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Rodrigues Donna, proprietor of a laundry Laura Fleur (28 Feb & 4 Mar), Amy Holyland (2 & 7 Mar) Called Miss Fortune, the story is about money, fate and fortune. This is a past event. We might use this to show you more relevant content, We might use this to let you know about interesting events to attend near you, We might use this to address you personally in our newsletters. Sad because Weirs folk inspired fables have won many friends, sad because she is a composerly composer whose luminous orchestral backdrops and singable vocal lines display an honest talent that never hides behind overworked technique. Kyra Coppini, Production Sound Engineers The most recent opera is Miss Fortune, premiered at Bregenz in . Reonel Rafols For more access information, please visit ourAccessibilitysection. The helicopter view: Opera Europa's Nicholas Payne, At the helm of the aircraft carrier: The Royal Opera's Oliver Mears, Raising the curtain: Jacquelyn Stucker on building momentum and opera's digital challenge, Meeting the Maestro: in conversation with Fabio Luisi, Spring and summer in Prague: your musical guide, Koen entrances the Rudolfinum with Martin miniatures, Lucid in music and narrative: ENO and Richard Jones, David is a co-founder of Bachtrack. As associate composer with the BBC Singers (2015-19) she completed two oratorios; In the Land of Uz, about the prophet Job; and blue hills beyond blue hills, to Zen-influenced verse by the Scottish poet Alan Spence. Molly Hands, Assistant Carpenters BBC Radio 3. The much-publicised breakdancers of Chen Shi-Zengs efficient but actually rudimentary staging only serve to highlight how irrelevant Weirs musical language is to her conception. In London, the tricky proposition of portraying a chaotic cloud has been undertaken by Soul Mavericks, breakdancers with an amazing ability to perform hundreds of complex patterns, often in mid-air. She went on to Cambridge University, where her composition teacher was Robin Holloway; and in 1975 attended summer school at Tanglewood, where she worked with Gunther Schuller. Judith Weir Miss FortuneLord Fortune Jacob Harrison, Lady Fortune Amy Holyland, Tina Erin Gwyn Rossington, Fate Kieron-Connor Valentine, Hassan Florian Panzieri, Donna Laura Fleur, Simon Jack Holton; Director Martin Lloyd-Evans, Conductor Dominic Wheeler, Designer Anna Reid, Lighting Anthony Doran, GSMD Orchestra. Judith Weir CBE (born 1954) is a British composer and the first female Master of the Queen's Music. During this time she began to write a series of operas (including, As resident composer with the City of Birmingham Symphony Orchestra in the 1990s, she wrote several works for orchestra and chorus (including, In recent years, Judith Weir has considerably expanded her choral catalogue, with regular performance by choirs worldwide of music such as her Christmas carol. 145 Miss Weir Photos and Premium High Res Pictures - Getty Images CREATIVE Collections Project #ShowUs Creative Insights EDITORIAL VIDEO BBC Motion Gallery NBC News Archives MUSIC BLOG BROWSE PRICING ENTERPRISE VisualGPS INSIGHTS BOARDS BASKET SIGN IN Images Images Creative Editorial Video Creative Editorial FILTERS CREATIVE EDITORIAL VIDEO Vanessa Lingham, Stage Management Supervisor Presented byGuildhall School of Music & Drama. Longfei Wang* Watch online from 25 March. Judith Weir CBE HonFRSE (born 11 May 1954)[1] is a British composer serving as Master of the King's Music. The most recent opera is Miss Fortune, premiered at Bregenz in 2011, and then staged at the Royal . Aoife Moran In the title role, Emma Bell does an admirable job of wrapping her voice around it all, without the audience ever getting a melody or a mood to remember. Much of her music has been recorded, and is available on the NMC, Delphian and Signum labels. Where Weirs orchestral writing is full and rich, the vocal parts are for the most part agile and harsh. Sad to say but Judith Weir's sixth opera is an embarrassment. It didnt help that the singing from Rossington and Valentine lacked clarity and I had to second guess some of their dialogue. She is seen as one of the most successful Musician of all times. Since a central theme of Miss Fortune is the big part accident and chance play in life, I wanted to write a role for Fate, who emerges from the shadows whenever events take a downward or upward turn, accompanied by his own personal cloud of chaos. Beri Valentine, Stage Management Props Supervisor From 1995 to 2000, she was Artistic Director of the Spitalfields Festival in London. This is a libretto which vacillates between the banal and the unintentionally comedic (or is that irony?) 