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by Sergei Prokofiev

World premiere of the original version

by Sergei Prokofiev
Libretto by Sergei Prokofiev and Mira Mendelson-Prokofieva Original version of War and Peace edited by Rita McAllister

World premiere of the original version Conductor Timothy Dean Director Irina Brown Designer Chloe Lamford Lighting Designer Johanna Town Movement Director Kally Lloyd-Jones

Theatre Royal Glasgow Friday 22 and Saturday 23 January 2010, 7.15pm Festival Theatre Edinburgh Thursday 28 and Saturday 30 January 2010, 7.15pm
Running time 3 hours 15 minutes. There will be a 20 minute interval after Scene Six. Sung in Russian with English surtitles.

RSAMD 2010 All details correct at time of going to print. The Royal Scottish Academy of Music and Drama reserves the right to change perfomance details without prior notice if necessary.

The Academy gratefully acknowledges the permission and support of the Prokofiev family for the reconstruction and performance of the original version of War and Peace. The performances are given by permission of Boosey & Hawkes Music Publishers Limited. The Academy thanks Boosey & Hawkes for their help to the editor, and for providing performing material for the reconstruction of the opera.

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Welcome Professor John Wallace OBE Principal, Royal Scottish Academy of Music and Drama
Tonights joint RSAMD/Scottish Opera production is the continuation of a long-term relationship with the Rachmaninov Conservatoire in Rostov-onDon, Russia, and the culminating production of an eighteen-month project, Celtic Cossack Connections, funded by a major grant from the Institution Building Partnership Programme (IBPP): Support to EU Russia Cultural Cooperation Initiatives. This project has encompassed opera, traditional and folk music, classical music and jazz. Tonight, Prokofievs War and Peace brings together Scottish and Russian institutions and their deep wells of talent, to enable you to have the opportunity to hear, for the first time, Dr Rita McAllisters new performing version of the score following the composers original intentions. Be aware that tonight, The Orchestra of Scottish Opera will be sitting sideby-side with the RSAMDs professionals-in-training in the pit, six of the cast are from Rostov and its associated Komitas Conservatory in Yerevan and the rest of the 28-strong cast, plus the chorus, are from the Academy (the proportions will be reversed for the Rostov performances in March 2010). The set, designed by Chloe Lamford, has been built in Scottish Operas workshops, with the involvement of RSAMD Technical and Production Arts students who are also providing a fair proportion of tonights stage crew, mentored by Scottish Opera staff members. This project has been a major milestone for the three partners involved, and I would like to thank my colleagues Alex Reedijk, General Director of Scottish Opera, and Alexander Danilov, Rector of the Rachmaninov Conservatoire, for embarking on such an adventurous journey with us, and seeing it through to such a fruitful conclusion. I would also like to take this opportunity to thank Standard Life for their support of this production.

Alex Reedijk General Director, Scottish Opera


Welcome to this performance of Prokofievs magnificent opera War and Peace. This production is very much testament to the benefits of collaboration: between Scottish Opera and the RSAMD; between Glasgow and Rostov-on-Don; and between the conservatoires in both those cities. I am delighted that this imaginative thinking enables us to offer such a fine piece to audiences in Scotland not only because Prokofievs operas are not often staged in the UK, but also because it fits perfectly with Scottish Operas ongoing commitment to sharing with you a broad range of interesting but lesser-known operas. Particular thanks are due to Dr Rita McAllister for producing this wonderful new performing version of the score, which I am sure will draw international attention to the work of Scottish Opera and the RSAMD it is not often that an important opera is the beneficiary of a major re-study that leads directly to a performance. Now in its fifth year, the partnership between Scottish Opera and the RSAMD remains as important as ever in providing valuable hands-on experience for students. It is also a manifestation of our joint approach to, and collective responsibility for, the long-term health of the performing arts in Scotland. John and I hope you enjoy the benefits of our operatic collaboration.

Alexander Danilov Rector, Rostov State Rachmaninov Conservatoire


The reconstruction of the original version of Sergei Prokofievs opera War and Peace by the students of the RSAMD and the Rostov Conservatoire is an exceptionally bold, ambitious and innovative project. The creative processes involved will bring together, even more closely than before, our young musicians, our singers, instrumentalists, musicologists and their teachers. This invaluable experiment in international cooperation, with its broad social and community resonances, encourages us to look with great optimism to continuing collaboration between our two conservatoires well into the future.

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The Adventures of War and Peace by Conrad Wilson


Prokofievs War and Peace is an opera whose full effect has been said to depend on its vast choruses, two extended ballroom scenes, and the cunning juxtaposition of the kaleidoscopic episodes that make up its war-torn second half. It was in this enlarged state, as a sort of grand amalgam of Glinka, Mussorgsky and Tchaikovsky, that the composer finally left the work he considered to be his masterpiece. But there is another, less monumental, much purer, musically more consistent War and Peace the unstaged original version Prokofiev began to compose in 1941, just as the Germans, following in Napoleons footsteps, invaded Russia, but whose orchestration he left far from complete. This, better late than never, is the War and Peace we shall see in tonights production by the RSAMDs Alexander Gibson Opera School in conjunction with Scottish Opera and the Conservatoire of Rostov-on-Don, Glasgows twin city in Russia. Out of the original manuscript, the Prokofiev authority Rita McAllister, former Vice-Principal of the RSAMD, has forged a performing version of the music as the composer first conceived it, resulting in a leaner, tauter, more keenly lyrical work, some 90 minutes shorter than the increasingly tub-thumping inflation of it Prokofiev assembled in the last years of his life. It omits the many accretions or what the composer called all the patriotic stuff he was obliged to add in order to please the Soviet authorities after their rejection of the first version, which placed, they claimed, too much emphasis on the romantic Natasha and Andrei, the aristocratic lovers in Tolstoys epic novel, and too little on the Russian people. Prokofievs original version was written at speed, not as the patriotic pageant the authorities desired, but as a series of scenes (he already had the experience of working with the cinematist Eisenstein) conveying the main elements of Tolstoys novel as he perceived them. McAllister, whose scrupulous orchestration has made the Scottish production possible, had already been attracted to the original when, in the 1960s, she won permission to spend time in Russia as a postgraduate working on a Prokofiev doctorate. What the RSAMD now calls the adventure of War and Peace started at that point. The composer, having presided over the works tangled history until his death in 1953, had hoped until the end to see the complete work finally staged as an entity. But it was not to be. A series of interim performances in 1944 and 1946 gave glimpses of his vision. But it was 1959 before the opera reached the Bolshoi and 1972 before the fullest possible version was staged by what is now English National Opera in London. Since then it has become part of the international repertoire, but whether Prokofievs amendments actually improved on the unstaged original, or complied too readily with the demands of the authorities, has remained debatable. Thanks to McAllister and her belief in the essential lyricism and structure of the original score, we are now better placed to make up our minds. Revisiting Russia in recent years, she looked at the music again. The original manuscript remained untouched, its fate unchanged. If ever it was going to be performed, she reflected, the time had come to do it. The RSAMDs links with Rostov-on-Don, inspired some time ago by an inventive production of Massenets Cinderella in conjunction with the St Petersburg Conservatoire and The Orchestra of Scottish Opera, had steadily strengthened. Strausss Ariadne auf Naxos and Prokofievs The Love of Three Oranges, both with Rostov involvement, were recent milestones in this process, to which War and Peace now forms what may look like a culmination. Once again Scottish Opera has supplied its technical know-how, as well as the use of its orchestra, working alongside student players and the large (often doubled up) cast, some of it from Rostov. Timothy Dean, the RSAMDs Head of Opera, is again the conductor, sharing McAllisters convictions about the orchestration, into which, between April and September last year, she says she flung herself all day and every day. The prospect of conducting it, says Dean, never ceased to seem inviting, even if Rostov expressed initial shock at some of the things now missing from the work as we know it. But what is present is impeccably Prokofiev. The composer, as McAllister was fully aware, was a man with his own particular concept of opera, darkly humorous and at times profoundly Shakespearian. Though Solomon Volkov, in his controversial Shostakovich memoir, accused Prokofiev of farming out the orchestration of his works to helpers, McAllister refutes this, saying that, with his fondness for long flute melodies and the rasp of tubas, Prokofievs orchestration was idiosyncratic, many-layered, and very much his own. Far from deterring her from working on it, this made her all the more determined to get things right. It will sound, she asserts, how it should sound. For Alex Reedijk, General Director of Scottish Opera, the result seems much more than the culmination of a ScottishRussian collaboration (the production goes to Rostov after its Scottish performances). It represents, he says, a logical growth, a way of extending into the Russian repertoire, an opportunity for everybody involved to take a bold new look at Prokofiev. Above all, perhaps, War and Peace can now be seen as a great Russian opera, not a Soviet one.

