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Events

New Chamber Opera Studio presents
Philip Glass

The Fall of the House of Usher


Conductor: Christopher Borrett; Director: Michael Burden

Roderick: Tom Raskin; William: Steffan Jones; Madelaine: Robyn Parton; Servant: Maxim Jones; Physician: Stefan Hargreaves


30, 31 January, 1 February 2008
8.30pm
New College Ante-chapel


The story of Philip Glass’s opera The Fall of the House of Usher is based on the Poe ghost story of the same name by Arthur Yorinks. It was commissioned by the American Repertory Theater, Cambridge, MA and the Kentucky Opera and premiered in 1988. As with much Gothic fiction, the extent to which the audience should believe what they’re watching and the extent to which the story is in their own immaginations is left vague. The central character, Rodderick has hyperesthesia (extreme hypersensitivity to light, sounds, smells, and tastes); the plot turns on Rodderick’s death from shock at the reappearance of his ‘dead’ (and perhaps murdered) sister. As one commentator has remarked: ‘Poe hints at much, but states hardly anything at all’.


Tickets: £10 (£5) from Oxford Playhouse
+44 1865 305305
or on the door




Past Events


World Premiere

Samuel Hogarth

David and Goliath

A champer opera in a prologue and six scenes with a libretto by Guy Perry

22 and 24 February 2007
8:30pm
New College Ante-chapel
Tickets £10/£5 (concessions) available on the door


David: Henry Jones
Saul: Jimmy Holliday
Shammah Maxim Jones
Eliab: Steffan Jones
Merab: Lucy Page
Jesse: Jon Stainsby
Abner: Jonathan Wagstaff
Abinadab: Robin Whitehouse


Musical director: Hugh Brunt
Director: Michael Burden
Repetiteurs: Alice Newton, Timothy Motz


New Chamber Opera will première a newly-commissioned work by Samuel Hogarth, with a new libretto by Guy Perry. The opera, ‘David and Goliath’, re-examines the familiar story of the young giant-killing hero and raises troubling questions about the motivation driving the key players. A disturbed King Saul, suffering from uncontrollable fits, is soothed by the smooth and ambitious David, played by a countertenor. David, loathed by his older brothers but worshipped by his ageing father, Jesse, uses Saul’s vulnerability to lever himself into a position of power.

The piece is cast as a chamber opera for eight singers and an ensemble of 13. This includes a solo guitarist, strongly associated throughout the action with the character of David. The unusual timbre corresponds to David’ s status as an actor slightly apart from the others; he rejects his family as eagerly as his brothers reject him, but his upward mobility is not quite enough to make him a comfortably-fitting addition to the king’s entourage. He is the object of particular suspicion from the king’s eldest daughter, Merab (a soprano), who is drawn to the more typically heroic qualities of David’s eldest brother, Eliab (a high baritone). Eliab – more likeable, but less brilliant, than his upstart kid brother – falls in love with Merab, but things hit a nasty bump in the road when Saul (a bass-baritone), in a moment of desperation, promises the hand of his daughter as a reward for anyone who kills Goliath.

The opera explores many themes: the machinations of a politically and socially ambitious rising star, and the way others are manipulated by him (or resist his influence); the family conflicts created by success (for David) or adversity (for Saul); the tension between duty and desire (for more or less all of the characters, in their different ways), and between what can be altered and what must be borne. Musically, it shows strong influences from Britten and Tippett, as well as others such as Messiaen, Shostakovich and contemporary British composers such as Julian Anderson and Adam Gorb. Now and again, one may also detect in some of the harmonies a trace of the composer’s interest in jazz.



Samuel Hogarth (b. 1984) started composing at a very early age and received his first commission, aged 15, from Boosey & Hawkes, for a solo piano piece (‘Life of a Shadow’) published in their Easy 20th-Century Piano Collection. While still at school he also wrote his Sinfonietta for the Junior Royal Academy of Music Symphony Orchestra (première conducted by Peter Stark) and participated on the National Youth Orchestra Composers’ Course, writing a number of pieces for members of the orchestra, culminating in his Bull Profile Series, based on a painting by Roy Lichtenstein, for the NYO Sinfonietta (premièred 2001). In the same year, his piece for SATB & piano, Hokarah, won the national Fresh Air competition, run by the St. George’s Singers, for a new choral work. During these years he studied with Adam Gorb and Matthew Taylor at the Junior RAM and with Paul Patterson and Diana Burrell on the NYO courses.
From 2001-4 Samuel read music at New College, Oxford, where he wrote three pieces premièred by the New College Choir, under the direction of Edward Higginbottomm, and several works for Ensemble Isis, the university’s new music group, which he later directed for a year. He also undertook the first James Bowman Commission for New Chamber Opera, writing a short piece of music theatre for countertenor and piano (‘The Evils of Tobacco’, adapted from Chekhov’s monologue), and wrote the first in a series of settings from Tennyson’s In Memoriam for baritone Laurence Cramp. While at Oxford Samuel studied composition with Robert Saxton.

After finishing his undergraduate with the top first in his year and a university Gibbs Prize, Samuel read for the M.St. in musicology, in which he graduated with distinction in 2005. Since then he has been based in London, working as a freelance musician. He wrote a specially requested work for oboe and piano for James Turnbull, a contemporary from the National Youth Orchestra and later at Oxford, which was premièred with former NCO repetiteur Craig White at the Royal Academy of Music in November 2005.

As well as writing the new NCO commission, Samuel is busy with many other activities and has recently been appointed College Musician at Queens’ College, Cambridge. In this post he will be responsible for conducting the college music society’s choir and orchestra, continuing a conducting career that has run in parallel with composition for some years. He will also work with musicians in the college to develop their performing and other musical interests. Meanwhile, he performs in many venues as a jazz pianist, recently appearing at The Vortex and Smollensky’s on the Strand, and working with members of the Oxford-based Holywell Quartet has performed some of Schubert’ s chamber music for piano and strings. Samuel also teaches at the Junior RAM.





Opera Scenes



Monday 14 November 2005
8.30pm
Holywell Music Room

Britten - A Midsummer Night's Dream
Handel - Orlando
Stravinsky - The Rake's Progress
Mozart - Magic Flute

Dan Collins, Michael Davis, Charlotte Denham,
Robyn Parton, Jonathan Wagstaff,
Elinor White, Susan Young

Opera Studio returns this year with a programe of extracts from Britten, Handel, Stravinsky, and Mozart. The extract from The Magic Flute (1791) will feature the Queen of the Night's three ladies, leading Tamino and Papageno to Pamina; that from Orlando (1732), the Mad Scene from Act II, in which Orlando, driven mad by his love for Angelica, Queen of Cathay, finally loses track of reality; and that from A Midsummer Night's Dream (1960) the famous countertenor song written for Alfred Deller, 'I know a bank'. The final extract, Anne Truelove's recitative and aria from The Rake's Progress (1951) picks up the story at the point where Anne, the innocent country girl, decides to go to the corrupt and dangerous city to seek out her bethrothed Tom Rakewell, from whom she has had no word.

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