2010-2023 Bachtrack Ltd. All rights reserved. Right next to it was the ubiquitous fingers-crossed Lottery sign with its jaunty "Play here!" A strong ROH2 schedule includes premieres by Scott Walker, Huw Watkins and Stuart MacRae in a season that will offer "fresh and interesting angles on the art form". Luna De Mol, Violin II In recent years, Judith Weir has considerably expanded her choral catalogue, with regular performance by choirs worldwide of music such as her Christmas carolIlluminare, Jerusalemwritten for Stephen Cleobury and the choir of Kings College Cambridge. I decided to use the tale as a basis for a new opera. This is a libretto which vacillates between the banal and the unintentionally comedic (or is that irony?) Mario Gutirrez Gorria, Viola Had Kieron-Connor Valentines Fate been more malevolent his encounters with Erin Gwyn Rossingtons Tina would have had more emotional impact. For Rap read rhyming couplets. Age 14-25? Its story talks about the difference betweeen being rich and poor, and I was criticised at the time for imagining that this would be a permissable subject for an opera. 9 Bavarian Radio Sinfonieorchester/Rattle, GRAMOPHONE Review: Tchaikovsky Symphony No. Set within Bayview Developments, an exclusive estate agents (where clients are assured of no social housing) we meet the sales girl and chatterbox Lucy, Segomotso Shupinyaneng, and the ever-patient and earnest Ben, Jonathan Eyers. Tiago Costa I hope that does not mean more trapeziums, please. Julia Sanchez Merino And yet the characters are archetypes who grovel in the dirt of clich. Ami-Louise Johnsson She was an oboe player, performing with the National Youth Orchestra of Great Britain, and studied composition with John Tavener during her schooldays. What doesnt change, at least in the 53 minute first act, is her accenting: the music is continually using devices to ratchet up the tension - chromatics, diminished and augmented chords. Leif Tse, Repetiteurs Serendipity, rather than the fate which clings to the protagonist of Judith Weir's Miss Fortune, led me to catch the last night of a double-cast spectacular at the Guildhall School of Music and Drama.What a tonic to find a top-notch young cast and orchestra working their disciplined socks off for conductor Dominic Wheeler and director Martin Lloyd-Evans after the dog's dinner of English . Benedict Swindells* Judith Weir. Alan Ewing as Lord Fortune, Emma Bell as Tina and Kathryn Harries as Lady Fortune in the Royal Opera's production of Judith Weir's Miss Fortune. The Royal Opera promise a feast for the eyes and dont disappoint. Meanwhile, the cast plunged into the nitty-gritty ("Four steps to the left, take the glass from Kathryn, turn "). slogan. The kebab shop and the breakdancers are great, but Tom Pyes sets have much more: giant, mirror-smooth geometric structures are brightly lit in primary colours and turned by video effects into a shifting industrial landscape, all set against a plain screen background lit with vividly coloured gradients. At least that was Weirs intention - to be relevant and in touch. In 2005 her opera Armida, an opera for television, was premiered on Channel Four in the United Kingdom). The most recent opera is Miss Fortune, premiered at Bregenz in 2011, and then staged at the Royal . Stanley Olden, Scenic Art Co-ordinator 'Blond Eckbert' and 'Miss Fortune'. A chance lottery win enables her escape from poverty, and like all good fairy tales, she goes off into the sunset with the handsome prince, Jack Holton whose paean to a freshly laundered shirt made one of the few amusing moments. If any does survive, before its next airing it is certain to have been cut, tweaked, titivated or subjected to bold surgery preferably by the composer, for whom performance is the only great lesson in revealing a work's weaknesses. Look out for the paean to the perfectly laundered shirt sung by Simon (the excellent Jacques Imbrailo), which is a moment of pure comic genius. Last edited on 20 February 2023, at 10:43, Commander of the Order of the British Empire, Honorary Fellow of the Royal Society of Edinburgh, "Queen's new composer Judith Weir hails 'boss', "The wonderful Judith Weir With a Barbican weekend devoted to her music, the composer Judith Weir is being feted as never before", "Queen had 'immensely detailed knowledge' of music, says royal composer", "Judith Weir to be appointed first female master of Queen's music", "News Judith Weir appointed Master of the Queen's Music Music Sales Classical", "Judith Weir: the female music master with royal seal of approval", "The Ivors 2015 Winners, Ivor Novello Awards, Judith Weir", "Ms