THEVENTURES Y - Trinity Laban · WELCOME Welcome to this performance of Rossini’s colourful comic...

Music by Gioachino RossiniCAST:Count Ory: Nicholas SharrattRaimbaud, a friend of Ory: Benedict NelsonOry’s Tutor: Steven PageIsolier, Ory’s brother: Kate HowdenTwo cavaliers, friends of Ory: Benjamin Ellis*and Guy Elliott*Countess Adele: Anna DevinRagonde , a friend of the Countess: Louise WinterA lady, another friend of the Countess: Claire Barton*Alice, a villager: Zoe Freedman**Vocal student at Trinity Laban Conservatoire of Music and Dance

Blackheath Halls Opera ChorusBlackheath Halls OrchestraPupils from Greenvale SchoolPupils from Charlton Park AcademyPupils from Year 5 at St Margaret’s Primary SchoolPupils from Year 4 at Lee Manor Primary School

BLACKHEATH HALLS TEAM: General Manager: Keith MurrayCommunity Engagement Manager: Rose BallantyneOperations Manager: Hannah BentonTechnical Manager: Malcolm RichardsMarketing and Box Office Co-ordinator: Kyle JarvisDevelopment Officer: Helma ZebregsBookkeeper: Debra SkeetAdministrator: Caroline Foulkes

PRODUCTION:Musical Director: Nicholas JenkinsDirector: Harry FehrDesigner: Max DoreyLighting Designer: Christopher NairneAssistant Director: Jack FurnessAssistant Musical Director: Jeremy CookeProduction Manager: Rene (Freddy) MarchalCostume Supervisor: Felicity LangthorneCostume Assistant: Jo Ray Hair and Make-Up: Maisie PalmerProduction Assistant: Sophie HoranSenior Stage Manager: Sasja EkenbergDeputy Stage Manager: Marian SharkeyAssistant Stage Managers: Mimi Palmer-Johnstonand Rosanna GrimesCommunity Stage Manager: Sarah SouthertonTechnical Assistant Stage Manager: Oliver BallantyneProject Manager: Rose BallantyneAssistant Project Manager: Alice MurrayPublicity and Programme Designer: Colin DunlopTRINITY LABAN PROJECT TEAM: Programme Manager: Anna Wyatt and Helen HendryProject Leader: Joe TownsendRunning time: 2hrs and 30mins

ADVENTURES COUNT ORYADVENTURES COUNT ORY

THE

WELCOMEWelcome to this performance of Rossini’s colourful comic opera The

Adventures of Count Ory – a tale of intrigue, disguise and seduction,

performed in a brand new English translation by David Parry. This is the

eighth fully staged community opera to be presented by Blackheath Halls,

led by a professional production team and with a stunning professional cast.

As in previous years, the opera brings together so many different sections

of the local community – an adult chorus, local school children, including

students from two local special schools, and the Blackheath Halls Orchestra, working

alongside students from Trinity Laban Conservatoire of Music and Dance and six highly

acclaimed professional opera singers.

We are delighted to welcome back to Blackheath Halls Nicholas Sharratt, who plays the

title role of Count Ory, and who was last seen here as Lensky in the 2011 Blackheath Opera,

Eugene Onegin. Two other singers making a welcome return to the Halls are Kate Howden

as Isolier and Louise Winter as Ragonde, both of whom will be remembered for their great

comic performances in the 2012 opera Cendrillon. The role of Countess Adele is performed by

Anna Devin, with Benedict Nelson as Raimbaud and Steven Page as Ory’s tutor.

Blackheath Halls is an integral part of Trinity Laban Conservatoire of Music and Dance and

benefits greatly from its close association with them. The involvement of Trinity Laban

students is a very important part of the annual community opera, regularly winning excellent

reviews. This year a number of individual roles within the opera are performed by vocal studies

students, including Zoe Freedman, Claire Barton, Guy Elliott and Benjamin Ellis. We also have

vocal students from Trinity Laban performing as our mini chorus.

The Adventures of Count Ory is directed by Harry Fehr, with musical direction by Nicholas

Jenkins, both of whom have previously worked together on the Blackheath Halls highly

successful productions of Elixir of Love, Eugene Onegin, and Cendrillon. Stage and Costume

Designs are by Max Dorey, with Lighting Design by Christopher Nairne.

Previous Blackheath Operas have received great critical acclaim. Anna Picard, in The

Independent on Sunday described the Halls’ opera project as ‘one of the calendar’s most

heartening events’ and Graham Rogers in The Stage said ‘there can few more worthy uses of

Arts Council England grants’.

The success of this project is very much due to the dedication and support of so many

people who freely give of their time and energy in so many different ways. The community

opera epitomises exactly what the Halls were originally built for, as it is at the heart of the

local community.

We are most grateful for the generous financial support that we have received for the

community opera from Arts Council England, the London Borough of Lewisham, the Samuel

Gardner Memorial Trust and the Hearn Foundation, as well as the many individual members

of the local community, who have supported this project.

I hope that you will enjoy watching our extremely talented company of performers in

The Adventures of Count Ory, and that you may be inspired to join us in next year’s

community opera.

Thank you for your support, and I look forward to welcoming you to the Halls again in the

near future.

Keith Murray General Manager T H E A D V E N T U R E S O F C O U N T O R Y 3

We have been staging community operas at Blackheath Halls since July 2007. This will be our eighth summer opera. We have also staged 2 children’s operas in February 2013 and April 2014.

Matthew Rose as Banquo in Macbeth, July 2013.

‘I am forever encouraging people to join in the following year and experience what we have all experienced.’ Macbeth Chorus member

Charne Rochford as Macduff with members of the community chorus in Macbeth, July 2013.

‘The whole atmosphere was very inclusive; it brought home to me what “community” really meant.’

Community Chorus member

Jack Schwab as Sammy in The Little Sweep with the children’s chorus, April 2014

‘I have been inspired so much by working with such talented people. I am so grateful for this wonderful opportunity, and do hope that I will be part of some more in the future.’

Performer in The Little Sweep

Children’s Chorus sing the finale in The Little Sweep, April 2014

‘In her own words she is now more confident in interacting with people and expressing herself. She also said the project helped her to truly appreciate teamwork.’

Parent of participant in The Little Sweep

Blackheath Halls Opera blog http://blackheathhallsopera.wordpress.com/ tells the story about our opera with contributions by the creative team and the performers, lots of photographs and reviews. Blackheath Halls Opera can be followed on Twitter @Blackheathopera.

Schools’ involvement in Blackheath Halls OperaYou will have the delight of seeing lots of local children and young people

performing in The Adventures of Count Ory tonight. These children and

young people have been working hard on their performance since the

beginning of June.

Our performers this year are Year 5 from St Margaret’s Lee Primary School

(15 and 18 July), Year 4 from Lee Manor Primary School (16 and 20 July) and

students from Greenvale School (15 and 18 July) and Charlton Park Academy (16 and 20 July).