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Prokofievs War and Peace by Dr Rita McAllister


Throughout his life Prokofiev was captivated by opera as a medium: he wrote his first operatic work The Giant at the age of nine, and a fortnight before his death he was still trying to find the perfect middle section for Kutuzovs grandiose aria in War and Peace. A prolific composer in all genres, he completed twelve operas, eight of them more or less mature works, and sketched out two or three more. Yet only two of these The Love of Three Oranges (1919) and The Duenna (1940/43), both of them comedies were anything like successful in his lifetime, or in the years after his death. This initially seems puzzling: Prokofiev was undoubtedly one of the most popular and effective composers of serious music in the twentieth century, and one whose music has both emotional and dramatic intensity. Some sort of explanation, if not justification, for this can be found in a mixture of bad luck, bad timing and bad politics. With his earlier masterpiece The Fiery Angel, it was mainly bad timing a libretto which didnt accord with Paris in the 1920s which kept the opera off the stage until after Prokofievs death. With War and Peace, however, it was all three misfortunes, despite what must have seemed the perfect choice of plot by a great and sincerely patriotic composer at the start of the Great Patriotic War in 1941. The full history of War and Peace is long and tortuous, even in the context of the frequent controversies Prokofiev encountered with his operas. It has been set out, most recently in great detail, by Nathan Seinen [Music & Letters, vol. 90 (2009), no. 3]; by a curious coincidence, this article, which calls for a reconstruction and critical assessment of the original version of the opera, was published just as I completed my reconstruction of it. The main facts of the story are clear from the evidence of the memoirs and the manuscripts. According to Lina Prokofieva, Prokofievs first wife, the idea of writing an opera based on the Tolstoy novel had first occurred to the composer in the mid-1930s. But it was not until early in 1941, inspired by his second wife Miras reading of the novel to him and especially by the operatic potential of the scene of the wounded Prince Andrei, newly re-united with Natasha Rostova in the hut in Mitishchi, that he started work on it. In April 1941 he drafted a scenario for an opera in eleven scenes that charted the relationships and changing fortunes of a small number of Tolstoys huge cast of characters, in conditions of Peace, then War with Napoleon. Of these eleven scenes, nine were to remain in the first version of the opera. The outbreak of war in Russia in June 1941 gave new relevance to the plot of War and Peace and new impetus to Prokofievs operatic plans. With official approval and after his evacuation from Moscow to Nalchik in the Caucasus, Prokofiev started work on the libretto (he worked on this with Mira Mendelson, retaining as much as they could of Tolstoys prose) and the music. He composed quickly and enthusiastically, so that the entire piano score of eleven scenes and an overture was completed in eight months, between August 1941 and April 1942: this is the first version of the work (though even in the process of writing this, some revisions were made). The score was sent off to the Committee on the Arts in Moscow for approval. Meantime, Prokofiev moved first to Tbilisi, then via Baku to Alma-Ata to work with the film director Eisenstein on Ivan the Terrible; before he left Tbilisi in May 1942, he began the orchestration of War and Peace. All of the Peace scenes, along with the scene of Andreis death, had been orchestrated when the disappointing report from the Committee reached the composer: the lyricism of the Peace scenes was praised but Prokofiev was strongly advised to strengthen the patriotic aspect of the War scenes with heroic arias and extended choral numbers. The composer complied, revising the music and completing the orchestration more or less simultaneously. A new introductory choral Epigraph was composed; and while the Peace scenes were largely unchanged, Scenes Seven and Eleven were completely re-worked conversational episodes were removed, and ariosos, marches and choruses were added; Scene Nine also lost its ordinary characters, but acquired fleeing French actors and brought Napoleon and his entourage into the midst of the burning city. So, with this second version of the opera, published in mimeograph form by Muzfond in 1943 (originally without the Epigraph), the whole balance of the opera began to shift, from focusing on the individual and intimate to glorifying the national and the tableauesque. The process of transforming War and Peace into a work which might find favour with the Party had begun. Over the next ten years, until Prokofievs death in 1953, there were to be at least three more versions, along with continual revisions of detail; two more scenes were added, now Scenes Two and Ten; the last scene (13) acquired an extended choral finale. With each revision the opera became less a dramatic interplay of individual characters and more an epic patriotic cantata, in uncut form lasting more than four hours and spanning two evenings in the theatre. The extent of the transformation is epitomised by the character of Kutuzov: in the first version a weary and worn old man, by no means the Tsars first choice as leader, but beloved by the people and humorous with his soldiers, who expresses the futility of strategy; in the final version the supreme strategist and saviour of the nation (as was Stalin), to whom the figures of Napoleon and the French soldiers became merely foils and parodies. Prokofievs opera never did find favour with the Party, however: the many revisions to his score, made in increasing desperation as the years passed, always lagged behind changing Stalinist policies. The first part of the opera (scenes 18) was produced by the Maly Theatre in Leningrad in 1946; but while most of the scenes were performed at various times either with piano or in concert form, Prokofiev never lived to see the whole opera on stage.

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The Creative Team


Irina Brown / Director Irina Brown was born and educated in Leningrad/ St Petersburg, Russia. She has lived in Britain for over 20 years, establishing a versatile career as stage director. From 1996 to 1999 she was Artistic Director of Tron Theatre, Glasgow, developing, directing and promoting new Scottish writing as well as national and international collaborations. Her other work includes: The Importance of Being Earnest (Open Air Theatre, London); Bird of Night, a new opera by Dominique Le Gendre (Royal Opera House); Boris Godunov (Royal Opera House, LOpra de Monte Carlo and St Petersburgs Mariinsky); Dido and Aeneas (Royal Academy of Music); a translation of Donnerstag aus Licht by Karlheinz Stockhausen (ROH); Edward Albees Three Tall Women (Oxford Playhouse, Guildford, Cambridge); The Vagina Monologues (West End and tour); Nest and The Parents Evening by Bathsheba Doran (New York/ California); FillerUp! (Drill Hall, London); The Cosmonauts Last Message to the Woman He Once Loved in the Former Soviet Union by David Greig (Tron, Glasgow); Further than the Furthest Thing by Zinnie Harris (Royal National Theatre, Tron, Edinburgh Festival, Tricycle, British Council Tour of South Africa); A Dolls House (Birmingham Rep); Blood Libel by Arnold Wesker (world premiere, Norwich Playhouse); Romeo and Juliet (Contact Theatre, Manchester); A Midsummer Nights Dream (Southern Shakespeare Festival, Florida); The Sound of Music (West Yorkshire Playhouse); Our Countrys Good (Moscow). Irina is Joint Artistic Director of Natural Perspective Theatre Company, for whom she directed Jenufa by Gabriela Preissova/Timberlake Wertenbaker (Arcola, 2007) and in 2011 will produce Britannicus by Racine. Timothy Dean / Conductor Timothy Dean studied Music at Reading University, and Piano and Conducting at the Royal College of Music. He then became Chorus Master and Head of Music for Kent Opera, where he worked for ten years, conducting a wide repertoire on tour in the UK and abroad, including a cycle of the Britten Church Parables performed at a number of UK festivals in the 1990s. In 1987 he was appointed the first Music Director of British Youth Opera. Since then he has been instrumental in developing the company into a vital part of the national infrastructure for training young singers and musicians to an advanced level, as well as conducting over 20 productions and many concerts. He was also conductor of the London Bach Society in the late 1980s, following the death of Dr Paul Steinitz, and was Music Director of The Opera Company from 1990 to 1994. In 1990 he spent a year as Assistant Music Director and Chorus Master with the New DOyly Carte Opera Company, conducting on tour in the UK and USA, after which he made company debuts for English National Opera (Oedipus Rex/Bluebeards Castle) and Scottish Opera (The Barber of Seville). In 1994 he was appointed Head of Opera at the RSAMD, in charge of new postgraduate courses in opera training for singers and repetiteurs. Since moving to Scotland, he has also worked with the Royal Scottish National Orchestra, The Orchestra of Scottish Opera, The Paragon Ensemble, Edinburgh Festival Chorus and Edinburgh Choral Union, as well as giving concerts with the symphony orchestras of both the Junior and Senior Academy and conducting over 25 opera productions. From 2000 to 2006 he was Artistic Director of British Youth Opera, of which he is now a Vice-President. He was recently appointed Chorus Director to the RSNO.

