily.org/metopera/season/index.aspx?nav=top
  102. ^ http://www.garylehmantenor.com/repertoire.asp
  103. ^ http://www.ferrierawards.org.uk/main/winners.asp
  104. ^ http://www.vocalwebsites.com/neilhowlett/perfcareer.php
  105. ^ http://www.chandos.net/details06.asp?CNumber=CHAN 3068
  106. ^ Berlin State Opera press release
  107. ^ Schedule at Operabase.
  108. ^ Personal website
  109. ^ Review in The Daily Telegraph
  110. ^ http://www.operadis-opera-discography.org.uk/ALSIMERR.HTM
  111. ^ http://69.18.170.204/archives/frame.htm

Repertoire

[edit]

Verdi

[edit]

Puccini

[edit]

Donizetti

[edit]

Other Italian repertoire

[edit]

Repertoire in other languages

[edit]

Recordings

[edit]

Complete operas

[edit]
  • Orazio in Orazi e Curiazi by Mercadante with the David Parry and the Philharmonia Orchestra (Opera Rara)
  • Balstrode in Peter Grimes by Britten with Sir Colin Davis and LSO (LSO Live)
  • Yeoman of the Guard with Sir Neville Marriner (Philips Classics)
  • Alphonse in La Favorita by Donizetti with Marcello Viotti (BMG Classics)
  • Enrio in Lucia di Lammermoor by Donizetti with Sir Charles Mackerras (Sony)
  • Ford in Falstaff by Verdi with John Eliot Gardiner (Decca)
  • Egberto in Aroldo by Verdi with Fabio Luisi (Philips Classics)
  • Renato in A Masked Ball by Verdi with David Parry (Chandos)
  • La vestale by Spontini with Riccardo Muti (Sony)

Other recordings

[edit]
  • Szymanowski’s Stabat Mater with Claus Peter Flor (BMG Classics)
  • Orff's Carmina Burana with André Previn (Deutsche Grammophon)
  • Purcell's The Fairy Queen with Harnoncourt (Teldec Classics)
  • Puccini arias with the Royal Opera House Orchestra (Conifer)
  • Mendelssohn’s Erste Walpurgisnacht with the Philharmonia Orchestra

Refs

[edit]

Outstanding issues from Peer Review

[edit]

1. Life

[edit]

1.1 1922–50

[edit]

[Currently none]

1.2 1950–69

[edit]

[Currently none]

1.3 1969–85

[edit]
  • BB says: "It seems that too little use is made in the article of the collected letters, which could be used to flesh out more details of his private life, including some quite significant incidents. Among things not mentioned in the article are his being made a Companion of Honour in summer 1985 (letter to Anthony Powell 7 August 1985) and his being too ill to receive it from the Queen (letter 18 October 1985 to Colin Gunner). Also, we learn that Larkin was made a Companion of Literature (C.Litt) by the RSL, a more singular honour than a Fellowship (letter to Robert Conquest, 4 July 1978), and we can read what he thought about this ("Down among the dead men")" Does anyone have with access to this book? If so, could they dredge up the information being pointed to by BB?
  • BB comments: "The section title "1969-85: "Beyond the light stand failure and remorse" is, I believe, too literary and cryptic for an encyclopedia. It suggests the editor's voice in summarising Larkin's career. I'd go for something less personal."

2. Creative Output

[edit]

2.1 Juvenilia &c.

[edit]
  • BB says: "Booth's collection of the Coleman fiction and other early writing has a lengthy introduction discussing these works. It would be good to see this used as a source. In particular there is discussion of two unfinished novels No For An Answer and A New World Symphony, dated as between 1948 and 1954. These are not mentioned in the article, and I believe they should be, particularly as Booth's book has long (80+ pages) extracts from both." I don't have this book. Does anyone else?
  • "In what way did [The North Ship] show the influence of Yeats?"

2.2 Mature works

[edit]
  • "I feel like the analysis of Larkin's writing is a bit thin. The "Creative output" section doesn't contain any analysis of his novels, for example."

2.3 Poetic style

[edit]
  • M3 says: "I'm not getting a sense in the Creative output section of how Larkin's poetry style or themes resounded with his generation, whether he was revolutionary or not, whether he was as plain as any poet who gets into a magazine" and "I am also wishing for a statement or paragraph in this section ... that roundly states what his poems were about, what essence they captured, and how critics have since described his career"
  • "Larkin's earliest work showed the influence of Eliot, Auden and Yeats, and the development of his mature poetic identity in the early 1950s coincided with the growing influence on him of Thomas Hardy. - In what specific ways did these other poets influence Larkin's work?"
  • "The "Poetic style" section is almost entirley made up of quotations. Could some of these be removed and paraphrases used instead? It is jarring for the reader to read so many quotes."