Judith Weir HonFRSE The Royal Society of Edinburgh", "Andrew Lloyd Webber piece among new coronation music", "Judith Weir Armida (2005) Music Sales Classical", "Musical Work rises from the concrete Barbican", "The State Funeral and Committal Service for Her Majesty The Queen", "The Black Spider review Weir's opera is ghastly gothic treat", https://genome.ch.bbc.co.uk/search/0/20?q=judith+weir+scipio%27s+dream#top, "A ringing coda: the music at the Queen's funeral was both solemn and sublime", Judith Weir on the British Music Collection, https://en.wikipedia.org/w/index.php?title=Judith_Weir&oldid=1140504219, The Prelude (20182019, flute, violin, viola, cello), This page was last edited on 20 February 2023, at 10:43. Jack Garner-Greene Albery's production allows the opera to speak for itself, although sluggish pacing in the pit detract from the musical merits of this revival. A few quotes from suddenly redundant bankers made it into the libretto ("I'm going to clear my desk"; "I'll never find another job") but soon I and my opera were pondering the wider mystery of how random the universe is, and how it often seems there's nothing we can do about it. In fact, I think you should go. In 2014 she was appointed . 1 / 3. Christos Maltezos* She has subsequently written one more "micro-opera", three full-length operas, and an opera for television. Silk Street Theatre, Guildhall School of Music & Drama, London; Monday 28th February 2022. In spite of all this, the libretto has some decent moments, particularly in the short second act in which Weir lets her hair down a little. Weir, who succeeds Sir Peter Maxwell Davies, will be appointed for a. She was an oboe player, performing with the National Youth Orchestra of Great Britain, and studied composition with John Tavener during her schooldays. Digory Price Gounod's Faust from the Opra Bastille, Paris. As resident composer with the City of Birmingham Symphony Orchestra in the 1990s, she wrote several works for orchestra and chorus (including Forest, Storm and We are Shadows) which were premiered by the orchestras then Music Director, Simon Rattle. A new production of an earlier opera is always welcome news, to its composer at least, and it doesn't feel right to term these "revivals" - implying that resuscitation or even raising from the dead has been necessary. Austria, the Netherlands, Belgium and the USA. Antonio Daz Fernndez In 1987, her first half-length opera, A Night at the Chinese Opera, was premiered at Kent Opera. Ema Cunha Judith Weir's Miss Fortune is an entertaining night out. She studied with . How come that trumpet B-flat sounded so great in the Austrian Alps, but in London was clearly a wrong note? Sad to say but Judith Weir's sixth opera is an embarrassment. Nonetheless, having written her own libretto as well as the music, she was easy prey. Its story talks about the difference betweeen being rich and poor, and I was criticised at the time for imagining that this would be a permissable subject for an opera. Iza Fordham In collaboration with director Margaret Williams, Weir has created several opera films, including Scipios Dream, Hello Dolly, and Armida. She has written orchestral music for the BBC Symphony, Boston Symphony and Minnesota Orchestras. Miku Yasukawa Guildhall Schools Opera department presents a double bill of operatic works exploring romantic love, fate and fortune. Above all, I felt justified in having written the opera in the first place. Judith Weirs orchestral music is drawn from a similarly vivid palette. Published by Chester Music (HL.14035701). Katie Wong, Production Assistants Alice Warburton Judith Weir was born into a Scottish family in 1954, but grew up near London. Judith Weirs music has been widely recorded, particularly on the NMC and Delphian labels; and is published by Chester Music and Novello & Co. For a full list of forthcoming and past performances visit the online calendar, You can view scores by Judith Weir online at her publisher's website or on Nkoda, To purchase sheet music on sale by Judith Weir ask your local retailer. She was an oboe player, performing with the National Youth Orchestra of Great Britain, and studied composition with John Tavener during her schooldays. Did the huge generic trapezium in the middle of the stage represent the dizzying moral precipice over which we mortals all too often hurl ourselves, especially in the name of making opera? CONTENTS OPERA Blond Eckbert. . In January 2008, over fifty of her works were performed during 'Telling The Tale', a three-day retrospective of her music, hosted by the BBC Symphony Orchestra at the Barbican Centre, London. We remain indifferent to Miss Fortune (however persuasively sung by a red-wigged Emma Bell), her vulgar nouveau parents who lose their riches, the sharp-suited romantic interest, Simon (the lovely Jacques Imbrailo). Plan your journey and find more route information in Your Visit or book your car parking space in advance. I cannot find much to redeem Miss Fortune in its current form. Not something you often come across in opera. 