The Creative Team


Chloe Lamford / Designer Chloe Lamford is the winner of the 2007 Theatre Design Award from the TMA for Small Miracle. Her recent opera designs include The Magic Flute (English Touring Opera), La Calisto (Iford Festival), The Full Monteverdi, a full-length film for SC4 and European TV channels, The Cunning Little Vixen (Royal College of Music). Her current and recent theatre work includes Kreutzer Sonata (Gate Theatre); It Felt Empty by Lucy Kirkwood, a promenade production at the Arcola Theatre, and This Wide Night, revival at the Soho Theatre, both for Clean Break; National Youth Theatre Season of six new one-act plays at the Soho Theatre; Sus (Young Vic); The Snow Queen (Sherman Theatre, Cardiff); Blithe Spirit (Watermill Theatre); Soul Play, Lola (Trestle Theatre with Increpaion Danza, Barcelona); How to Tell The Monsters from The Misfits, The Mothership (Birmingham Repertory Studio); Nine (the musical) (Arts Educational); Small Miracle by Neil de Souza (Colchester and Tricycle Theatre, London); The Good Woman of Sichuan (New Generation Festival, Birmingham); Secret Ingredient, a devised site-specific piece for Trestle Theatre. Her previous work includes Top Girls (Watford, Greenwich); Antigone at Hells Mouth (Kneehigh Theatre and the National Youth Theatre at the Soho Theatre); The Wild Party (Rosie Kay Dance Company); The Shy Gas Man (Southwark Playhouse); human/nature (Trestle Theatre Company); Rough Cut (Riverside Studios); Holes and Wizzil (Nuffield Theatre, Southampton); Hamlet (Broadway Theatre, Catford); Blue Sky State (Colchester). She has also designed various shows for the Watford Palace Theatre, many youth theatre productions and a site-specific project by Anna Reynolds, The Ring Road Tales. She wrote and directed a short film, Being Venus, which was shown at the 2006 LA Short Film Festival. Kally Lloyd-Jones / Movement Director Kally Lloyd-Jones was born and raised in Scotland. She trained at the Theatre Arts Ballet School and Central School of Ballet in London, and has an MA in English Literature and Film Studies from Glasgow University. She has worked extensively as a choreographer, dancer, movement director, teacher and choreologist in Scotland, as well as in London, Sweden and Canada. She has performed with Company Chordelia, David Hughes Dance Company, Spinal Chord Projects, Tartan Chameleon, Aye! Productions and Paragon Ensemble. Her choreography includes A Midsummer Nights Dream, Don Giovanni, The Love of Three Oranges, The Tales of Hoffmann (RSAMD); La bohme, Die Fledermaus, Cinderella, A Night at the Chinese Opera, The Two Widows, The Secret Marriage, The Italian Girl in Algiers, Five:15 (Scottish Opera); The Sleeping Beauty (Kings Theatre, Glasgow), FlyGlobespan TV commercial, The Ballad (Aye! Productions); Polkadots & Moonbeams (Elevate Youth Dance Company). Her movement direction includes Green Whale, Wee Witches (Licketyspit Theatre Company); The Last Witch (2009 Edinburgh International Festival/Traverse/ Lyceum). She recently directed Ktya Kabanov for Scottish Opera. Company Chordelia, her own dance theatre company founded in 2002, is the recipient of Flexible Funding from the Scottish Arts Council; its most recent show is Les Amoureux.

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The Creative Team


Dr Rita McAllister / Editor, original version of War and Peace Dr Rita McAllister was born in Lanarkshire, Scotland. She undertook her undergraduate studies at the University of Glasgow, graduating BMus with firstclass honours. At the same time she was a parttime student at the RSAMD studying piano with Wight Henderson and viola with Frieda Peters. She studied composition with Anthony Hedges and Robin Orr, and won the first BBC Scotland Young Composers prize in 1966. In the late 1960s she spent three years at the University of Cambridge researching the operas of Sergei Prokofiev; she completed her PhD in 1970. Her work on Prokofiev resulted in intensive work in Moscow, St Petersburg and throughout the southern USSR. In the 1970s and 1980s she broadcast and published extensively on many aspects of Soviet and Russian music. Her compositions from this time include chamber works, song cycles and works for music theatre, as well as electro-acoustic pieces. From 1969 she was a lecturer in the Faculty of Music at the University of Edinburgh, teaching composition, twentieth-century history and analysis, and established the electronic and recording studios there. She was appointed Director of Music at the Academy in 1986, and from 1996 to 2006 she was additionally Vice-Principal. She has held a number of important appointments in music and education with national bodies in the UK. She continues to research, write and compose, and is the instigator and Artistic Director of Celtic Cossack Connections. Johanna Town / Lighting Designer Johanna Town has previously lit Phaedra and Ariadne auf Naxos for the RSAMD, and further opera credits include Ktya Kabanov, Cinderella, The Secret Marriage (Scottish Opera), Giustino (Trinity College), The Marriage of Figaro (Classical Opera), Tobias and the Angel (Almeida Opera Festival), The Marriage of Figaro, Otello (Nice Opera House) and numerous productions for Music Theatre London and Opera 80. She has also designed extensively in theatre, with credits including several West End shows, numerous productions for Out of Joint and the National Theatre and over 50 productions at the Royal Court. She has worked in regional theatres throughout the UK, as well as internationally in destinations ranging from Ireland and New York to Sydney and New Zealand. Her recent credits include Speaking in Tongues (West End); Pride and Prejudice (Bath Theatre Royal tour); Dreams of Violence (OOJ tour); Haunted (Manchester Royal Exchange); Fat Pig (Comedy/Trafalgar); Faces in The Crowd (Royal Court); The Tragedy of Thomas Hobbes (Royal Shakespeare Company); The Glass Menagerie (Manchester Royal Exchange/Bath Theatre Royal tour); For King and Country (ACT tour); The Ride of Your Life (Polka); Tipping The Velvet (Guildhall); The Hounding of David Oluwale (West Yorkshire Playhouse tour); Mad Forest (BAC); Rose (National Theatre/Broadway); My Name is Rachel Corrie (Royal Court/West End/New York).

Time present and time past Are both perhaps present in time future, And time future contained in time past
T.S. Eliot Burnt Norton

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War and Peace


Overture / Moscow, 1941 Scene One / The Rostovs Otradnoye Estate, May 1809

Part One: Peace


The Great Patriotic War is announced as Hitlers army invades the Soviet Union. Prince Andrei Bolkonsky is on business at the country house of Count Rostov. Having recently lost his wife, Andrei resists the enveloping sense of spring and the new life he observes around him, believing it all to be an illusion. Suddenly, as the window above him opens in the quiet night, he overhears an exchange between Rostovs daughter Natasha and her cousin, Sonya. Unable to sleep on a night like this, Natasha dreams of flying. Stirred by this girl, Andrei realises that life is not over at thirty-one.

Model box images from designs by Chloe Lamford.

Cast /
Prince Andrei Bolkonsky Natasha Rostova Sonya, her cousin Michel de Souza Diana Harutyunyan*/Maria Kozlova** Beth Mackay

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Performances: *23 and 28 January **22 and 30 January

War and Peace

Part One: Peace

War and Peace

Part One: Peace

Scene Two / Old Bolkonskys Mansion, Moscow, February 1811

Two years later. Count Rostov brings Natasha, now engaged to Prince Andrei, to meet Andreis father, the Old Prince. Prince Andrei has been away for a year but is due back soon. The old man refuses to receive the Rostovs. Andreis sister, Princess Marya, comes to greet them instead. The Princess makes awkward conversation, mentioning the threat of war. Then the Old Prince enters. He mocks Natasha. He does not consider her a suitable match for his son. It dawns on Natasha that Andrei has been sent away in the hope of discouraging their marriage. She wishes he were back.

Scene Three / Hlne Bezukhovas Salon, Moscow

At Hlne Bezukhovas soire, the hostess congratulates Natasha on her engagement to Prince Andrei, but confides that her brother Prince Anatole Kuragin is lovesick for Natasha. Anatole appears, declares his love, and thrusts a letter in Natashas hand. Flustered, Natasha reads the letter, written in an extravagant romantic language. It says she alone must decide Anatoles fate. Rejected by Andreis family, alone and vulnerable without Andrei, Natasha is swept off her feet by Anatole. Sonya overhears her and tries to warn her that Anatoles intentions may be far from honourable. Count Rostov, disapproving of the free-and-easy atmosphere at the soire, takes the girls home.

Cast /
Old Footman Chambermaid Valet Natasha Rostova Count Rostov, her father Princess Marya Bolkonsky, Prince Andreis sister Prince Nikolai Bolkonsky, father of Andrei and Marya Mlle Bourienne, governess Jamie Rock Laura Margaret Smith Ott Indermitte Diana Harutyunyan/Maria Kozlova Stephen Fennelly Maria Brown Craig Wickham Elizabeth Garton

Cast /
Hlne Bezukhova Prince Anatole Kuragin, her brother Natasha Rostova Count Rostov Sonya A French Abb Dr Metivier Lucinda Stuart-Grant Sergey Mankovskiy Diana Harutyunyan/Maria Kozlova Stephen Fennelly Beth Mackay Gitai Fisher Owain Browne

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War and Peace

Part One: Peace

War and Peace

Part One: Peace

Scene Four / Dolokhovs Study, Moscow

Anatole, at the quarters of his comrade-in-arms, Dolokhov, is getting ready for Natashas abduction, planned for this night. He and Natasha will be married in a little church outside Moscow and then flee abroad. Although Dolokhov has masterminded the whole plan, including the romantic letter, he encourages Anatole to think again; Anatole is already secretly married and may end up being court-martialled. But Anatole, infatuated, cannot think of the future. Balaga, a troika-coachman, arrives. Over the years he has taken part in many an escapade with his masters.