We began our work with the schools by gathering them all together for an introductory

session. The day started by introducing the team and explaining everyone’s responsibilities.

Harry Fehr, our Director, then told the story of the opera. The children were asked to form

‘tableaux’ of some of the crucial scenes and displayed some excellent acting ability. Harry

then described his staging concepts along with Max Dorey, our Designer this year. The

children and young people were particularly interested in what they were going to have to

wear for their performances. The introductory session ended with Nick Jenkins, our Musical

Director, warming up their voices and singing a few snippets of the opera.

Throughout June Harry, Nick and I, along with Jeremy Cooke on piano and Jack Furness

supporting Harry visited each school 3 times and rehearsed with each class individually.

We were so impressed with how much the children retained from session to session and

how involved they were in the rehearsals. Their teachers also gave us tremendous support

with this and backed up lots of our work in the time between sessions.

Then the fun really started!! The schools came to Blackheath Halls for a full day on Tuesday

8 July to practice everything that they had learnt on the real stage with the real principal

singers. The children also watched the other school performing their exact moves which is

an invaluable part of the learning process.

At the final two rehearsals the children came together with the adult chorus and put on

their costumes for the first time. Tonight they are getting a chance to perform everything

they have learnt demonstrating how hard they’ve worked. I’m sure they will make you feel

really proud. We are so lucky to have such wonderful teachers, schools and pupils in our

area and it is a great privilege for Blackheath Halls and our opera team to work with them.

Our particular thanks go to the class teachers from the primary schools, Claire Soares and

Emily Hall, and the two coordinating teachers from Greenvale and Charlton Park Academy,

Rachel Dunlop and Elizabeth Whittick. However, we know that there are so many other

people supporting us with the schools’ involvement in the opera: all the other staff at the

participating schools and of course all the hard working parents and carers who ferry

their charges back and forth on so many occasions and work so hard behind the scenes.

We were so impressed with the clothes that the children managed to source for the

production and are very grateful for the hard work that has clearly gone in to this. We very

much hope that seeing the performance tonight will make it all feel worthwhile.

Please take some time this evening to look at all the wonderful art work around Blackheath

Halls that has been produced by the children. I know you will learn lots about the opera

from the displays. Thanks again to the teachers for this and to Liz Glasser who supports

the schools for us with this aspect of the project.

Community Engagement Manager

T H E A D V E N T U R E S O F C O U N T O R Y 5

New Sussex Opera is a registered charity no. 279800

OBERONnso

www.newsussexopera.org

Romantic opera in 3 acts in the original English

Lewes Town HallWednesday 19 November 7.30pm Devonshire Park Theatre, EastbourneSunday 23 November 3pmCadogan Hall, London SW1Tuesday 25 November 7pm

New Sussex Opera’s 2014 production is Weber’s Oberon. The magnificent overture is frequently played, but the neglected opera itself contains some of his most delightful music.

The story is a sequel to Shakespeare’s A Midsummer Night’s Dream. Oberon, King of the Fairies, guides Sir Huon of Bordeaux on his epic quest to seek the hand in marriage of the beautiful Reiza, daughter of the Caliph of Baghdad.

NSO Chorus, St Paul’s Sinfonia, conductor Nicholas Jenkins, director Max Key. Cast includes Sally Silver Reiza, Adrian Dwyer Sir Huon.

“First class singing by any standards” - Rupert Christiansen

T H E A D V E N T U R E S O F C O U N T O R Y 76 T H E A D V E N T U R E S O F C O U N T O R Y

BIOGRAPHIESClaire Barton A Lady

Claire Barton (mezzo-soprano) is from Dunedin, New Zealand and studied

Performance Voice at Otago University. She was an Emerging Artist with New

Zealand Opera in 2008-9 and moved to London in 2011 to take up a Kathleen

Roberts Scholarship at Trinity Laban Conservatoire. In 2013, she sang the

role of the Third Lady in Brent Opera’s production of The Magic Flute, was a

chorus leader in Macbeth with Blackheath Halls Community Opera, appeared

as a soloist in a concert of Ivor Novello songs with Oxbridge Opera Company

at the Buxton Gilbert and Sullivan Festival and was a chorus member for British Youth Opera’s

production of Paul Bunyan. Previous roles include: Mrs Slender, Salieri’s Falstaff (Opera Otago),

Katisha, Mikado and Mad Margaret, Ruddigore (Really Authentic Gilbert and Sullivan Performance

Trust). Claire will be singing the role of Mrs Partlet in The Sorcerer in August for the Oxbridge

Opera Company. This will be Claire’s first performance since she and her husband welcomed

the arrival of her first child in March. In what little spare time she now has, Claire enjoys losing at

chess, visiting castles and arguing about politics over tea and cake.

Anna Devin Countess Adele

A former member of the Jette Parker Young Artist programme at the Royal

Opera House, Covent Garden, the Britten-Pears YAP and the National Opera

Studio, Irish soprano Anna Devin is fast becoming established as one of today’s

brightest young sopranos.

Opera appearances in 2013/14 have included a return to Scottish Opera

as Zerlina (Don Giovanni) and to the Royal Opera House as Flowermaiden

(Parsifal) as well as Anna’s debut at the Handel Festival Göttingen as Clotilde in Faramondo and

her critically acclaimed performances of Bedford’s Through His Teeth at the ROH Linbury Studio.

Further ahead, she returns to the ROH main stage as Nanetta (Falstaff) in 2014/15, joins the

English Concert under Harry Bicket as Oberto (Alcina) on tour in London, Madrid, Vienna, Paris

and Michal in a new production of Saul with Glyndebourne Touring Opera.

An alumna of the Royal Irish Academy of Music, Guildhall School of Music and Drama, and

National Opera Studio, Anna Devin has garnered awards including the Maggie Teyte and Miriam

Licette Scholarship, Stuart Burrows International Voice Award, Singers’ Prize at the Gerald

Moore Awards and the Audience Prize in the London Handel Singing Competition. She is also an

Associate Artist with Classical Opera.

Jeremy Cooke Assistant Musical Director

Jeremy Cooke was born in Colchester, Essex. Educated at Oxford University

and the Guildhall School of Music and Drama, he has subsequently worked

extensively in the world of opera and vocal music generally. He is very pleased to

be working with Blackheath Halls Community Opera.

Max Dorey Designer

Max is currently one of two Assistant Designers at the RSC. He trained in

Theatre Design at Bristol Old Vic Theatre School, and has a BA English Literature

and Theatre Studies at Leeds University. In 2013 he was a finalist in the Linbury

Prize for Stage Design, held biannually by the National Theatre, during which he

worked with the National Theatre of Scotland.

