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The creative team for the premiere of Pleasure includes director Tim Albery and designer Leslie Travers, each highly-acclaimed for their work in opera internationally – Albery’s previous credits with The Royal Opera include Tannhauser.
Pleasure is the third in a series of co-commissions between Aldeburgh Music, Opera North and The Royal Opera, begun in 2013 to commemorate the legacy of Benjamin Britten through chamber operas from a new generation of opera makers.
The production is a co-commission and co-production with Aldeburgh Music and Opera North, supported by a legacy from Ms D. Following the announcement last week that Russian soprano Anna Netrebko has withdrawn from Norma, the role will now be sung by Bulgarian soprano Sonya Yoncheva. Director of Opera Kasper Holten expressed his gratitude to the Metropolitan Opera, New York: ‘A huge thank you to the Met for releasing the brilliant soprano Sonya Yoncheva from her scheduled performances there as Mimi in La boheme. Sonya Yoncheva made her Royal Opera debut in Placido Domingo’s Operalia Winners’ concert in July 2012. For Gerhaher, ‘The really interesting thing to me is I don’t believe that Tannhauser ever loved Elisabeth. The production is given with generous philanthropic support from Dr and Mrs Michael West, Simon and Virginia Robertson, Maggie Copus, Peter and Fiona Espenhahn, Malcolm Herring, the Tannhauser Production Syndicate and the Wagner Circle. Vocal coach Paul Farrington shared these secrets and more at a coaching session with Korean tenor and Jette Parker Young Artist David Junghoon Kim, as part of a recent Insights event celebrating the opening of the Wellcome Collection's This is a Voice exhibition. Working with the aria ‘Recondita armonia’ from Act I of Puccini's Tosca, Paul explores the 'passaggio', the transition area between the vocal registers, which he refers to as ‘the gear box of the voice'. During the session, Paul demonstrates how specific vocal techniques and movements can support a singer's passaggio. The Wellcome Collection's This is a Voice exhibition takes visitors on an acoustic journey, focusing on the meaning and emotion conveyed through rhythm, stress and intonation of the voice.
In collaboration with the ROH, the exhibition also includes an interactive sound installation created by electronic musician Matthew Herbert. Chorus asks visitors to sing a note which is automatically added to an ever evolving chorus of voices, including performers and staff from the ROH. The soprano Elsie Morison (1924–2016) was a leading soprano in the early days of the Covent Garden Opera Company, later The Royal Opera. Morison made her debut with CGOC in 1954, in the Rex Whistler-designed Fidelio singing Marzelline under conductor Clemens Krauss. Morison followed this with wonderful performances as Marenka in a new production of The Bartered Bride under Rafael Kubelik, the newly appointed Musical Director of CGOC – and Morison’s future husband.
Morison had a tremendous success as Marenka alongside a stellar cast that included Jess Walters, Peter Pears and Otakar Kraus.
Morison sang Blanche in the UK premiere of Poulenc’s Dialogues des Carmelites in 1958 under Kubelik, with Joan Sutherland as Madame Lidoine.
Morison married Kubelik in 1963, and decided to retire from performing at the height of her career.
Emma Bell's performance in #ROHTannhauser suggests she could be on her way to becoming the next big British Wagnerian.
The production is staged with generous philanthropic support from Dr and Mrs Michael West, Simon and Virginia Robertson, Maggie Copus, Peter and Fiona Espenhahn, Malcolm Herring, the Tannhauser Production Syndicate and the Wagner Circle.
Oedipe’s parents’ happiness at his birth is destroyed when the prophet Tiresias announces that the child will kill his father Laios and marry his mother Jocaste. Romanian composer George Enescu’s only opera, with a libretto by Edmond Fleg, was inspired by the Greek myth of Oedipus.
This production by Alex Olle and Valentina Carrasco explores the nature of time, showing that our notion of temporality is limited. The production was originally made for La Monnaie, Brussels, and is given with generous support from the Monument Trust, Richard and Ginny Salter, the Romanian Cultural Institute and the Friends of Covent Garden.

In a message to her London fans Anna Netrebko has said: 'As I have begun to prepare the role, I have come to the unfortunate conclusion my voice has evolved in a different direction. Kasper Holten, Director of Opera added, 'We are working hard on finding a new leading soprano to join Tony Pappano, Joseph Calleja, Sonia Ganassi and Brindley Sherratt in the rehearsal room later this summer. Antonio Pappano, Music Director added, 'I am of course saddened not to be doing this iconic opera with Anna.
Katie Mitchell’s Royal Opera production of Donizetti’s Lucia di Lammermoor was relayed live to cinemas around the world on 25 April 2016. During the interval audiences saw several short films featuring interviews with the cast and creative team as well as footage of the opera in rehearsal.
Mitchell is joined by the cast of her latest production to introduce the story of Lucia – an aristocratic woman who is forced to marry a wealthy landowner after she falls in love with her brother’s enemy. This new production is a feminist take on Donizetti’s opera and focuses the audience’s attention on the central female character.
The glass harmonica is the unusual instrument used to create the eerie sound of the ‘mad scene’ – the moment Lucia realizes that she can never be reunited with her lover Enrico. Glass harmonica player, Philipp Marguerre, shows how the instrument makes its haunting effect. The instrument also known as a ‘bowl organ’ or a ‘hydrocrystalophone’ can play a huge range of notes from a C1 to an E Flat which allows the player to follow melodies or more polyphonic music.