Scene Five / Akhrosimovas Mansion, Moscow


Natasha, staying with her godmother, Maria Akhrosimova, is waiting for Anatole. She learns from her maid that Sonya has revealed to Akhrosimova Natashas plan to elope with Anatole. When Anatole arrives outside Natashas window, the butler intercepts him. Anatole and Dolokhov manage to escape. Akhrosimova, armed with Anatoles letter, discovered by Sonya, confronts Natasha. Natasha defiantly announces that she has broken up with Prince Andrei. Akhrosimova is relieved to welcome Count Pierre Bezukhov, Anatoles brother-in-law, caught up in a loveless marriage to Hlne. Akhrosimova shares with him all that has occurred and her fears of the consequences. Pierre promises to get Anatole out of Moscow before there is a scandal or a duel. He reveals to her that Anatole is married. Alone, Pierre is devastated that even Natasha, who has been so pure in his eyes, is capable of such a betrayal of her fianc Prince Andrei. Natasha is sent in to hear the truth about Anatole from Pierre, whom she trusts. Anatole is already married. Natasha is distraught. In an attempt to comfort her, Pierre inadvertently reveals his own feelings towards her and leaves. Natasha takes arsenic and calls to Sonya for help.

Cast / Cast /
Prince Anatole Kuragin Dolokhov, his friend, an officer Balaga, a troika driver Matryosha, a Gypsy Joseph, valet Sergey Mankovskiy James Birchall Donald Thomson Melissa Lunn David OHanlon Natasha Rostova Dunyasha, Natashas maid Maria Akhrosimova Gavrila, her butler Prince Anatole Kuragin Dolokhov Sonya Count Pierre Bezukhov Diana Harutyunyan/Maria Kozlova Marie Claire Breen Rebecca Afonwy-Jones Bryan Benner Sergey Mankovskiy James Birchall Beth Mackay Dmitry Ivanchey/Bjartmar Sigurdsson

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Performances: 22 and 30 January 23 and 28 January

War and Peace

Part One: Peace

Scene Six / Pierre Bezukhovs Study, Moscow

Hlne entertains some of her French friends in Pierres study. Pierre confronts Anatole and demands that he should leave Moscow. Disgusted with his wife, his brother-in-law and the others, Pierre wishes he could live in accordance with his ideals. Lieutenant-Colonel Denisov enters with the news that Napoleons troops are gathering at the border: its war.

Cast /
Hlne Bezukhova Count Pierre Bezukhov Prince Anatole Kuragin A French Abb Dr Metivier Lt. Colonel Vassily Denisov Lucinda Stuart-Grant Dmitry Ivanchey/Bjartmar Sigurdsson Sergey Mankovskiy Gitai Fisher Owain Browne Nicholas Morris

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War and Peace

Part Two: War

War and Peace

Part Two: War

Scene Seven / Rayevsky Redoubt on the eve of the Battle of Borodino, 6 September 1812
The peasant militia are building a redoubt and digging trenches. They have been inspired to the battle for Moscow by the newly appointed FieldMarshal Kutuzov. Led by him, they are ready to crush the French. Some peasant women from the village of Borodino bring food for the men. The women say they are getting ready for the battle too. Denisov and Prince Andrei meet on their way to see Kutuzov. Denisov shares with Andrei his plan to break through the enemy line with a detachment of peasant militia. Alone for a moment, Andrei reflects on his love for Natasha, their engagement and her betrayal of his trust. He catches sight of Pierre, who has turned up to observe the battle. Andrei is convinced that the battle will be won and expresses to Pierre his contempt for the German generals who, as allies, are military advisers to the Russian Army. They think of nothing but tactics, dismissing the people. Privately Andrei contemplates the possibility of death. Pierre fears they will not meet again. Kutuzov arrives to watch the final presentation of the colours before the battle. As Andreis regiment goes past, Kutuzov invites Andrei to join his staff. Andrei declines. He wants to stay with his regiment and fight. The soldiers and peasants step forward to face the battle. The opening shots are heard.

Scene Eight / Shevardinsky Redoubt during the Battle of Borodino, 7 September 1812

On the other side of the battlefield, Napoleon is dreaming of taking Moscow and civilising Russia. As the situation on the battlefield turns against the French, several adjutants rush in with messages from their commanders, requesting reinforcements. But Napoleon is reluctant to send in his last reserves and is torn by doubts. Nothing seems to work the way it normally would. The French are on the brink of losing the battle.

Cast /
Tikhon Shcherbaty Fyodor Matveyev Trishka Kondratyevna Vassilissa Prince Andrei Bolkonsky Lt. Colonel Vassily Denisov Count Pierre Bezukhov Field-Marshal Prince Mikhail Kutuzov Dolokhov 1st German General 2nd German General Prince Andreis Orderly 1st Staff Officer 2nd Staff Officer Kutuzovs Adjutant Vahagn Margaryan Jakob Holtze Johansen Andrew McTaggart Catriona Morison Charlotte Emma Whittle Melissa Lunn Michel de Souza Nicholas Morris Dmitry Ivanchey/Bjartmar Sigurdsson Aram Ohanian James Birchall Ott Indermitte Owain Browne Benjamin Vale Bryan Benner Jamie Rock Kieran Bain

Cast /
Napoleon Marshal Berthier General de Caulaincourt Monsieur de Beausset General Belliard Aide-de-Camp to Napoleon Aide-de-Camp to General Compans Aide-de-Camp to Marshal Murat Aide-de-Camp to Prince Eugene Aleksey Gusev Owain Browne Cailean Swainson Warren Gillespie Jamie Rock Donald Thomson Gitai Fisher Brynne McLeod Matthew Todd

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War and Peace

Part Two: War

War and Peace

Part Two: War

Scene Nine / A Street in Moscow, 14 September 1812


The French have entered Moscow but the streets are empty. Most of the inhabitants have left the city. Two detachments with Lieutenants Jacquot and Grard are roaming the streets looting and drinking. Some soldiers distribute Napoleons decrees to the few Muscovites left. Captain Ramballe and Lieutenant Bonnet patrol the streets. As looting escalates, a group of Muscovites tries to decipher the decrees. The Rostovs servants are among them. They suddenly see Pierre. The servants tell him that Natasha has ordered all the family possessions to be thrown from the Rostovs carriages to offer transportation out of Moscow for the Borodino wounded. Unbeknown to her, Prince Andrei was among the injured. Pierre has set his mind on assassinating Napoleon. The Muscovites decide to burn the grain stores rather than let the enemy have them. The city catches fire. Pierre is intercepted and arrested together with other culprits. Everyone is accused of being an arsonist and Marshal Davout orders their execution. Disorientated, realising that he is nothing but a splinter crushed by the wheels of history, Pierre awaits his execution. He is spared at the last minute and joins a group of prisoners-of-war. He meets Platon Karatayev, a farmer who became a soldier. The soldiers calm, stoical attitude and wisdom affect Pierre deeply. The prisoners of war are led through the inferno of Moscow. All is engulfed by madness and destruction. The Muscovites vow to avenge the destruction of their city.

Scene Ten / A peasant hut in Mytishchi

Andrei is wounded and delirious. He sees strange visions and hears strange sounds. In moments of clarity, he thinks of Natasha. Suddenly she enters. Seeing her again, he knows his love for her is as it used to be. She stays at his bedside as he dies.

Cast /
Lt. Jacquot Lt. Grard Captain Ramballe Lt. Bonnet Shopkeeper Matveyev Young Worker Dunyasha Mavra Kuzminichna Count Pierre Bezukhov Marshal Davout Davouts Adjutant French Officer Ivanov Platon Karatayev 1st Lunatic 2nd Lunatic 3rd Lunatic Dominic Barberi Steven Phillips Stephen Fennelly Stephen Chambers Elizabeth Garton Andrew McTaggart Jonathan Cooke Marie Claire Breen Jemma Brown Dmitry Ivanchey/Bjartmar Sigurdsson Craig Wickham David OHanlon Nicholas Cowie Barry McAleer Jamie Munn Gitai Fisher Benjamin France John Findon

Cast /
Prince Andrei Bolkonsky Natasha Rostova Michel de Souza Diana Harutyunyan/Maria Kozlova

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War and Peace

Part Two: War

The Chorus

Scene Eleven / Retreat from Moscow, November 1812

The French retreat along the Smolensk road with their prisoners, including Pierre and Karatayev. When a guard shoots Karatayev, a partisan ambushes the guard and kills him. The partisan detachments led by Denisov and Dolokhov meet and decide to attack the French, liberating the prisoners. Pierre learns from Denisov that life is beginning to return to Moscow. The partisans relax, joking about the supposed injuries of one of the partisans. Kutuzov appears and pronounces Russia saved. He thanks the troops, who cheer him and their victory.

Footmen, chambermaids, dancers, peasant militia, peasant women, Russian and French soldiers, Muscovites, partisans and all other parts are played by the members of the Chorus.