Theatre includes: I Can Hear You (RSC/Royal Court) This Is Not An Exit (RSC/

Royal Court) Black Jesus (Finborough); The School for Scandal (Waterloo East); The Duke in the

Darkness, Marguerite (Tabard Theatre. Both nominated for an Off West End award for Best Set

Design); Oedipus (Blue Elephant); Disco Pigs (Tristan Bates); The Good Soul of Szechuan (Bristol

Old Vic Studio); Macbeth (Redgrave Theatre); Phaedra’s Love, Bad House (NSDF); Black Comedy,

Playhouse Creatures (Stage@Leeds). Max has also made puppets for Travelling Light’s Peter Pan

(Bristol Old Vic); Cinderella (St James Theatre); Pinocchio (Tobacco Factory); Birmingham Rep

Young Company’s 20,000 Leagues Under the Sea; Ravenrock Theatre’s Phaedra’s Love and The

View From Down Here, which he wrote and directed (Carriageworks).

Max was a student at St Margaret’s, Lee (Lee Church of England as was) between the years 1990 -

1994, when his family moved away to Oxford when he was 7. His dad used to run the Gladiator stall

at the summer fete and put up the Blackheath christmas lights. He is thrilled to be working again

with his childhood school and home.

Sasja Ekenberg Senior Stage Manager

Sasja is 32 years old and was born and raised in Denmark. She trained in Stage

Management at the Guildhall School of Music and Drama and graduated in

July 2013. She has previously worked for Wexford Festival Opera, Royal Opera

House of Copenhagen and ITV. This is her first production at Blackheath Halls.

Besides her work she is a big boxing fan and she is convinced that the Danish

boxer Mikkel Kessler will beat the English boxer Carl Froch at their hopefully

next re-match.


BIOGRAPHIESGuy Elliot Cavalier

Guy’s recent opera performances include; Belshazzar (Belshazzar/Handel) for

Trinity Laban Opera, Chorus Leader (Macbeth/Verdi) for Blackheath Opera, Don

Ottavio (Don Giovanni/Mozart) & El Remandado, (Carmen/Bizet) for Puzzle

Piece Opera, Tamino (Die Zauberflöte/Mozart) & Eisenstein (Die Fledermaus/

Strauss) for G&T Opera Scenes.

As a concert soloist, Guy has performed; Mass in B Minor & St. John Passion

(Bach) with the ORNC choir and Southern Sinfonia, The Creation (Haydn) with Trinity Laban

Chorus and Orchestra, Messiah (Handel) with the Stoneleigh Choral Society and Stimmung

(Stockhausen) at the Queen Elisabeth Hall.

Guy is currently in 2nd year at Trinity Laban and holds a choral scholarship at the chapel of the Old

Royal Naval College.

Current and upcoming projects include the role of Aladdin in The Jinnie by Louis Mander for Tête à

Tête Opera Festival. Guy is also looking forward to receiving the Leith Hill Award for 2015.

Benjamin Ellis Cavalier

Having recently moved to London from Edinburgh, Ben currently studies with

Peter Knapp and Helen Yorke at Trinity Laban Conservatoire of Music and

Dance where he is completing his first year of postgraduate study.

Opera roles have included Morales in Carmen (Bizet), Masetto in Don Giovanni

(Mozart), and Dr. Grenville in La Traviata (Verdi) with Edinburgh Grand Opera,

Duncan in The Okavango Macbeth (Tom Cunningham) as part of the Edinburgh

Festival Fringe, and various solo characters in the edited production of King Arthur (Purcell)

with Edinburgh Studio Opera. Ben has also sung a varied selection of concert roles, including

baritone soloist for Edinburgh Grand Opera’s Verdi Bi-Centenary Gala, baritone soloist in

Rossini’s Petite Messe Solenelle, (also an Edinburgh Festival Fringe performance), and in various

capacities with the Edinburgh-based Rose Street Ensemble and the Quadlibet Chorale. Solo

recitals have included performances of Scottish songs both traditional and contemporary at St

Mary’s Cathedral (Edinburgh), and several concerts at the Edinburgh Society of Musicians. Since

moving to London he has given recitals in the Old Royal Naval College Chapel (Greenwich) and

St Martin’s–within-Ludgate, and has been involved in the development of contemporary opera It

Makes No Difference by Simone Spagnolo.

Harry Fehr Director

Harry studied philosophy at the University of Nottingham and was a member of

the Royal Opera’s Young Artists Programme. While there, he directed productions

of Die schöne Müllerin and La serva padrona in the Linbury Studio Theatre.

Since leaving the programme, he has directed Der fliegende Holländer,

Orlando, Il matrimonio segreto and La cenerentola (Scottish Opera), the world

premiere of Craig Armstrong’s The Lady from the Sea (Edinburgh International

Festival/Scottish Opera), Così fan tutte (Opera Holland Park), La finta giardiniera (Buxton

Festival), La clemenza di Tito (Teatru Manoel, Valletta), Stephen McNeff’s Gentle Giant (ROH2 in

the Linbury Studio Theatre), Henry Fielding’s The Lottery (Bury Court Opera/L’Avventura), Così

fan tutte (Diva Opera at Wilton’s Music Hall) and Cinderella, Eugene Onegin and The Elixir of Love

(Blackheath Halls Community Opera). He has directed students in productions of Die lustigen

Weiber von Windsor (GSMD), Le nozze di Figaro (RWCMD) and Rinaldo (Trinity Laban), and

in several programmes of scenes (GSMD and RCS). He has been revival, associate or assistant

director on over twenty productions for the Royal Opera, most recently reviving its production of

La traviata in Guangzhou, China.

Plans include further work for Scottish Opera and his debut production for Welsh National Opera.

Zoë Freedman Alice

Zoë began her Master’s at Trinity Laban Conservatoire of Music and Dance in

September 2012, studying with Alison Wells. Part of her studies has included a

Mentor Scheme with the ENO Chorus.

Recent operatic performances include Diana in Cavalli’s La Calisto with Hampstead

Garden Opera, in opera scenes at Trinity: Nanetta (Verdi - Falstaff), Countess

(Mozart - Le Nozze di Figaro), Sophie (Strauss - Der Rosenkavalier), and Madame

Herz (Mozart - Der Schauspieldirektor); also 2nd Boy in Mozart’s The Magic Flute with Brent Opera,

and various scenes on the Birkbeck opera course.

She was a finalist in the Elisabeth Schumann Lieder Competition at Trinity in 2014. She has also sung

in masterclasses with Joan Rodgers, Ryland Davies, Matthew Rose, Brindley Sherratt and Ian Page.

Before studying singing she achieved a First from the University of Warwick in English and Theatre

Studies. She is a TCM Scholar and is also grateful for the support of the Kathleen Trust, the South

Square Trust, the Split Infinitive Trust, Trinity Laban Postgraduate Bursary Fund and her parents.


