About a year ago I finished this chamber opera on a play by Oscar Wilde. I can't remember how I came across the play; I think it turned up in list of dramas on an Italian theme, for I was keen to write an Italian-style opera. I was, however, never sure what I meant by that.
Written before the pandemic outbreak, this could hardly have been more timely. A rhyming libretto by Leo Doulton at first had me stumped: how could such a doom-laden scenario be treated as a 'comedy of manners', as he put it?
An interesting observation by Philip Brown... Handel vs. Bach.
I went to see Music Theatre Wales' production of The Golden Dragon in Basingstoke recently. This is a production which has caused some controversy because of its ‘yellowface’ casting.
The Oval Portrait
I came across Poe’s The Oval Portrait in 2013 when I needed to complete a programme of chamber opera: the story is concise and simply told, written in prose that sounds very musical.
Attended a performance last night of Le Grand Macabre at the Barbican, London. An immensely good performance and riveting from start to finish. It was great to have the London Symphony Orchestra on stage, which meant we could relish the score's fabulous textures which bristled and shimmered and hooted and blasted and everything in between.
It was thrilling to be able to attend the first performance of my Aspects of Work in the Pre-Raphaelite Gallery of Manchester Art Gallery where Ford Madox Brown's famous panorama of Victorian life is beautifully displayed.
Concert included Yin & Yang Cantata
Composer and musician