Cast /
Captain Ramballe Lt. Bonnet Lt. Grard Lt. Jacquot Young Grenadier Old Grenadier French Officer Platon Karatayev Count Pierre Bezukhov Tikhon Shcherbaty Fyodor Trishka Kondratyevna Vassilissa Lt. Colonel Vassily Denisov Dolokhov Field-Marshal Prince Mikhail Kutuzov Stephen Fennelly Stephen Chambers Steven Phillips Dominic Barberi Matthew Todd Ott Indermitte Jamie Rock Jamie Munn Dmitry Ivanchey/Bjartmar Sigurdsson Vahagn Margaryan Jakob Holtze Johansen Catriona Morison Charlotte Emma Whittle Melissa Lunn Nicholas Morris James Birchall Aram Ohanian

Sopranos
Victoria Atkinson Rachael Brimley Jessica Broad Sarah Forbes Elizabeth Garton Monica McGhee Rebecca Hooper Helen Knight Deborah Rudden Charlotte Emma Whittle

Mezzo-sopranos
Lucy Anderson Lynn Bellamy Louisa Cheshire Melissa Lunn Brynne McLeod Catriona Morison Catherine Pope Laura Margaret Smith Fiona Wilkie

Tenors
Kieran Bain Stephen Chambers Jonathan Cooke Jakob Holtze Johansen John Findon Gitai Fisher Warren Gillespie Barry McAleer Steven Phillips James Slimings Cailean Swainson Christian Schneeberger Matthew Todd Benjamin Vale

Basses
Domnic Barberi Bryan Benner Owain Browne Nicholas Cowie Ott Indermitte Stephen Fennelly Andrew McTaggart David OHanlon Jamie Rock Donald Thomson Craig Wickham

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The Cast
Kieran Bain / Kieran Bain is in his first year of the BMus Vocal Performance course at the RSAMD, studying with Ian Paton. For the past three years he has been a member of the National Youth Choir of Scotland and has performed in concerts including Proms in the Park and the Scottish premiere of Howard Goodalls Eternal Light. Later this year he will be touring Germany with the choir. Dominic Barberi / Dominic Barberi began studying at the RSAMD in 2008 with Stephen Robertson. The winner of the Jean Highgate Scholarship for Singers at the end of his first year, he recently competed in the Junior Kathleen Ferrier Competition. A member of both the National Youth Choir of Great Britain and their chamber choir Laudibus, he has performed various works as a soloist and choral member. As a soloist he has performed works including Mendelssohns Elijah, Faurs Requiem, Mozarts Requiem and Rossinis Petite Messe Solennelle. Bryan Benner / American-born baritone Bryan Benner is in his final year at the Academy and looks forward to returning home to continue his vocal studies in the US after an exciting four years in Scotland. He will next be heard singing Jacob in the upcoming Academy production of Rory Boyles new opera Kaspar Hauser: Child of Europe. He would like to give a special thanks to Sylvia Rumori for all her support during his studies. He is a student of Stephen Robertson. James Birchall / James Birchall was a chorister at St Georges Chapel, Windsor Castle. He studied at St Johns College, Cambridge and the Royal Academy of Music, and now studies with George Gordon on the Opera course at the RSAMD. He has sung Messiah with the City of Birmingham Symphony Orchestra in Symphony Hall and in the Usher Hall, St John Passion in St Pauls Cathedral, Christmas Oratorio in Norway, and St Matthew Passion in Symphony Hall (recently released on live CD). He has twice appeared as a soloist at the Three Choirs Festival. Operatic roles include Swallow Peter Grimes, Mphistophls Faust, Zuniga Carmen and, in scenes, Don Giovanni, Belcore and Capulet. Marie Claire Breen / Marie Claire Breen is currently on the Master of Opera course at the RSAMD under the tuition of Patricia Hay. She played the role of Naiad in the Spring 2009 production of Strausss Ariadne auf Naxos and was this years recipient of the Governors Recital Prize for Singing, following which she recorded a special performance for BBC Radio Scotlands Classics Unwrapped. Recent engagements include two performances at St Marys College of Marylands annual River Concert Series, where she performed with trumpet virtuoso John Wallace. She is currently preparing the role of Susanna for the Academys 2010 production of Le nozze di Figaro. Jemma Brown / Jemma Brown obtained a BMus (Hons) from the University of Glasgow, studying with Patricia MacMahon. She completed her PGDip and MMus at the RSAMD with Kathleen McKellar Ferguson and is now on the MMus (Opera) course. She sang the world premiere of Kirsty Blackwoods These Delicious Promptings at the 2008 Glasgow International Visual Arts Festival, and Maxwell Daviess Dark Angels to critical acclaim in the Academys recent Max at 75 festival. She has appeared in opera scenes as Leonora La Favorita and Genevive Pellas et Mlisande. She covered Madame de Croissy Dialogues des Carmlites in 2008. She will be singing Marga in Rory Boyles new opera Kaspar Hauser: Child of Europe. Maria Brown / Maria Brown is currently on the MOpera course at the RSAMD, studying with Stephen Robertson. She attained a Diploma in Theology, Music and Worship at the London School of Theology and a BMus (Hons) in Music at the Academy, receiving the Mary D Adams Scholarship for Voice. She also has a PGDip in Opera Studies and a MMus in Opera from the Academy. Her opera roles include Dryad Ariadne auf Naxos (RSAMD), Miss Baggott The Little Sweep (Aberdeen International Youth Festival), Nun Dialogues des Carmlites final scene (Edinburgh International Festival), Larina (cover) Eugene Onegin (RSAMD/Scottish Opera), and chorus for Un ballo in maschera and Kta Kabanov (Opera Holland Park) and The Rakes Progress (British Youth Opera). Future engagements include Daumers sister in the premiere of Rory Boyles opera Kaspar Hauser: Child of Europe and Marcellina Le nozze di Figaro, both at the Academy.

The Cast
Owain Browne / Owain Browne is a Suffolk-born baritone of Welsh stock on the final year of the RSAMD Opera course. He has performed roles such as Dr Malatesta Don Pasquale, Mozarts Count Almaviva, Billy Budd, Pellas and Schaunard La bohme in scenes. He made his debut on the opera stage as Mr Gedge in Brittens Albert Herring with the Co-Opera Company at the London Oratory School in August 2009 and is excited to be creating the title role of Kaspar Hauser in the premiere of Rory Boyles Kaspar Hauser: Child of Europe at the Academy this Spring. Stephen Chambers / New Zealand tenor Stephen Chambers graduated from the University of Otago in 2005 with a BSc in Physiology, as well as a BMus (Hons), having studied with Judy Bellingham and Isabel Cunningham. In 2008 he graduated with a GPD (Opera) from the Boston Conservatory, under the tutelage of Dr Rebecca Folsom. His operatic roles include Male Chorus The Rape of Lucretia, Peter Quint The Turn of the Screw, Alpheus/Ares in Mark Adamos Lysistrata and Tamino Die Zauberflte. He also premiered the role of Tramp in Dust of the Road by Marcus Karl Maroney. Jonathan Cooke / Jonathan Cooke is in his third year at the RSAMD. In his second year, he represented the Academy in the Junior Kathleen Ferrier Competition. He has sung in opera choruses for Rossinis La donna del lago at Garsington Opera, Donizettis Emilia di Liverpool with the European Opera Company and Brittens Peter Grimes and Death in Venice at the St Endellion Music Festival. In 2008 he sang the tenor solo in Edinburgh University Music Societys performance of Beethovens 9th Symphony. Recently he performed Nemorino in a scene from Lelisir damore with Edinburgh Studio Opera. Nicholas Cowie / Glasgow-born Nicholas Cowie started singing lessons with his father Gordon when he was at school, until he accepted a place at the RSAMD in 2008 to study with Alan Watt. He made his solo debut singing The Call from Vaughan Williams Five Mystical Songs with the National Youth Choir of Scotland, which was broadcast on BBC Radio 4. For the past two years he has been a choral scholar at New Kilpatrick Church in Bearsden, with whom he has performed solos in Handels Messiah, Schuberts Mass in G and Stainers Crucifixion. He is a recipient of the Peter Mooney Scholarship at the Academy. Stephen Fennelly / Stephen Fennelly has performed with all of Irelands leading opera companies, including Opera Ireland, Wexford Festival Opera and Anna Livia Opera, in chorus and small roles. As a soloist he has sung such roles as Dulcamara, Bartolo and Don Pasquale with Opera in the Open in Dublin. In operatic scenes at the RSAMD he has sung roles as diverse as Colline La bohme and Hunding Die Walkre. On the concert stage he has sung numerous masses and requiems in Ireland and the UK. Upcoming projects include Mozarts Requiem at Paisley Abbey and the title role in Le nozze di Figaro at the Academy. John Findon / John Findon is from Manchester and has been singing in choirs since he was six years old. He is in his first year of the BMus (Hons) course at the RSAMD. Although this is his opera performance debut, he has sung tenor solos in works such as Handels Messiah and Mozarts Requiem. He has also performed lead roles in a number of musical-theatre pieces, including Les Misrables and The Phantom of the Opera. Elizabeth Garton / Elizabeth Garton studied at the Royal Welsh College of Music and Drama with Gail Pearson. During this time she studied and performed various operatic roles and choral repertoire. For Welsh National Youth Opera she performed Marenka The Bartered Bride, Lady Billows Albert Herring and The Old Lady Candide. She has also participated in workshops with British Youth Opera, playing the role of Fiordiligi Cos fan tutte. In 2006 she gained a scholarship to study at the Hochschule fr Musik und Theater in Leipzig, where she studied under Professor Friedemann Rohlig. She is currently studying for a PGDip in Opera at the Academy. Warren Gillespie / Born in Edinburgh, Warren Gillespie graduated from the RSAMD in 2008 and now studies on the MMus (Opera) course with Stephen Robertson. He performed as tenor soloist for a performance of Messiah involving numerous choral societies from around the country in Edinburghs Usher Hall. His solo performances also include Mozarts Requiem, and Haydns Creation and Nelson Mass. At the Academy he has appeared as Scaramuccio in Ariadne auf Naxos and Frantz in The Tales of Hoffmann. He has worked with distinguished artists in masterclasses, including Alan Opie, Karen Cargill, John Mark Ainsley, Malcolm Martineau and Julius Drake. He is supported by the RSAMD Trust Fund.