BIOGRAPHIESJack Furness Assistant Director

Herald Angel Award winner Jack Furness studied music at Cambridge

University, where he received double first-class honours. Whilst at University,

Jack founded Shadwell Opera. As Artistic Director, Jack has directed In the

Penal Colony; Albert Herring; A Midsummer Night’s Dream; Siren Song; The

Magic Flute (RBS Herald Angel Award 2009); and Cosi Fan Tutte. Other work

includes Falstaff for Opera Integra, I Found My Horn by Jasper Rees with the

Marlowe Society, and Eugene Onegin for the Ryedale Festival Opera.

More recently, Furness directed two short opera films for Shadwell Opera, broadcast on Channel 4,

which were watched by over 400,000 people. After Blackheath Opera, Jack has been selected by

National Theatre Wales for their two week Summercamp residency.

Jack has assisted at the Royal Opera House, English National Opera, Opera North, Scottish Opera,

Wexford Festival Opera, and at Bard Summerscape Festival in New York State, assisting directors

including Sir David McVicar and Yoshi Oida.

When not directing opera, Jack doesn’t know what to do with himself. He generally tries to avoid

that eventuality at all costs. Before he discovered opera, Jack sang, ran a jazz night, and once

represented Fiji in the Disarmament Commission of the Model United Nations in The Hague.

Kate Howden Isolier

Australian mezzo-soprano Kate Howden was awarded a BMus (Hons) from

Trinity College of Music, where she studied with Ameral Gunson and Alistair

Young, and an MA with DipRAM from the Royal Academy of Music, where she

continues to study with Elizabeth Ritchie and Jonathan Papp on the Royal

Academy Opera course. She is supported by the Matthew and Sally Ferrey

scholarship and the Jennie Blythe scholarship.

Opera credits include Cendrillon (Cendrillon, Royal Academy Opera), Bianca (The Rape of

Lucretia, RAO), Hansel (Hansel and Gretel, Opera Holloway, Edinburgh Fringe), Cherubino (The

Marriage of Figaro, Harrow Opera) and Annio (The Clemency of Titus, Hampstead Garden Opera

and Riverside Opera).

Kate is grateful for support from the Australian Music Foundation (with the Riddiford Trust), the

Countess of Munster Musical Trust, the Tait Memorial Trust, the Josephine Baker Trust and the

Opus 50 Charitable Trust. This year she was the winner of a Help Musicians UK Licette Award for

French song.

Kate looks forward to roles in Suor Angelica and Gianni Schicchi at RAO next year. She is excited

to be returning to Blackheath after playing an ugly sister in their Cendrillon, this time in the much

more glamorous role of….a teenage boy.

Nicholas Jenkins Musical Director

Nicholas Jenkins studied at Merton College, Oxford, Trinity College of Music,

and the GSMD. He is Music Director to New Sussex Opera and the University

of Greenwich, and was recently Interim Chorus Master to Netherlands

Opera, Amsterdam. He began his career as a singer and chorus master, and

has trained choirs including Eltham Choral Society, ENO Chorus, Estonian

Philharmonic Chamber Choir, Grange Park Opera Chorus, Choeur des

Musiciens du Louvre – Grenoble, Netherlands Radio Choir, and Philharmonia

Chorus. He was also regularly assistant conductor to Marc Minkowski, at Paris Opera, Paris

Châtelet, La Monnaie, Aix-en-Provence and Salzburg Festivals.

He has conducted many operas including Cendrillon, Elixir of Love, Eugene Onegin, Macbeth, Noye’s

Fludde (Blackheath Halls), Don Quichotte (La Monnaie), L’Ile de Tulipatan, Der Jasager (Opéra de

Lyon), Turn of the Screw (Dartington Festival), Edgar, L’Étoile, Hugh the Drover, Idomeneo, Mireille,

Poisoned Kiss, Die Rheinnixen (New Sussex Opera), as well as a staged Rossini Petite Messe Solennelle

(Berlin, Bregenz Festival, Paris Opéra-Comique).

Plans include conducting Oberon (New Sussex Opera), Petite Messe Solennelle (Nimes, Perpignan);

also Chorus Master for Benvenuto Cellini (ENO), L’Étoile (Netherlands Opera), Mazeppa (Netherlands

Radio Choir), Die Fledermaus (Opéra-Comique); and Assistant Conductor to Sir Simon Rattle for

Manon Lescaut and Der Rosenkavalier (Baden-Baden).

Felicity Langthorne Costume Supervisor

Felicity graduated from Bristol Old Vic Theatre School in 2012. Costume

Supervision work includes Sister Act (Pimlico Opera), Dancing at Lughnasa

and Hard Times (Bristol Old Vic Theatre School); Costume Assisting includes

Holy Warriors, Antony and Cleopatra and Macbeth (Shakespeare’s Globe),

L’Ormindo (Royal Opera House) A Midsummers Night Dream and A Much

Ado About Nothing (White Horse Theatre); Costume making work includes

Dark Woods and Deep Snow, Tallest Tales from the Furthest Forest (Northern

Stage), Scottsboro Boys (Young Vic Theatre).

Felicity is currently trying to knit a Doctor Who Scarf for her brother’s birthday in May, which has

been on the back burner for so long it’s now a Christmas present. She also loves to make strange

sock monsters and sells them at markets whenever she gets the time.

René ‘Freddy’ Marchal Production Manager

René Marchal has spent 29 years as a workshop manager at English National

Opera (ENO). He has toured productions throughout the UK as well as in Russia,

Norway, Spain, Germany, Holland, Ireland, Greece and North and South America.

He has also toured a Production Manager of A Diary of One Who Vanished

directed by Deborah Warner.

He designed for the ENO Baylis Programme production of Hansel and Gretel

as well as Jazz Rigoletto and other Baylis Community projects. He also taught

prisoners to build the set for a production of Street Scene at HMP Brixton where ENO principals

and prisoners performed side by side. René is now a freelance Production Manager.

Christopher Nairne Lighting Designer

Having decided 5 years ago to cast off his life as a Maths teacher in order to

turn his theatre lighting hobby into a full-blown career, Christopher has since

designed for plays, musicals, opera and cabaret all over London and the UK (and

occasionally further afield). Most recently, he was LD for Handel’s Belshazzar for

Trinity Laban, here at Blackheath Halls.

Other operas he has lit include: Vivienne (Linbury Studio, Royal Opera House),

La Calisto (Hampstead Garden Opera), In the Penal Colony (Arts Theatre), The

Crocodile (Riverside Studios), Albert Herring (Surrey Opera), The Cunning Little Vixen (Ryedale

Festival Opera) and OperaUpClose’s La Bohème, which won the 2011 Olivier Award for Best New

Opera Production.

Recent theatre work includes: Sense and Sensibility (Watermill Theatre), Johnny Got His Gun, Our

Ajax, The Busy Body and Someone Who’ll Watch Over Me (Southwark Playhouse), Desdemona: A Play

About a Handkerchief and The School for Scandal (Park Theatre), Dracula (for Theatre Royal Bath),

The Ghost Hunter (UK tour), Fiesta: The Sun Also Rises and Celebrity Night at Café Red (Trafalgar

Studios) and Boy in a Dress (UK tour). He was also Re-lighter for Complicite’s 2013 UK tour of Lionboy.