In the last decade he has gone on to cement his position as one of Britain’s most exciting musical talents, as both a performer and composer.
Simpson recalls how ‘one evening, as I stood pouring my heart out to a toilet attendant in one of the clubs, I suddenly started to see the world around me with a new sense of objectivity… This was a world where you could escape your own reality. Simpson recalls the experience of watching his first opera come to life in rehearsals: ‘I’ve never seen first-hand this level of detail going into the directing process. Pleasure is a tight 75 minutes long, scored for just four singers and ten musicians – played by members of acclaimed contemporary ensemble Psappha, which gave the premiere of Simpson’s first piece when he was 14. For instance, he introduces David to what he calls a 'minor and a major Shirley', recognisable diva-like movements associated with the singer Shirley Bassey. Rather than the traditional understanding of the voice through linguistics, this exhibition explores its psychological and physiological origins, illustrated through paintings, manuscripts, illustrations and objects.
The installation can be heard in the exhibition space, on the Wellcome Collection website and via a listening post at the ROH's Stage Door on floral street.
She came to London from Australia after World War II and concentrated throughout her distinguished career on such roles as Susanna (Le nozze di Figaro), Marenka (The Bartered Bride) and Pamina (Die Zauberflote). Later that year Morison sang Antonia in Gunther Rennert’s new production of The Tales of Hoffmann under Edward Downes, and in 1955 was a thrilling Mimi in La boheme under Reginald Goodall. Her winning the role had not been easy: Morison’s original audition had not gone well, and David Webster, General Manager of Covent Garden, pushed for her to be heard again. She was a charming Pamina in Christopher West’s new production of The Magic Flute, and her beautifully sung Susanna in the 1956 performances of The Marriage of Figaro under John Pritchard was well matched by Geraint Evans’s Figaro. Morison made her final Covent Garden appearances in 1961, first singing Euridice in Frederick Ashton’s production of Orpheus under Louis de Froment. He began to make sketches for it in 1910 after he saw a production of Oedipus Tyrannus; he completed the opera some twenty years later in 1931. He makes expressive use of folk music in Act I, and in the Shepherd’s pipe music in Act II. Oedipe is an ‘eternal’ figure who exists outside traditional concepts of time, and who correspondingly moves through different epochs as his life progresses – from the antiquity of the first scene to the contemporary inflections of the opera’s conclusion.

This is something I could not have anticipated when Maestro Pappano and I planned this project four years ago, as we singers have to make decisions about roles and projects several years in advance.
We are, of course, very frustrated that Anna has felt it necessary to cancel a major role debut with us for the second time.
We had planned this project around her ambition to take it on some time ago but we all have to accept that things sometimes change. Mineral water doesn’t really work.’ The best tone and dynamic is produced with cold water,’ says Marguerre. His creative relationship with poet Melanie Challenger, librettist for Pleasure, began in 2008 when he read her collection Galatea; Simpson recalls how ‘up until this point I had never experienced the written word as viscerally as I had experienced musical sound’. It’s taught me a lot about how to approach the inner world of the characters and how to reflect this in the music I write… On a daily basis, I am confronted with just how complex the staging of opera can be. The opera had its premiere at Howard Assembly Room in Leeds on 28 April, with Alfred Hickling writing for The Guardian ‘Simpson has pulled off a genuine coup’. We are delighted and appreciative that Sonya will be able to join our excellent cast and creative team for The Royal Opera’s new production of Norma.
She returned later that year as Marzelline in the iconic Otto Klemperer production with Klemperer conducting; the famous cast also included Sena Jurinac, Hans Hotter and Jon Vickers. However, a shepherd rescues him and he is reared in ignorance of his origins by King Polybos and Queen Merope of Corinth, as their son.
Oedipe’s premiere in 1936 was a success, but World War II halted its progress as a repertory work. There are eerie orchestral effects for the riddles scene and the Sphinx’s death – including the use of a musical saw. Throughout the production, red clay – symbolizing not only the myth of man’s creation from clay, and classical statuary, but ecological disasters that show our lack of control over our environment – plays a major role in the designs and staging.
He went on write A mirror-fragment…, inspired by Galatea, and in 2015 they collaborated on the oratorio The Immortal for the Manchester International Festival. He took this kernel of an idea to Challenger, who wove from it a libretto that takes real-world grittiness and blends it with super-heightened reality and themes from Greek mythology. Kubelik was enchanted and immediately sent a telegram to Sir David with the news that ‘We have our Marenka’.
The principal sources for Acts III and IV were Sophocles’ great tragedies Oedipus Tyrannus (Oedipus the King), which was adapted by many great playwrights as well as by Stravinsky in his Oedipus Rex, and Oedipus at Colonus, a lesser known work that shows Oedipe making peace with Fate and the gods, then dying serenely.
Oedipe began to be more regularly performed in Romania from the 1950s; performances in Western Europe are growing in number.
Finally, there is radiant music for the closing scene, in which Oedipe realizes that he has come to terms with Fate.
Whilst we regret that her withdrawal has come at such a late stage, we do respect her decision and understand how difficult this is for her as well.
We have a superb creative team led by Alex Olle and a fantastic line up of world class singers and we will announce our new Norma shortly.
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