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The Cast

The Cast

Aleksey Gusev / Russian baritone Aleksey Gusev was born in Belaya Kalitva, Rostov region. He enjoyed music and singing from childhood. In 2000 he finished music school as a bayan player. In 2005 he entered a preparation course at the Rostov State Rachmaninov Conservatoire, where he is currently in the third year of his studies for his BMus. In 2007 he was invited to the Rostov State Musical Theatre as a soloist, where he prepared a number of opera parts in a short time period. He was awarded a prize at the first Rachmaninov international singing competition in 2009. Diana Harutyunyan / Soprano Diana Harutyunyan was born in Yerevan, Armenia, and started studying singing and the piano at the age of seven. In 2001 she entered Yerevan State Conservatoire under the tutelage of Larisa Mkrtchyan and will soon graduate from her postgraduate studies in Vocal Studies. She has performed the roles of Volpino in Haydns The Apothecary, Donna Elvira in Mozarts Don Giovanni and others, and is also one of the soloists in the conservatoires Opera Studio. She has been successful in several competitions in her home country of Armenia. Ott Indermitte / Ott Indermitte is an Estonian baritone. He has been on the Vocal Studies course at the Estonian Academy of Music and Theatre in Tallinn for three years and is spending his fourth year as an exchange student at the RSAMD. His operatic roles include Bogumil in Leo Falls Der liebe Augustin, Florimond in Emmerich Klmns Das Veilchen vom Montmartre, Simone Gianni Schicchi and Clock and Cat Lenfant et les sortilges. Dmitry Ivanchey / Dmitry Ivanchey is a Russian violinist and tenor. He graduated from the Gnesin Academy of Music in Moscow after studying at the Rostov School of Arts. Now a postgraduate student at the Rostov State Rachmaninov Conservatoire, he also works with the Moscow Philharmonic. A violinist, he is also a third-year vocal student at the Moscow P I Tchaikovsky Conservatoire and has taken part in masterclasses with Elisabeth Bice, Mario Melani and Carlo Pari. He has significant stage experience and has been successful in competitions for violin and voice in Ukraine, Russia, Germany and Italy. Forthcoming roles include Mengone in Haydns Lo speziale, Marco in Rachmaninovs Monna Vanna, conducted by Vladimir Ashkenazy, and Parade of Tenors in Voronezh.

Jakob Holtze Johansen / Danish tenor Jakob Holtze Johansen has an MA in Voice from the Royal Danish Academy of Music. He now studies Opera at the RSAMD with Stephen Robertson. He has been the soloist at a large number of concerts, with a varied repertoire of art songs and excerpts from opera and operetta. As a soloist he has appeared in Handels Messiah, Puccinis Messa di Gloria, Mozarts The Magic Flute, Beethovens 9th Symphony and Gades Elverskud with various orchestras and choirs. He has sung in masterclasses with Malcolm Martineau, Dame Ann Murray, Bo Skovhus, Ryland Davies, Helmuth Deutsch and Reiner Goldberg. Rebecca Afonwy-Jones / Welsh mezzo-soprano Rebecca Afonwy-Jones joined the RSAMD in 2008, performing La Muse/Nicklausse in the 2009 production of Les contes dHoffmann. Her other operatic roles include Minskwoman (cover) Flight for British Youth Opera, scenes from the roles of Hnsel, Serse, Carmen, Cendrillon and Annio at the RSAMD and Composer Ariadne auf Naxos in Rostov-on-Don. She also played the roles of Dorabella, Cherubino, Annio and Zerlina in scenes for the 2009 Anghiari Festival in Italy. Her future plans include Cherubino Le nozze di Figaro at the Academy. She is grateful to have been generously supported in her studies by Serena Fenwick, The Seary Charitable Trust, The Independent Opera Scholarship, The WCOM Allcard Award and The MBF Sybil Tutton Award. Maria Kozlova / After graduating in choral conducting from the St Petersburg Conservatoire in 2005, Russianborn Maria Kozlova came to the RSAMD to study under Patricia Hay. She recently graduated from the Master of Opera course with distinction. Her credits include Tatyana Eugene Onegin, Nicolette The Love of Three Oranges, Bachs B minor Mass, Handels Messiah and Antonia Les contes dHoffmann (RSAMD). Future engagements include Vivaldis Gloria and Mozarts Coronation Mass in Kilmacolm in March. She is the winner of the Tony and Tania Webster Prize for Russian Song (RSAMD, April 2007) and Ye Cronies Opera Award (May 2009).

Melissa Lunn / Melissa Lunn is currently on the RSAMD Postgraduate Opera Studies course, studying with Margaret Izatt. She has worked with many choirs and choral societies throughout Britain in works including Vivaldis Gloria and Stabat Mater, Mozarts Requiem, Durufls Requiem, Haydns Maria Theresa Mass, Handels Messiah and Bachs Magnificat. Her roles in opera scenes include Filippevna Eugene Onegin, Frau Reich Die lustigen Weiber von Windsor and Mrs Noye Noyes Fludde, and she has understudied Arnalta Lincoronazione di Poppea and Florence Albert Herring. She is supported by the Yorkshire Ladies Council of Education and North Yorkshire County Council. Beth Mackay / Beth Mackay completed a Postgraduate Diploma at the RSAMD in July 2009, and is now studying in the Academys Opera School under Pat Hay. Her roles include the Bakers Wife in Sondheims Into the Woods and Larina in Eugene Onegin. She has played Idamante Idomeneo, Dorabella Cos fan tutte, Hnsel Hnsel und Gretel, Nancy Albert Herring and the title roles in Handels Ariodante and Serse, Brittens The Rape of Lucretia and Rossinis LItaliana in Algeri in excerpt series. This year she will play Cherubino in the Academys production of Le nozze di Figaro. She is grateful to the RSAMD Scholarship Trust and the Dewar Award for supporting her studies. Sergey Mankovskiy / Russian tenor Sergey Mankovskiy was born in Primorsko-Akhtarsk, Krasnodar region. While studying at school, he received prizes in a number of junior competitions. After school he went to Krasnodar Art College to further his vocal studies. Between 2002 and 2007 he studied at Krasnodar and St Petersburg State Conservatories. In 2007 he moved to the Rostov State Rachmaninov Conservatoires, where he is currently in the fifth year of his BMus. In 2008 he was invited to Rostov State Musical Theatre as a soloist. Vahagn Margaryan / Bass Vahagn Margaryan was born in Hrasdan, Armenia. He didnt start his musical studies until he was 17 years old, when he entered the Yerevan State Conservatoire and studied under Svetlana Kolosaryan. At the same time he was also a solo singer with the Opera Studio of the conservatoire. He has performed the roles of Don Annibale from Donizettis Il campanello, Don Basilio The Barber of Seville, Simone Gianni Schicchi and Doctor La traviata. He has performed extensively throughout Armenia on the concert platform. He will graduate in June 2010 from his postgraduate course in Yerevan.