2.4 Prose non-fiction

[edit]
  • BB says: "we should be told whose view it is that in Required Writing his scepticism is at its most "nuanced and illuminating" (and preferably what this means), and at its most inflamed and polemical in the Daily Telegraph reviews. The sentence beginning "His scepticism...." is much too long and needs dividing" This, IIRC was written a long time ago. It would be good if someone could rewrite the whole section, IMO

3. Legacy

[edit]

3.1 Reception

[edit]
  • Paraphrase long Bradford quote on High Windows
  • More wanted on Larkin at Sixty

3.2 Critical opinion

[edit]
  • BB says: ""Cooper draws on the entire canon of Larkin's works, as well as on unpublished correspondence, to counter the oft-repeated caricature of Larkin as a racist, misogynist reactionary." Your use of the word "caricature" indicates that the view of Larkin as racist, reactionary etc is wrong, or at least distorted. Having heard and read a geat deal of Larkin, I have no doubt that this was a significant part of his character. It was doubtless not all of him; but to suggest that he was "caricatured" as a racist etc is unjustified."
  • "The "Critical opinion" section is almost a list of opinions rather than a coherent, topically-based section. There is even a one-sentence paragraph. This section needs to be restructed so that the reader is led through the different ideas rather than through the different critics. The names of the critics are not so important as the ideas. Also, the critics should be grouped together better, to indicate broad trends in Larkin scholarship. The paragraph that begins "The view that Larkin is not a nihilist or pessimist, but actually displays optimism in his works, is certainly not universally endorsed, but Chatterjee's lengthy study suggests the degree to which old stereotypes of Larkin are now being transcended" is the best example of the kind of topical coherence that the rest of the section should have."

3.3 Career as librarian

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3.4 Posthumous rep

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  • M3 says: "If so, can you reconcile how someone could love black music so much and hate blacks?" Personally, I'm not sure a reconciliation is possible, I think the contradiction remains. I recall two contrasting quotes: (a) "The Negro did not have the blues because he was naturally melancholy. He had them because he was cheated and bullied and starved." Does anyone know the source for this? (b) something in the letters about "the patter of Caribbean germs on the Underground", which I think I recall from the Letters. Again, can anyone find this? I think these two make for a good illustration of the problem.

3.5 Recordings

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  • "The last three paragraphs of "Recordings" are a prose list - can you integrate these a bit more seamlessly?"
  • "Footnote 129 should indicate that the YouTube video is a recording of a SkyOne broadcast."

3.6 Fiction based on L's life

[edit]
  • "The first paragraph ... should explain the content of the play a bit more."
  • "Footnote 133 - the link is broken"

4. General issues

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  • "The first time any published work of Larkin's is mentioned, please put the publication date in parentheses next to it."
  • Article is overlinked
  • Alt text needed for the photos.
  • Please add publication locations to the references
  • "What makes this a reliable source?"
  • "Was this originally published in The Observer? It looks that way from the website. If so, that should be indicated in the footnote."
  • "This artice was originally published in Twentieth Century Literature (Summer 1996) - this needs to be indicated in the footnote."
  • "What makes this a reliable source?"
  • "What makes this a reliable source?"

high windows reception

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Of the reception of High Windows Richard Bradford writes, "the reviews were generally favourable, with the notable exception of Robert Nye in The Times, but each reflected the difficulty of writing a 500–1,000-word piece on a collection which, while short, compelled fascination and confusion. The admiration for the volume was genuine for most reviewers, but one also senses anxiety in their prose, particularly on how to describe the individual genius at work in poems such as "Annus Mirabilis", "The Explosion" and "The Building" and at the same time explain why each is so radically different. Nye overcomes this problem by treating the differences as ineffective masks for a consistently nasty presence"

Prose non-fiction

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Larkin was a notable critic of modernism in contemporary art and literature. His scepticism is at its most nuanced and illuminating in Required Writing, a collection of his book reviews and essays,[1] and at its most inflamed and polemical in his introduction to his collected jazz reviews, All What Jazz, drawn from the 126 record-review columns he wrote for The Daily Telegraph between 1961 and 1971, which contains an attack on modern jazz that widens into a wholesale critique of modernism in the arts.[2] Despite the reputation Larkin not unwillingly acquired as an enemy of modernism, recent critical assessments of Larkin's writings have identified them as possessing some modernist characteristics.[3]