Mimi Palmer-Johnston Assistant Stage Manager

Mimi has just finished her degree at the Guildhall School of Music and Drama,

specialising in Stage and Costume Management. During her time at Guildhall, she

has successfully stage managed Jonathan Dove’s The Adventures of Pinocchio,

as well as a Baroque Double Bill (Arne’s The Cooper and Stradella’s San Giovanni

Battista) in the new Milton Court Theatre. She was also Deputy Stage Manager

on Marathon ‘33 and has assisted on several shows, including Mozart’s Le nozze

di Figaro and The Laramie Project. Outside Guildhall Mimi has had the pleasure of

working on Matthew Bourne’s Swan Lake and with Birmingham Royal Ballet, both at Sadler’s Wells,

as well as working at The Globe and The Almeida. Mimi is very excited to be joining the team at

Blackheath Halls Opera, and is looking forward to a summer of opera!


BIOGRAPHIESBenedict Nelson Raimbaud

Benedict Nelson studied at London’s Guildhall School of Music and Drama and

the National Opera Studio. He was an inaugural Harewood Artists at English

National Opera where his roles included the title role Billy Budd, Belcore L’elisir

d’amore, Figaro Barber of Seville, Valentin Faust, Demetrius A Midsummer

Night’s Dream and Evangelist/Watchful/First Shepherd The Pilgrim’s Progress.

Recent engagement in 13/14 included recital appearances with Roger Vignoles and

Graham Johnson in Madrid and Leeds, Brahms’s Requiem with the Hallé, Weill’s

Das Berliner Requiem with L’Orchestre Philharmonique de Radio France, Bach’s B Minor Mass with the

Aurora Orchestra respectively and Ned Keene Peter Grimes for Opera North and Opéra de Lyon,

Other recent highlights include the role of Algernon Moncrieff in the UK stage premiere of

Barry’s The Importance of Being Earnest at the Royal Opera House, the staged Britten Canticles

at Aldeburgh and the ROH, Brander Damnation de Faust with the Royal Philharmonic Orchestra

under Dutoit, Helmsmann Tristan und Isolde with the BBC Scottish Symphony Orchestra and

Stranger The Lady from the Sea for the Edinburgh International Festival and Scottish Opera.

In recital he has recorded Britten songs with Malcolm Martineau to critical acclaim and made his

solo debut last season at the Wigmore Hall.

Next season Nelson will make role debut as The Count in The Marriage of Figaro at ENO. Other

forthcoming highlights include Britten’s Noye’s Fludde with La Maîtrise de Radio France, Orff’s

Carmina Burana with the Gulbenkian Orchestra and Handel’s Messiah with Orchestra de Cadaqués.

Steven Page Ory’s Tutor

Steven already had a career as a Trade Mark Attorney and was studying singing

privately‚ when he was awarded a Scholarship to study at the National Opera

Studio in London.

He has appeared as Don Alfonso Cosi fan tutte (Welsh National Opera and ENO‚

Speaker The Magic Flute (ENO)‚ Pirate King Pirates of Penzance and Nick Shadow

The Rake’s Progress (Scottish Opera)‚ Sir Richard Cholmondeley The Yeomen of

the Guard with the Royal Liverpool Philharmonic Orchestra, Captain Corcoran HMS

Pinafore with Carl Rosa, and the title role in a highly acclaimed production of Sondheim’s Sweeney

Todd for Opera North‚ where he has also sung Sir Roderick Murgatroyd Ruddigore, Sharpless and

Benoit/Alcindoro. For the BBC Proms at the Albert Hall he has performed in Tippett’s The Mask of

Time and in Elgar’s The Apostles.

Engagements abroad include Sweeney Todd in Australia‚ Papageno (Dublin)‚ Pizarro Fidelio (Paris)‚

Prus Makropoulos Case (Lyon‚ New York and Berlin) and Candide (Paris‚ Milan and Japan).

Steven took part in the film Tomorrow La Scala, which appeared at the Cannes Film Festival, playing

an opera singer, singing the role of Sweeney Todd in a prison. Theatre work includes Parade (Donmar

Warehouse), Oedipus (National Theatre with Ralph Fiennes) and After Aida (Old Vic with Ian

Charleson and Richard Griffiths).

Louise Winter Ragonde

Louise Winter studied at the Royal Northern College of Music. She made her

début in 1982 with Glyndebourne Touring Opera as Dorabella Così fan tutte

and subsequently sang Tisbe La Cenerentola, Zerlina Don Giovanni, and Rosina

Il barbiere di Siviglia for the company. Roles for Glyndebourne Festival Opera

have included Sesto La clemenza di Tito, Edwige Rodelinda, Varvara Katya

Kabanova, Pauline Queen of Spades and Olga Eugene Onegin, which she sang

with the Royal Opera House and Canadian Opera Company. Her roles for

English National Opera include the title role Carmen and Marguerite La Damnation de Faust. For

Frankfurt Opera she has sung Brangäne Tristan und Isolde, Venus Tannhäuser, Preziosilla La Forza

del Destino and Lady Macbeth in Ernst Bloch’s Macbeth for Frankfurt Opera. She has performed

with many of the world’s leading orchestras and conductors, including the CBSO with Sir Simon

Rattle, the BBC Symphony Orchestra with Sir Andrew Davis, the Hallé Orchestra with Mark Elder,

and the Philharmonia Orchestra under Sir Charles Mackerras. Plans include Marcellina Le Nozze di

Figaro at the Royal Opera House and Madame Larina Eugene Onegin for Garsington Festival.


BIOGRAPHIESNicholas Sharratt Count Ory

Born in Nottingham, Nicholas studied Commerce at Birmingham University,

and singing at the RNCM and the National Opera Studio.

He has been a guest artist for Glyndebourne, Grange Park, Garsington, English

Touring Opera, Early Opera Company, Music Theatre Wales, Scottish Opera

and Opera North; and worked with Sir Mark Elder, Sir Simon Rattle, Sir Andrew

Davis, Christian Curnyn, Richard Hickox, John Wilson, Nicholas McGegan,

Stuart Stratford and David Parry.

He has sung Parry Jones A Serenade to Music at the BBC Proms (LSO); Tirsi La Danza at

Wigmore Hall; Hotel Porter Death in Venice (QEH/Philharmonia); Messiah at Cadogan Hall;

Sam/Ghost Patrol (Stuart Macrae) at the Edinburgh Festival and Camille/Merry Widow (RFH/

Philharmonia). Current plans include Fernando/Il furioso all’isola di San Domingo for ETO,

Lucano/Coronation of Poppea for Opera North and his debut for WNO as John in the UK

premiere of Richard Ayres’ Peter Pan.