Barry McAleer / Barry McAleer is from Omagh, Northern Ireland. He currently studies with Stephen Robertson at the RSAMD. He has toured America, the UK and Ireland and Europe, as a soloist and in chorus, with Omagh Community Youth Choir, Youth Opera Northern Ireland, Welsh National Opera, Fife Opera, Lakeland Opera and the Academy. He has appeared in the chorus in over 30 productions and performed roles such as The Preacher Down in the Valley, Lockit The Beggars Opera, PoohBah The Mikado, Masetto Don Giovanni, Guccio Gianni Schicchi, Ferdinand The Turing Test, Monostatos Die Zauberflte, Cochenille Les contes dHoffmann and Cascada The Merry Widow. Brynne McLeod / Canadian mezzo-soprano Brynne McLeod completed her Bachelor of Music in Voice Performance at the University of Toronto Faculty of Music and is now completing her Master of Music in Concert Singing at the RSAMD. On the opera stage, she has appeared as Ernesto in Haydns Il mondo della luna and Katisha in The Mikado. She has performed as a chorister and soloist with the Festival Ensemble Stuttgart and as a soloist at the Casalmaggiore International Festival. This year at the RSAMD she looks forward to singing the role of Marijke in Rory Boyles new opera, Kaspar Hauser: Child of Europe. Andrew McTaggart / Andrew McTaggart, BMus (Hons) is currently studying with Kathleen Ferguson and George Gordon. During his time at the Academy he won The Florence Veitch Ibler Prize for Oratorio Singing. He performed in the premiere of Love in the Blue Corner by Gareth Williams and roles including Copplius in The Tales of Hoffmann and Bob in The Little Sweep. Broadcast on BBC Radio 3, he sang the baritone solos in Howard Goodalls Requiem: Eternal Light. He also took part in a recording with Jamie MacDougall for the BBC3 programme Classics Unwrapped after a week-long intensive masterclass with Malcolm Martineau at Crear, Kilberry. Catriona Morison / Edinburgh-born mezzo-soprano Catriona Morison graduated from the RSAMD with a BMus (Hons) in Vocal Studies in July 2009. While studying for her degree she went on an ERASMUS exchange to the Universitt der Knste in Berlin where she studied with Professor Julie Kaufmann. She has participated in masterclasses with Hkan Hagegrd, Svein Bjrky and Malcom Martineau. Last year she understudied the role of Smeraldine for the Academys production of Prokofievs The Love of Three Oranges. She is currently studying for a PGDip in Opera Studies under the tuition of Margaret Aronson.

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The Cast

The Cast

Nicholas Morris / Nicholas Morris is currently studying on the Academys Opera course, supported by the RSAMD Trust and the Thomas and Margaret Roddan Trust, learning with Alan Watt. He has trained on English National Operas Opera Works programme, and at the Guildhall School of Music and Drama. He is an alumnus of the Britten-Pears Young Artist Programme at Snape Maltings. Later this year he will play Count Almaviva in Le nozze di Figaro at the Academy. This last summer he covered Nick Shadow in The Rakes Progress for British Youth Opera. Last year at RSAMD he played Lindorf in The Tales of Hoffmann and Tchelio in The Love of Three Oranges. Jamie Munn / Jamie Munn sings under the tuition of Iain Paton and has also spent time at Berlins Universitt der Knste (UdK) with Siegfried Lorenz and Peter Maus. While at the RSAMD, he has played Spalanzani in The Tales of Hoffmann and covered the role of Pantalon in The Love of Three Oranges. He has sung in recital in prestigious venues in Edinburgh, Berlin, London and Glasgow, and was recently broadcast on BBC Radio performing rediscovered songs by Mendelssohn. He has sung in masterclasses with Malcolm Martineau, Ann Murray, Richard Stokes, Hkan Hagegrd and Robin Bowman. Aram Ohanian / Aram Ohanian, born in Aleppo Syria, studied at the AGBU School in Aleppo from 1989 to 2000. After graduation he moved to Yerevan, Armenia, to study at the Yerevan State Conservatoire. He has a Masters degree in Vocal Art, and is studying now as a postgraduate student at the Opera Studio of Yerevan State Conservatoire. He has sung in many opera performances in the Opera Studio including the title roles in Gianni Schicchi, Don Giovanni, Michele in Il tabarro and Figaro in Il barbiere di Siviglia.

Steven Phillips / For over five years Steven Phillips has been singing across Southwest England and with auditioning choirs in Paris and Brittany, at Exeter, Truro and Manchester cathedrals, and at Westminster Abbey. For three years he has been awarded scholarships and solo scenes at Ardingly International Music School, last year singing Robinson in Robinson Crusoe and previously Albert in Albert Herring. He also toured with Duchy Opera as Jupiter in Semele and will sing again on their 2010 Cyprus tour. He has successfully auditioned for masterclasses with Dame Emma Kirkby and Philip Langridge, and now studies with Iain Paton at the RSAMD. This year he will sing Don Curzio in Le nozze di Figaro at the Academy. Jamie Rock / Following studies at the Royal Academy of Music, Jamie Rock is now studying Opera at the RSAMD with Stephen Robertson. He has taken part in masterclasses with Thomas Allen, Ann Murray, Dennis ONeill and Graham Johnson. His recent opera roles include Bartley Riders to the Sea, Aeneas Dido and Aeneas, Count Ceprano Rigoletto and Giuseppe The Gondoliers. He has performed in St Martin-in-the-Fields, the National Concert Hall (Dublin), Ulster Hall (Belfast) and Salzburg Cathedral. Performed works include St John Passion, B minor Mass, Messiah, Petite Messe Solennelle and Brahms Requiem. This year he plays Figaro in the Academy production of Le nozze di Figaro. He is grateful for the support of Bloxham Stockbrokers, Derek Hill Foundation, Sir James Caird Scholarship and Arts Council of Ireland. Bjartmar Sigurdsson / Bjartmar Sigurdsson was born in Reykjavk, Iceland. Although he showed a talent for music at an early age, it was not until he was 28 that he realised the potential to become a classical singer and he began to study privately in Iceland and the UK. He has participated twice on the Florencevoice course in Italy, and taken part in masterclasses with Ian Storey, Philip Langridge, Julian Rodescu and Laura Brooks. His roles include Bacchus Ariadne auf Naxos and, in excerpts, Don Jos Carmen, Pollione Norma, Jenk The Bartered Bride, Rodolfo La bohme and Siegmund Die Walkre. In 2007 he moved to the RSAMD, graduating with a PGDip in Opera Studies. He is now on the Masters course in Opera, studying with Stephen Robertson. In 2009 he was granted the Wagner Scholarship from the Wagner Society in Edinburgh.

Laura Margaret Smith / Laura Margaret Smith is a music graduate of the University of Edinburgh and a postgraduate student in Vocal Performance at the RSAMD, studying singing with Margaret Izatt. During her studies in Edinburgh, she was a finalist of the Donald Tovey Performance Competition. She has sung with Edinburgh Studio Opera in Smetanas The Bartered Bride, and sang the role of Clarissa in the world premiere of Julian Wagstaffs The Turing Test at the Edinburgh Fringe in 2007. She has given recitals at various venues, including the Reid Concert Hall, St Cecilias Hall and the Edinburgh Society of Musicians. Michel de Souza / Michel de Souza was born in Petropolis, Brazil. He started studying music with the Canarinhos de Petropolis boys choir, later graduating in Organ from the School of Music at the University of Rio de Janeiro, where he also studied Singing. In 2007 he won first prize in the Maria Callas Vocal Competition in So Paulo. He has performed roles in Faust, Fidelio, The Fall of the House of Usher, Gianni Schicchi, The Love of Three Oranges, Elektra, Ariadne auf Naxos, The Tales of Hoffmann and Il signor Bruschino. He is currently studying on the MMus in Opera course at the RSAMD with a scholarship from the Associated Board of the Royal Schools of Music. Lucinda Stuart-Grant / Lucinda Stuart-Grant is on the Opera course at the RSAMD. She obtained a BMus (Hons) at the Guildhall School of Music and Drama. Her operatic experience includes Irene Theodora, Ino Semele (Handel Festival, High Wycombe); Stewardess (understudy) Flight by Jonathan Dove, 3rd Boy The Magic Flute (British Youth Opera). Selected scenes include Nancy Albert Herring (RSAMD); Meg Page Falstaff (Royal Albert Hall); Larina Eugene Onegin; Mercds Carmen, Hermia A Midsummer Nights Dream (GSMD). Her concert engagements include a concert with the Bridge Duo (Luton Music Club) and Pierrot Lunaire Schoenberg (GSMD). She is supported by the RSAMD Trust, South Square Trust and McGlashan Charitable Trust.

Matthew Todd / Matthew Todd is a tenor, currently studying at the RSAMD. Before attending the Academy he completed an HND at Stevenson College Edinburgh and was given the award for Best Advanced Music Student. He has sung with many choirs and enjoys conducting and composing choral music. He is also a dedicated youth worker and is trained in residential childcare, community music, and as an archery coach. He has a passion for teaching children to sing and is a firm believer in the empowering benefits of music. Charlotte Emma Whittle / Charlotte Emma Whittle is from Fife and has been studying singing since she was 13 with Robyn and George Gordon. Annually, she took part in the Fife Festival of Music, and has been a member of the National Youth Training Choir of Scotland. She performed in the Usher Hall at the opening concert of the 2008 Edinburgh International Festival alongside the Royal Scottish National Orchestra in Kurt Weills The Rise and Fall of the City of Mahagonny, conducted by H K Gruber. She has also appeared in the RSAMDs production of Dialogues des Carmlites, and recently took part in the Junior Kathleen Ferrier Award for Singers. Craig Wickham / American bass Craig Wickham, from Michigan, is currently pursuing a Master of Opera degree at the RSAMD. Currently, he is preparing the role of The Man in Black in the premiere of Rory Boyles Kaspar Hauser: Child of Europe and also Dr Bartolo in Le nozze di Figaro, both at the Academy. Before his move abroad, he received a BM in Voice Performance from Eastern Michigan University. He was a member of the Michigan Opera Theater Chorus for their 2008 Season. He also holds a BA in Apparel Design.