10 Orchestre National du Capitole de Toulouse/Sokhiev, GRAMOPHONE Review: Sounds of America Jon Manasse, Park Avenue Chamber Orchestra/Bernard, GRAMOPHONE Review: Rachmaninov Symphony No. Bogdan Skrypka She was an oboe player, performing with the National Youth Orchestra of Great Britain, and studied composition with John Tavener during her schooldays. EC2Y 8DT. Two outstanding performances by young singers light up a splendidly crafted revival of Caurier and Leiser's colourful production. The once-rich little heroine, dogged by cruel Fate, becomes a low-wage earner cue sweatshops, ironing boards, an imploding fast-food van. I loved the witty set (designer, Anna Reid) a luxury housing development, with a big sign outside promising "No social housing", something I'm all too familiar with as a local resident to the Vauxhall-Nine Elms "transformation". But Miss Fortune is warm and fuzzy where it should be hard and edgy, its a social fable with contemporary resonances in everything but its words and music, and worst of all its an adult opera which sounds like its spoon feeding amateur philosophy to a child. Much of her music has been recorded, and is available on the NMC, Delphian and Signum labels. One of these days someone might actually commission one of the many young composers at the sharp end of musical theatre creative song writers with their finger on the pulse of contemporary living. But I personally have been feeling thoroughly revived after GSMD's energy-giving version of my 2011 opera "Miss Fortune" which opened at the beginning of March. Sara Mohr-Pietsch presents a performance of Judith Weir's opera Miss Fortune. Sad because Weir's folk inspired fables have won many friends, sad because she is a composerly. The evening began with a compelling staging of Menottis frothy score, a romantic two-hander with music somewhere between Broadway and Italian verismo and first performed in the UK at the Aldwych Theatre in 1948. Ben Upthegrove Jonathan Eyers (28 Feb & 4 Mar), Jack Holton (2 & 7 Mar), Lord Fortune Jacob Harrison Either way, it makes a good spectacle. In July 2014 Judith Weir was appointed to the 395-year old royal post of Master of the Queen's Music, in succession to Sir Peter Maxwell Davies. Subscribe to our newsletters to hear about upcoming events. Hassan, a kebab seller Florian Panzieri (28 Feb & 4 Mar), Innocent Masuku (2 & 7 Mar) Was it a plane, a boat or a train? She teaches at Cardiff University. Pedro Marques Throughout the opera, in an impressive piece of singing, counter-tenor Andrew Watts sings a discordant overlay over the other music, reminding everyone that he is all-powerful and capricious. This was followed by a further three full-length operas The Vanishing Bridegroom (1990), Blond Eckbert (1994), the latter commissioned by the English National Opera[14] and Miss Fortune (Achterbahn) (2011). Queasy chromatic scales rising and falling in the trombones is as close as we get to the dark happenings on the street. The booking fee may be reduced on certain events. Miss Fortune in name and deed. Booking fees are per transaction and not per ticket. . On 30 June 2014, The Guardian stated that her appointment as Master of the Queen's Music,[5] succeeding Sir Peter Maxwell Davies (whose term of office expired in March 2014), would be announced;[6] this was officially confirmed on 21 July. But this time round, it seemed even more relevant than to pay onstage attention to this subject. Two days after this premiere, the Royal Opera House announced the 2012/2013 new season and defended contemporary work as adventure, not measured by normal standards of success. After this she spent several years working in schools and adult education in rural southern England; followed by a period based in Scotland, teaching at Glasgow University and the Royal Conservatoire of Scotland. Firstly, when disaster strikes the family, our heroine leaves home for the mean streets of her own accord (in the original, she is cast out by her superstitious mother). She was a visiting distinguished research professor in composition at Cardiff University from 2006 to 2009. Our privacy policy was last updated on Friday 31 January 2020, Reviewed at Royal Opera House, Covent Garden, London on 12 March 2012.