Nick has been lucky enough to be involved in two previous productions at Blackheath, Nemorino

in The Elixir of Love and Lensky in Eugene Onegin, and is properly made-up to be back again this

year. He lives in the Essex countryside with his wife and 2 children.

Marian Sharkey Deputy Stage Manager

Marian is a graduate of the Royal Conservatoire of Scotland, with a BA

in Technical and Production Arts, and has had a passion for music since

childhood. Working with her local youth theatre led to studying at the RCS,

where she was Deputy Stage Manager on the plays Twelfth Night and Tartuffe,

and on the operas Die Zauberflöte and A Midsummer Night’s Dream. Marian

has also worked with the Buxton Opera Festival on a community production of

James and the Giant Peach, was DSM on British Youth Opera’s 2012 production

of The Bartered Bride, and recently worked with Scottish Opera as DSM on their production of

Macbeth. Future plans include a return to RCS as an employee to work on one of their operas,

and a return to Scottish Opera for a tour of Scotland’s Highlands and Islands again with Macbeth.

Outside of theatre Marian also enjoys playing the piano, buying more books than she has shelves

for, sitting in the sun reading some of those books and is currently attempting to develop an

interest in running...

COSTUMEDESIGNS

16 T H E A D V E N T U R E S O F C O U N T O R Y

While her brother is away at war, the Countess has shut herself inside her

castle, refusing any contact with men. With their husbands also fighting,

her women friends and their children have joined her.

Excited by the challenge, Count Ory has set his sights on the Countess,

and is determined to get inside the castle by whatever means possible.

ACT 1

Raimbaud, in disguise, calls the local people together; a religious hermit

is coming that way, and will hear their prayers. Ragonde explains that her

friend, Countess Adele, is suffering from some inexplicable melancholy,

and hopes that this holy man will be able to help her.

The hermit appears; it is Count Ory in disguise. Ragonde asks that he

might see the Countess later that day.

Ory’s brother, Isolier, arrives in the village with Ory’s tutor. The tutor is

irritated that, yet again, his pupil has given him the slip. On hearing that

the hermit arrived in the village at just the time that Ory went missing, he

grows suspicious that this holy man might be none other than his charge.

He leaves to get backup.

Isolier is in love with the Countess but, like all men, has been spurned by

her. Not realising he is Ory, Isolier asks the hermit for help in winning her

over. He tells him of a plan he had to disguise himself as a pilgrim, asking

for shelter in the Countess’s castle. The hermit quietly takes note of this

idea, then promises to tell the Countess that she must abandon her vow

renouncing men.

Ory, still in disguise, listens to the Countess as she tells of her mysterious

sorrow. As promised, he tells her she should give herself to love. However,

as she turns to Isolier, the hermit reveals that this man is the brother of the

infamous Count Ory. Wanting nothing to do with that family, the Countess

rejects Isolier.

As Ory and the Countess are about to go inside together, the tutor returns

with a group of Ory’s friends. Not understanding the situation, they

inadvertently give Ory away, and his disguise is revealed.


As the Countess considers her lucky escape, news arrives that her brother

and the soldiers are on their way home. Ory has just two days to plot

another way to get into the castle.

INTERVAL

ACT 2

That evening, inside the castle, the Countess and her friends reflect on

their lucky escape from Ory. Suddenly, a storm rises. A group of women

pilgrims are heard outside, asking for sanctuary, and they are invited in.

The first to enter is Ory, in a new disguise. He fervently thanks the

Countess for her kindness and hospitality.

Refreshment is brought in for the pilgrims, who are none other than Ory’s

friends and his reluctant tutor. They are enjoying their disguises, but are

disappointed to discover there is no wine laid on. Suddenly Raimbaud

enters; he has explored the castle and found the wine cellar. They drink

and make merry until the return of the Countess obliges them to resume a

pious air. The pilgrims are shown to their rooms.

A noise is heard at the gate. It is Isolier, bringing news that the soldiers will

be home by midnight. On being told that a group of women pilgrims have

been offered shelter in the castle, Isolier deduces that they must be Ory

and his friends – having taken his idea. The Countess is terrified, but Isolier

promises to protect her until her brother returns.

Isolier turns out the lights, and Ory gropes his way into the Countess’s

room. By pretending to be the Countess, Isolier manages to keep Ory

away from her until, at last, the sound of the returning soldiers is heard.

Fearful of her brother, Ory begs for mercy from the Countess for him and

his friends. She grants it, and Isolier leads them to a secret passage. They

leave just in time for, almost immediately, the Countess’ brother and the

other soldiers arrive. The women give thanks for their safe return.

SYNOPSIS

Greenvale School Teachers

Liz Whittick

Marie Dixon

Pupils

Tiffany Martin

Becky Simpson

Jack Clow

Tiffany Farley

Samantha Farley

Charlie Kebell

Judy Challo

Charlton Park AcademyTeachers and

Support Staff

Rachel Dunlop

Katie Toal

Pupils

Claire Carroll

Ketlin Namaganda

Osio Orororo

Charlie Torrison

Year 5 St Margaret’sLeeTeacher

Claire Soares

Pupils

Francisca Aidoo

Eddie Bingham

Rollo Crispin

Josie Critchley

Emily Davis

Bethany Dixon

Great Eriata

Clodwell Gap Gaupool

Katie Godden

Jessica Lane

Eddie Lindsey

Lucas Loveday

Aisha Mannah

Joshua Mannah

Jareth Maynard

Lucy McCrone

Lucas Murtagh

Dearenee Nelson-Brandford

Daisy O’Leary-Pye

Olga Pasternak

Stefan Pasternak

Olivia Popiolek

Emmie Proctor

Rachel Rajkumar

Caitlin Reeves

Brodrick Rigg

Hettie Shaw

Neo Walters

Julianna Wane

Year 4Lee Manor SchoolTeacher

Emily Hall

Pupils

Adisa

Angie

Ruby

Hattie

Kayin

Joseph

Rufus

O’Mari

Lucian

Safiya

Matthew

Lia-May

Harrison

Jade

Richie

Luca

Bobby

Vicky

Leon

Jadesola

Lily

Sebahat

Daisy

James

Oscar

Luke

Mashal

Noura

Ruby

Romain

Ashleigh



OrchestraFirst ViolinLucia D’Avanzo-LewisMiriam CarreraAlex CoupeSarah FraserAnn LorekValeria RisoAmy Smith

Second ViolinGemma DickinsonPeter DempseyNahum CahounaEmma FrySarah MansfieldPhilip Smith