  • "Once Larkin has classified modern jazz under the general heading of modernism, it is true that he knows where he is; he now has a way of explaining every feature of the music of Parker, Coltrane, and Davis. Unfortunately, this also means that jazz must now conform to his paradigm of modernism, and this produces a somewhat eccentric history of jazz."[5]
  • "In "The Pleasure Principle" (1957) he charges that poetry has lost its true (that is, pleasure-seeking) audience through a kind of conspiracy between the poet, the literary critic, and the academic critic, three classes so indistinguishable that "the poet has gained the happy position wherein he can praise his own poetry in the press and explain it in the classroom" (RW 81). The audience that reads poetry for pleasure has been replaced by an audience of students who learn from their (mystifying) professors that "reading a poem is hard work" (RW 81)." [same]
  • "Still, it is intriguing to conceive of a jazz or blues intertext inhabiting the Larkin canon that may be glimpsed now and then, as in the opening of Larkin's last great poem "Aubade" (CP 208), "I work all day, and get half drunk at night," a line that, read in another context, could as easily be attributed to Sleepy John Estes or Blind Lemon Jefferson." [same, p.12]
  • "The possibility that Larkin himself may have doubted the sincerity of the introduction is suggested by his remarks to Donald Mitchell, to whom All What Jazz is dedicated, and to Peter Crawley, sales director at Faber & Faber. He told Mitchell that the introduction was "not perhaps to be taken very seriously" (Letters 408). To Crawley he said of the thesis of the introduction - that "post-Parker jazz is the equivalent of modernist developments in other arts": "I don't think this has actually been said before, and, while it may not be wholly defensible, I think it is sufficiently amusing to say once" (Letters 417)." [same, p.14]
  • "He characterizes the blues as "a kind of jazz that calls forth a particular sincerity from the player ('Yeah, he's all right, but can he play the blues?')," and he argues that the "Negro did not have the blues because he was naturally melancholy. He had them because he was cheated and bullied and starved" (AWJ 87, 224). The deprivation-daffodil parallel more aptly applies to the makers of the music to which Larkin was addicted and through which he experienced his privation secondhand." [same, p.1]
  • "And while Wordsworth remembers the "very Heaven" of being young at the time of the French Revolution, Larkin's later reflection on his youth was that it was his particular bliss to have been young at the only time he could have experienced the pleasure of jazz. Had he died on 9 August 1922 instead of being born then, or had he been born a decade or so later, he would have missed it all (AWJ 28), since, he notes, jazz was the "emotional excitement" peculiar to one generation, his own, that "came to adolescence" between the two World Wars. "In another age," he suggests, "it might have been drink or drugs, religion or poetry" (Letters 416, AWJ 15). Or daffodils or revolution. Larkin's claim to have substituted jazz for the inspirations and excitements of other ages is something more than his characteristic philistine pose, even if it is also that. Jazz was, along with poetry, the great passion of his life ("In many ways I prefer it to poetry")(3) and his reader may well wonder about the extent to which the two passions intersect."
  • "More than that, it was an unpretentious art built on a simple and direct emotional appeal that did not depend on an extensive musical education" [same, p.2]

Clive James on RW

  • "He has a way of bringing out the foibles of his fellow-artists while leaving their dignity at least intact and usually enhanced. To take his beloved Hardy as an example — and many other examples, from Francis Thompson to Wilfred Owen, would do as well — he convincingly traces the link between moral lassitude and poetic strength"
  • "He isn’t exactly telling us to Buy British, but there can be no doubt that he attaches little meaning to the idea of internationalism in the arts. All too vague, too unpindownable, too disrupting of the connections between literature and the life of the nation."
  • "In Required Writing the Impulse to Preserve is mentioned often. Larkin the critic, like Larkin the librarian, is a keeper of English literature"

Ref

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  1. ^ James 1983.
  2. ^ Leggett, B.J. "Larkin's Blues: Jazz and Modernism". Twentieth Century Literature (Summer, 1996). Hofstra University.
  3. ^ Corcoran 2007, p. 147.


Larkin and race

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Yep, that's a nice story. I like the description of him in the penultimate paragraph--it's too easy to represent him as dour and death-obsessed. Ideally we would show all sides of his character. In the letters it's interesting to compare the Larkin who speaks to Betjeman with the one who speaks to Amis. The one horrible nettle that we do need to decide how to grasp is this one:

The same piece contains another series of sentences that Palmer says completely absolve Larkin of racism:

"The American Negro is trying to take a step forward that can be compared only to the ending of slavery in the nineteenth century. And despite the dogs, the hosepipes and the burnings, advances have already been made towards giving the Negro his civil rights that would have been inconceivable when Louis Armstrong was a young man. These advances will doubtless continue. They will end only when the Negro is as well-housed, educated and medically cared for as the white man."

According to Palmer, those four sentences expose all the post-Motion and post-Letters furore about Larkin’s ‘racism’ as the nonsense it is. A true racist would either be incapable of having such thoughts in the first place or wouldn’t dream of proclaiming them so eloquently. Disregarding the specious comment on eloquence, a less forgiving reader could counter by asking if this does not qualify as the thought of a true racist:

"I find the state of the nation quite terrifying. In 10 years’ time we shall all be cowering under our beds as hordes of blacks steal anything they can lay their hands on."

