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Author Topic: Welcome, wexoperafan  (Read 508 times)
Ron Dough
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« Reply #15 on: 15:15:51, 19-11-2007 »

Are you certain of that, Stanley? I've always believed that Mark was Elaine's brother.
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Stanley Stewart
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« Reply #16 on: 17:11:13, 19-11-2007 »

Gosh, Ron, I'm glad that I ended the sentence with a question mark!   Embarrassed
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Ron Dough
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« Reply #17 on: 17:24:57, 19-11-2007 »

A superficial Googling reveals that Elaine Padmore was 56 in 2003, and that Mark graduated in 1982. My guess is then that there's about fourteen years between them: biologically just possible, but unlikely, Stanley Wink....
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wexoperafan
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« Reply #18 on: 18:56:45, 19-11-2007 »

Here's a good starting point, wexoperafan.    I'm relying entirely on memory but I seem to recall regular R3 broadcasts from the Wexford Festival, introduced by Sean Rafferty.     I also recall Elaine Padmore as its director, mother of the now well-established Mark?   As Ruth says, many rarities in their repertoire.     What has been programmed recently?



The last 2 festivals have been a bit different than usual, due to the building of the new opera house.
In October 2006 we had a shortened event, with only 2 works. These were Don Gregorio by Donizetti, and Transformations by Conrad Susa.
This year the festival was held in June, and the main stage was a tent on the  grounds of a  nearby country house. The "operas" were

Der Silbersee by Weill
Pulcinella by Stravinsky in a double bill with Arlecchino by Busoni
Rusalka by Dvorak.

Critics and audiences were very harsh !!

Next year, we move into the new opera house, and the opera's are;

Snegurochka by Rimsky-Korsakov
The Mines Of Sulphur by Richard Rodney Bennett
Tutti In Maschera by Carlo Pedrotti.


Since the arrival of the latest Artistic Director there seems to be a shift towards more modern works, rather than the traditional italian centered seasons.


Regarding the R3 broadcasts you are correct Stanley. R3 used to broadcast very regulary from the festival, but have not done so since 2004. Sean Rafferty was indeed the presenter. Back in the late 70's / early 80's Elaine Padmore was in charge of the opera broadcasts for R3, and in 1982 became the Artistic Director at Wexford, and was in the job until 1994, and then went to Copenhagen. She is still a regular visitor every year.


Welcome Wexoperafan.  I've never been to the Wexford Festival but must do so at some point - most of the operas you do there are so obscure even I haven't seen them...

Ruth - we would be delighted to welcome you to Wexford. Yes, the operas are usually obscure, but mostly they are worthwhile. Admittedly there have been a few that should have remained in obscurity, but that is always the risk.

Bws
Wex
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martle
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« Reply #19 on: 19:10:39, 19-11-2007 »

Hats off for adventurous programming, Wex! I'd be interested to see all three of the operas next year. Hmm, could be a chance to visit pals over there too...  Smiley
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« Reply #20 on: 19:25:18, 19-11-2007 »

SILBERSEE is a worthwhile piece indeed...  sorry to hear it wasn't well received Sad  The "book" is hard going - all that stuff with Olim and Severin which is in the spoken dialogue goes on endlessly, and needs some severe pruning in performance, I'd say?  Some fabulously music in it, though!   A lot of the musical numbers seem a bit peripheral to the action...  "Caesar's Death" is well-known from concert performances and Ute Lemper has recorded several versions... but it seems a bit orphaned from the plot?   "Fennimore's Song" is probably my favourite from the entire score, although the "Dance Of Death" is a nice thing too Smiley

SNEGUROCHKA ("THE SNOW MAIDEN") offers lots to look forward to!  One of the most accessible (and successful) of R-K's scores, but it needs an outstanding cast to bring it off!  Snow-Maiden, Lel', the King, Mizir, Snow-Maiden's grasping relatives etc all need top-flight performers, so good luck with finding them!  Smiley
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
Stanley Stewart
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« Reply #21 on: 19:28:11, 19-11-2007 »

Thank you, wexoperafan, for such comprehensive detail.

The programming is certainly far from "safe" and it probably caters for sophisticated and discriminating audiences, too.

I'm familiar with the Weill, Stravinsky & Dvorak works and seem to recall the broadcast of 'The Mines of Sulphur' rather a long time ago.

Have you yet visited the new opera house, or will it be a case of a last minute scramble for completion?  Probably all the new fangled technology but I'd be glad to know whether the staging will be mounted within the confines of a proscenium arch, or more flexibly on an open or thrust stage?   The concept must be quite exciting.    Do let us know.
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Ron Dough
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« Reply #22 on: 19:35:03, 19-11-2007 »

The Mines of Sulphur had a huge impact at its premiere - many thought it the most important British opera debut since Peter Grimes: IIRC, it was even televised. There's been a broadcast on R3 within the past couple of years, certainly since I've been here (moved just under two years ago.)
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Reiner Torheit
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« Reply #23 on: 20:15:11, 19-11-2007 »

I think MINES OF SULPHUR recently (I mean, within the last year or so) got a completely new staging in the USA?  I wish I knew the piece a bit better.
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
-  Leon Trotsky, "My Life"
Ron Dough
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« Reply #24 on: 21:32:51, 19-11-2007 »

Indeed it did - at Glimmerglass Opera, though slightly longer ago than you thought: furthermore, a recording was made with the same cast, which was the source of the broadcast, too, if I'm not mistaken. (The link reminds me that it was RRB's first full-length opera: for that matter, Peter Grimes wasn't exactly Britten's first foray into the medium either.)

http://www.operatoday.com/content/2005/09/bennett_the_min.php
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