ViolaSarah MalcolmMalcolm SentanceJosie AstonNim Di Ricci

CelloSteffan ReesMeg DinkeldienMarianne HardistyPaul MeinsMarco Russo

Double BassChristina CooperTerry HeardKeith Pinnock

FlutePauline SavagePenny Gunstone

OboeLydia BrookesAnne Sykes

ClarinetChris HattonLiz Glasser

BassoonHannah BentonSue Rayner

French HornJon FrankHannah KeyAlex JoyceStefan Mather

TrumpetPhilip SmithDeb Browne

TromboneRichard MillerJohn BellMartin McHugh

TimpaniNico Metten

PercussionAnel le BruynAndrew Latta

Count Ory ChoirSopranoAdele HarrisAlice RobinsonAyeesha WallerCaroline FosterCarolyn WilliamsonCas MagillDiane GassonDoreen GrandonDoris NegrierFiona GardinerFiona SandersonGillian SmithHelen WarnerKathleen BoyleMaggie MullarkeyMaureen WoodMona BagheriRebecca SwannRosie TaylorRuth DevineSarah BulfordSheila TwitchettVicky Smith

AltoBarbara KolatorElizabeth GoldmanGill GrantJackie RiceJane CookeJane FergusonJagruti HassanJo NewmanJudith StephensonKate BoneKate LomasLaura SparkesLeslee Dryland

Liz KingLyndsay ThwaitesMaggie EllisPamela KarantonisPauline ShimellRae BroomRebecca SharmanRita CraftRose BallantyneSonia EnnalsSusan HoweSuzi Clements

TenorAdam HiggsAlix AdamsAlun ButlerCherry PottsLukasz WajdaSusanne AlbertTony ValsamidisGuy ElliottChristopher SeadenRichard WhitfieldTony Brewer

BassAndy LayneBenjamin Ellis David CulpanDavid MearsGeorge LustyJohn BaldwinNick SimpsonPaul BoltonSimon PhillipsTerence Cowling

Mini ChorusSopranoMarrianne Town SmithKirsty McLeanJessica Thayer

AltoMilda FontanettiEva RibbingGeorgina Thorburn

Costume supportRobin BrewerRita CraftJane Ferguson

Set supportDavid Culpan


Ory’s StoryTrinity Laban’s Composition Project as part of Blackheath Halls

Community Opera 2014

Trinity Laban Conservatoire of Music and Dance has been working

closely with musically talented pupils from Addey & Stanhope School to

compose modern-day responses to the opera Count Ory. Project leader

Joe Townsend and two Trinity Laban students have visited the school

for five creative sessions in which the young musicians worked on their

compositional, vocal and drama skills in order to create a unique ten minute

performance. Ranging from a new love song composed in response to the

Countess’ melancholic disposition to a reggae band’s jam composed in

response to the games of Count Ory and his friends – this project really

has seen no boundaries!

Addey & Stanhope participants

Saezar Omer

Sheila Mansaray

Raisa Aly

Musatu Kargbo

Alana Morritt

Emma Falola

Khoi Bawmkhai

Jamilah Sesay

Jamila Mohammed

Aneeka Burgess

Shaun Nketiah

Yen Hoang

Jheymili Mendoca

Britney Aulestia

Marien Addo

Alex Fevrier

Ines Proenca

Esther Kudou

Tito Ogunsakin

Callum Malcom-Kelly

Jacob Taiwo

Micah Mugalu

Kemi-Louise Moore

Nicole Vi

Matthew Aguilar

Andres Valencia

Teacher: Matthew Teager

Student leader: Claire Habbershaw

Dinu-Mihai Stefan


From Paris to Blackheath – the adventures of Rossini’s Le Comte Ory The composer Gioachino Rossini (1792–1868) was born in Pesaro in North-East Italy,

and became the most successful opera composer in the world during his lifetime. He is

famous for composing 39 operas, and for his love of food, which inspired several well-

known recipes. Most importantly, he wrote music that is gloriously tuneful and witty,

often described as the musical equivalent of Champagne, and he made a speciality of

the so-called ‘Rossini crescendo’, where a passage of music starts extremely softly and

gets gradually louder in an exciting way. Rossini was unpretentious about his talent,

once apparently stating “Give me a laundry list and I will set it to music”. Rossini, along

with Donizetti and Bellini, is one of the defining figures in a period of Italian opera from

the early 19th Century now known as ‘Bel canto’ (beautiful singing), which is noted

for very florid vocal writing. The scrumptious 1828 comic opera Le Comte Ory - here

re-styled for Blackheath Halls as The Adventures of Count Ory - dates from a period in

Rossini’s career when he was achieving major success at the Paris Opera.

Count Ory is an irrestible score, worthy of being ranked alongside Rossini’s best-loved

comedies The Barber of Seville and La Cenerentola, and provides a strong contrast

to his ‘opera seria’ (serious opera) masterpieces such as Ermione and Semiramide.

However, the comic subject matter of Count Ory is not what one would have expected

from a piece intended for Paris Opera, which in the 1820s was the home of ‘Grand

opera’, where works based on high-flown episodes from history or mythology were

the norm. In that sense two other of Rossini’s Paris Opera pieces - Moïse et Pharaon

(Moses and Pharoah) and Guillaume Tell (William Tell) - were more in keeping with

Parisian expectations. Count Ory’s plot, despite its origins in a French medieval tale, is

a romp, given a veneer of respectability by the involvement of distinguished librettist

Eugène Scribe, who wrote the sung text in collaboration with Charles-Gaspard

Delestre-Poirson (rendered here in David Parry’s brand new English translation).

But Rossini’s music in Count Ory is often magnificent in scale in a way that certainly

was appropriate to the Paris Opera, and he provided a star vehicle for tenor Adolphe

Nourrit - celebrated for his high Cs and Ds. Count Ory’s combination of broad farce

with extraordinarily inspired and uplifting music invites comparison with Mozart’s

Così fan tutte. The ‘three-in-a-bed’ trio which brings Act 2 of Count Ory to its

ecstatic climax is without a doubt among the finest pages in Rossini. And we in

Blackheath are proud to be presenting the first British performances of the original

Act 2 Finale of Count Ory, one of the revelations of Damien Colas’ new critical

edition of the piece published by Bärenreiter.

Rossini and many other opera composers of his day regularly plagiarised themselves

by re-using music from earlier pieces that might otherwise have been forgotten.

About half of the music of Count Ory is taken from Il Viaggio a Reims (The Journey

to Reims), an opera written to commemorate the coronation of King Charles X of

France in 1825. After its 1825 performances, Il Viaggio a Reims was thought to be lost

entirely, until scholars re-discovered its manuscript sources in the 1970s, leading to a

triumphant revival at the 1984 Pesaro Festival under the baton of Claudio Abbado.

It is remarkable that although Count Ory contains several numbers re-cycled from

Il Viaggio a Reims, the music feels absolutely right in its new dramatic context.

After its 1828 première, Count Ory maintained a toe-hold in the repertoire of the

Paris Opera throughout the second half of the 19th Century, but then largely

disappeared from the world’s stages in the early 20th Century. However, revivals in

Florence and at the Glyndebourne Festival in the 1950s led to a change in the opera’s

fortunes, and it is now a firm favourite with opera companies worldwide, whose

popularity seems to increase with every passing year. A 1988 Kent Opera production

at Dartford’s Orchard Theatre, starring Neil Jenkins and directed by Richard Jones,

made a great impression on the writer of this article.