Or this:

"We don’t go to [cricket] Test matches now, too many fucking niggers about."

redone

[edit]

Trying to resolve Larkin's contradictory opinions on race in his book Such Deliberate Disguises: The Art of Philip Larkin, the writer Richard Palmer quotes a letter Larkin wrote to Betjeman, as if it exposes "all the post-Motion and post-Letters furore about Larkin’s 'racism' as the nonsense it is":

"The American Negro is trying to take a step forward that can be compared only to the ending of slavery in the nineteenth century. And despite the dogs, the hosepipes and the burnings, advances have already been made towards giving the Negro his civil rights that would have been inconceivable when Louis Armstrong was a young man. These advances will doubtless continue. They will end only when the Negro is as well-housed, educated and medically cared for as the white man."

Reviewing Palmer's book, John G. Rodwan, Jr. wonders "if this does not qualify as the thought of a true racist: 'I find the state of the nation quite terrifying. In 10 years’ time we shall all be cowering under our beds as hordes of blacks steal anything they can lay their hands on.' Or this: 'We don’t go to [cricket] Test matches now, too many fucking niggers about.'"[1]

Letters

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Selected Letters of Philip Larkin, 1940–1985
AuthorPhilip Larkin, edited by Anthony Thwaite
LanguageEnglish
GenreCorrespondence
PublisherFaber and Faber, London
Publication date
1 January, 1992
Publication placeEngland
Media typePrint (Hardback)
Pages791 pages
ISBN0-571-17048-X


Selected Letters of Philip Larkin, 1940–1985

The Selected Letters of Philip Larkin, 1940–1985 was a volume compiled by Anthony Thwaite, one of Philip Larkin's literary executors. It was published in 1992 by Faber and Faber.[2]

reflist

[edit]

Rose

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Matthew Rose (born 1978 in Brighton) is an English operatic bass.

Biography

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Rose studied at Seaford College, Petworth, Canterbury Christ Church University, and the Curtis Institute of Music, Philadelphia.[1] In 2003 he joined the Young Artists Programme at the Royal Opera House, Covent Garden.[2]

He has performed at La Scala, Milan, The Royal Opera House, Covent Garden, Glyndebourne, WNO, Houston Grand Opera, Opéra National de Lyon, Teatro Real, Madrid and ENO. He has sung most of the standard oratorio repertoire in concert, working with orchestras such as the LSO, the BBCSO and the CBSO, and has given recitals at venues such as the Wigmore Hall

NS

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Nicholas Sharratt (born in Nottingham) is an English operatic tenor.

Biography

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Sharratt studied at the Royal Northern College of Music and the National Opera Studio.

He has performed the title role in Orpheus in the Underworld for Scottish Opera[3] and Ernesto in Don Pasquale for English Touring Opera.[4] Other lead roles have included Nemorino in L'elisir d'amore for Grange Park Opera[5] and Pedrillo in Die Entführung aus dem Serail for Opera North.[6]

In 2012 he will play Count Almaviva in The Barber of Seville for English Touring Opera.[7]

References

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Operatic repertoire[1]

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Recordings

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He has recorded with Sir Colin Davis (Berlioz L'enfance du Christ and a Child of our Time for LSO Live), Sir Charles Mackerras (Mozart Vespers and Schubert Mass in E flat with Dresden Staatskappelle), Richard Hickox (Schubert Mass in E flat), Antonio Pappano (Tristan and Isolde) and a CD of Liszt songs with Iain Burnside.

Salome disambig

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Visual arts

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Stage works

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Songs

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  • Salome, a song by Karel Kryl (1965)
  • Salome, a song by The House of Love on their debut album, The House of Love (1988 album)
  • Salome, a 1990 song by U2:
    • included in the 1992 single "Even Better Than the Real Thing"
    • eight versions of the song included in Salome: The Axtung Beibi Outtakes (1993), a 3 disc studio bootleg of U2's Achtung Baby recording sessions
    • remix of the single included in the 1995 fan club compilation album Melon: Remixes for Propaganda
  • Salome, a song by Alcazar on their debut album Casino (2000)
  • Salome, a song by Lili Haydn on her debut album Lili (1997)
  • Salome, a song composed by Edward Shearmur on the original soundtrack of the motion picture The Governess (1998)
  • Salome, a song by the Old 97s, featured on their album Too Far to Care and sung live in the 2006 movie The Break Up
  • Salomé - The Seventh Veil, a 2007 album by Xandria which also features the song Salomé
  • When Salome plays the drum, a song by Jimmy Buffett, featured on his "Bars" disc of his "Bars, Beaches, Boats and Ballads" collection.
  • Salomé (song), a song written by popular Puerto Rican singer Chayanne.
  • Salomé, a song written by Pete Doherty.

Films

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Literature

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References

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