Rossini’s next and final opera after Count Ory, was the epic Guillaume Tell which

received its first performance in Paris in 1829. After that Rossini, at the age of just 37,

stopped composing operas. Over the course of the remaining 39 years of his life he was

effectively in retirement, writing very little except for a collection of miniature pieces

which he described as his Péchés de Vieillesse (Sins of old age), and his 1864 choral

masterpiece La Petite Messe Solennelle. In 1855 he moved from Italy to Paris and lived

there until his death in 1868. He is buried in the Père Lachaise Cemetery in Paris.

Putting on a production of Count Ory at Blackheath Halls could conceivably raise

some issues: 21st Century political correctness and Count Ory have very little in

common; and the educational element of our Community Opera is a crucial feature

of the project. I leave it to you to assess whether the plot of the opera bears any

more serious scrutiny than that of a ‘Carry On’ film. But what music! Furthermore,

Ory is very well written from the point of view of the orchestra and chorus, essential

components of a Blackheath Halls Community Opera production. Rose Ballantyne,

Harry Fehr, Keith Murray and I pondered these questions in a suitably thoughtful

manner, before abandoning ourselves to Rossini’s genius, throwing scruples to the

winds. After the bloodshed of last year’s Macbeth, I hope that we can be forgiven for

indulging in a little joie de vivre!

Enjoy the show.

Nicholas Jenkins. 1 July 2014


Grateful thanks to:• Arts Council England for their continued and generous support of Blackheath Halls

Community Opera;

• The London Borough of Lewisham for their continued support of Blackheath Halls

Community Opera;

• The Hearn Foundation, The Samuel Gardner Memorial Trust and The Fischer Trust

for their grants to the project;

• Matthew Rose, Ailyn Pérez, Quinn Kelsey, Kate Howden, Miriam Murphy and Steven

Maughan for launching the 2014 Blackheath Halls Community Opera with a fantastic

Gala Night on 2nd March 2014 which raised considerable funds for the opera;

• Our Blackheath Halls Community Opera Ambassadors Helena Bayliss, Geoffrey

Collens, Grant Doyle and Matthew Rose;

• Our wonderful professional opera singers for their generosity and commitment;

• The many enthusiastic members of the local community for taking part in this

project: the community chorus; the Blackheath Halls orchestra; and all the

participating students from Trinity Laban who have given so much time and talent

to the project;

• Jagruti Hassan, Fiona Gardiner and all the chorus members who have cooked and

baked and fed the chorus and raised considerable funds for the opera in doing so!

• Claire Soares and Emily Hall for all their help and hard work;

• The children for their energetic participation;

• The many staff and parents from Lee Manor Primary School and St Margaret’s

C of E Primary School for all the work they have put in to supporting the project;

• The young people from Charlton School and Greenvale School for their involvement;

• Marie Dixson, Elizabeth Whittick, Rachel Dunlop and Katie Hoal and all the other

staff and parents from Charlton and Greenvale Schools for all their advice, support

and involvement;

• Harry Fehr and Nicholas Jenkins for their vision, ideas, commitment and hard work;

• The design team for creating this set, costume designs and lighting with such

vision and attention to detail;

• All the other members of the team for all their support and hard work;

• Anna Wyatt and Joe Townsend for their work on the composition project with

Addey and Stanhope School;

• Liz Glasser for her work with teachers;

• The children and staff at the primary schools for their wonderful display work

around Blackheath Halls;

• All the local businesses mentioned in the programme for their financial contribution;

• Blackheath Halls staff for all their hard work and commitment to the project, in

particular Rose Ballantyne the Project Manager;

• Colin Dunlop for designing all the posters, flyers and this programme to support

the project;

• All of you for coming to watch!

Blackheath Halls is grateful to the following people and organisations who through

their generous support have made the eighth Blackheath Halls Opera possible.

Organisations who are supporting the 2014 Blackheath Halls Opera:

Arts Council England; The London Borough of Lewisham; The Fischer Fund; The Hearn

Foundation; and The Samuel Gardner Memorial Trust.

Sponsors of Blackheath Halls Opera:

John Baldwin and Barbara Kolator; Geoffrey Collens; Alex Coupe and William Phillips;

Stuart and Laura Fraser; Alasdair Neil.

Benefactors of Blackheath Halls Opera:

In memory of Tom Ivory QC; Rachel and Ray Adams; Roger and Marilyn Ballisat;

Tony Bevan and Glenys Johnson; Anne Burton; Stephen and Tina Challacombe; Peter

and Susan Colvin; Peter and Maureen Cottrell; Richard and Meg Dinkeldein;

Joanna Embling; Sonia Ennals and Jim Wintour; Derek and Fiona Gardiner; Valerie

Gordon-Walker; Jay and Bella Hassan; Mike and Judy Hildesley; Jonathan and Yvonne

Horsfall Turner; Andrew and Elizabeth McKnight; Ian and Mary Nisse; Jonathan and

Marjorie Ouvry; Nick and Alison Palmer; Steven and Mary Clare Parker; Francesca

Robinson; Mark and Cate Rowntree; David and Fiona Sanderson; Philip and

Jean Smith; Andrew Webster and Krzysztof Drutel; Richard and Ginny Williams.

Patrons of Blackheath Halls Opera:

David and Georgina Bowers; Anthony Bowne; Tom and Gill Butler; Robin and

Margaret Drummond; John and Mary Harman; Linda Hirst; Bruce and Sara Mauleverer;

Joan Ruddock; Howard and Sue Shields; Brian and Jane Sullivan.

Supporters of Blackheath Halls Opera:

Chieko Allford; Jim and Harriett Baldwin; Joe and Jean Barnard; Mirella Bartrip;

Mary Baylis; Helena Bayliss; Hugh and Cathy Bohling; Andrew Bradshaw; Tony and

Robin Brewer; Sean Briggs; Mary Bright; William Clapham; Mike and Jane Cooke;

Brian Dodsworth; Pat Doyne-Ditmas; Mike and Leslee Dryland; Mike and Rosemary

Duff; Anthony Eggleston; Elizabeth Glasser; Abigail Graham; Doreen Grandon;

Martin McHugh; Johnny Langridge; Jocelyn Lewis; Jeff Lock; Alison Marriott;

Ian Paton; Richard and Joanna Perks; Steven Randall; David and Jennifer Reckless;

Clare Roden; Frances Simpson; Frank and Karin Smith; Derek and Lieneke Thomas;

Lyndsay Thwaites; Harry Ungoed; Cyril and Amelia Weight; Eva Woloshyn; Clodagh

and Robin Woodall; Helma Zebregs and Martin Smith; and many anonymous donors.


Sharon Williams Embellished Accessories

Hats & Headpieces Made to Order

Studio Greenwich Market Turnpin Lane SE10 07973176111 APT

[email protected]

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