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The Orchestra of Scottish Opera RSAMD students names are in italics


First Violins Anthony Moffat / Leader Frances Pryce Katie Hull / Assistant Leader Terez Korondi Tim Ewart Sharon Haslam Sian Holding Anne Simpson Michael Larkin Vaclav Bohonek Siu Hay Yip Gergely Horvath Second Violins Angus Ramsay / Section Principal Genevieve Martineau Lesley Nell John Robinson Gemma OKeeffe Malcolm Ross Liz Reeves Mary Ward Gordon Duncan Aaron McGregor Violas Lev Atlas / Section Principal Rachel Davis Alison Hastie Ian Swift Panna Kakuszi Christine Anderson Liam Redmond Jenna McNeill Cellos Rudi de Groote / Section Principal Stephen Adam Marie Connell Sarah Harrington Aline Gow Feargus Egan Double Basses David Peller / Section Principal Tom Berry Christopher Freeman Christopher Sergeant Flutes Richard Blake / Section Principal Elisabeth Pyper John Hall Oboes Joseph Houghton / Section Principal Arlene Cochrane Kirstie Logan Clarinets Nicholas Ross / Section Principal Rebecca Humphreys Lawrence Gill Bassoons Janet Bloxwich / Section Principal Judith Barclay Alan Warhurst French Horns Sue Baxendale / Section Principal David Pryce Rebecca Hill Ian Smith David Smith Trumpets Andrew Lynn / Section Principal Simon Bird Andrew Connell-Smith Trombones Andrew Cole Alan Pash Bass Trombone Christopher Stearn Tuba Fraser Russell Timpani Ruari Donaldson / Section Principal Percussion Jay Allen / Section Principal Calum Huggan Glynn Forrest Joe Bostock Philip Hague Harp Saida de Lyon / Section Principal Offstage Band Flute David Jervis Piccolo Rachel Coghlan Trumpets Gregor Beattie Fiona Pitcathley Ben Hirons Trombones Christopher Mansfield Cillian OCeallachain Euphonium Scott Findlater Snare Drum Philip Hague The Orchestra of Scottish Opera Staff Orchestra and Concerts Director Jay Allen Assistant to the Orchestra and Concerts Director Rona Chisolm Music Librarian Jane Watts Orchestra Technician Brian Murphy RSAMD Staff Head of Opera Tim Dean Head of Vocal Studies Christopher Underwood Repetiteurs Se Ho Lee Ayako Kanazawa Adam Laslett Musical Preparation Duncan Williams Chorus Preparation Susannah Wapshott Assistant Conductor and Conductor of Offstage band Jessica Cottis Language Coach Maria Kozlova Programme Support Instrumental Performance Gemma Carlin Programme Support Vocal Performance Anita Dick Performance Librarian Lucy Robertson Head of Instrumental Performance and Brass Bryan Allen Head of Strings Peter Lissauer Head of Woodwind Heather Nicoll Distinguished Fellow in Timpani and Percussion Kurt Hans Goedicke Research Assistant Christina Guillaumier

The Production Team


For Scottish Opera Technical and Operations Director Steve Green Production Manager Darren Joyce Lighting Supervisor Stephen Powles Lighting Chargehands Roberta Gollop Daniel Murfin Stage Supervisor Ben Howell Flying and Rigging Supervisor Craig OHanlon Stage Chargehands Stephen Fulton Gary Quinn Additional Costumes made by Scottish Opera Wardrobe Department Additional Costumes hired from Scottish Opera Costume Hire Department Scenery Constructed and Painted by Scottish Opera Workshops Audio Describers Jacqueline Bouchard Sheila Hawthorn For RSAMD (BA Technical and Production Arts) Company Manager Mark Hathaway (Staff) Production Manager Andrew Storer (Staff) Fight Director Mark McKenzie Costume Supervisor Bill Butler (Staff) Stage Management Supervisor Helen C Gorton (Staff) Audio Visual Designer Seth Hardwick Assistant Designers Jessica Lennon Andrew Wilson Assistant Lighting Designers Katrina Kelly Karlene Reid Stage Manager Emma Whoriskey Deputy Stage Manager Kieron Johnson Assistant Stage Managers Graham Colvan Catherine Lewis Assistant Props Stage Managers James Clelland Laura Jarvis Stage Supervisor Louise Marr Stage Technicians Martin Aitken Scott Bremner Production Electricians Michaella Fee Puleng B Mabuya Stage Electricians Jamie Fallen Madeleine Hillman David MacMorris Lighting Operators Emily Lennox Jonny Reed Follow Spot Operators Lauren MacKay Barry McDonald Audio Visual Operator Craig Ralph Assistant Scenic Artist Scott McIntosh Scenic Artist (Props) Iain Waugh Touring Wardrobe Mistress Hannah Clark Touring Wardrobe Assistant Rosie Blackshaw Additional Costume making by Robert Gordon Hilary Willi Surtitles Andrew Huth
We are grateful to the Royal Opera House, Covent Garden for the use of their surtitles.

Scenery Construction Lecturer Zander Lee Scenic Art & Design Lecturer Jamie Mackay Stage Technology Lecturer Steve Macluskie Lighting & Sound Lecturer Simon Cadell Props Construction & Design Lecturer Martin Mallorie Costume Technology & Design Lecturer Christine Murphy Stage Management Lecturer John Wilkie RSAMD Central Production Unit Staff Head of Production Planning Andrew Storer Production Manager Lynfryn Mackenzie Production Support Technician Sarah Leask Costume Tutors Anna Antczak Gillian Affleck Cate Mackie Lynn McGinley Gillian McLeod Lighting Tutor Christine Scott Props Tutor Astrella Oldham Scenic Art Tutor Gary Fry Workshop Tutors Simon Cook Kris Whitehead Our thanks go to the following for their support of this production: Darren Joyce and all the Production Staff at Scottish Opera All staff at Theatre Royal Glasgow All staff at Festival Theatre Edinburgh SG Baker Ltd, sgbaker.co.uk Brian Clements Dundee Repertory Theatre 2nd Glasgow Scout Hall David Lloyd Jones M&S Argyle Street, marksandspencer.com Noel Kegg Ltd Ralph Plastics Scottish Opera (Claire and Alistair) Shearer candles, shearer-candle.com Tesco Toolbank, toolbank.com Kris Whitehead Hugh Whoriskey The World Flag Store

Surtitle Operators Gemma Summerfield Katherine Grant For James Watt College Make-up Artists Nina Blake Emma Rock Gemma Thompson Kayleigh Sutherland Michelle Lyons Angela Beattie Lisa Campbell Megan Gillies Ruth Higgins Linsey Gillhooley Natasha Dardas RSAMD Technical and Production Arts Staff Head of Production Ros Maddison

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Final Year BA Technical and Production Arts Students


Michaella Fee / Production Electrician Michaella Fee studied Management and Technology on the BA Technical and Production Arts programme before specialising in Production Electrics. She has been involved with the lighting and sound for a huge range of productions over the last two years, including The Ruling Class, three pantomimes and The Seagull in the New Athenaeum Theatre; Spring Awakening and contemporary performances in the Chandler Studio Theatre and last years co-production with Scottish Opera The Love of Three Oranges at Theatre Royal Glasgow, Festival Theatre Edinburgh. Kieron Johnson / Deputy Stage Manager Kieron Johnson is in his final year studying Technical Theatre at the RSAMD, specialising in Stage Management. His previous RSAMD productions include Assistant Stage Manager for Into the New at Tramway, Wounds to the Face, A Woman of No Importance (all 2008) and The Love of Three Oranges (2009), and Stage Manager for the Academys Shakespeare in the City 2009 production of A Midsummer Nights Dream at Scottish Youth Theatre. He has also been Assistant Stage Manager/Deputy Stage Manager for seven musicaltheatre productions at the Edinburgh Fringe (2008 and 2009), including Jerry Springer: the Opera. He will be Deputy Stage Manager for Plasticine at the Citizens Theatre in March. Katrina Kelly / Assistant Lighting Designer Katrina Kelly has designed the lighting for a variety of Academy productions including Terra Incognita in the Chandler Studio Theatre, A Midsummer Nights Dream and Julius Caesar in the Brian Cox Studio Theatre and RSAMD Opera Scenes in the Alexander Gibson Opera Studio. In March she is designing the lighting for the Academys co-production of Three Sisters in the Citizens Theatre directed by Guy Holland. In September 2009 Katrina was one of the design team from RSAMD to win the coveted Best Design Team in the World at the World Stage Design Exhibition in Seoul, South Korea. Puleng B Mabuya / Production Electrician Puleng B Mabuya is currently in her third year studying BA Technical and Production Arts at the RSAMD, specialising in Lighting and Sound. She worked as an assistant lighting designer for Cooking with Elvis at the Tron Theatre, lighting designer for A Child Made of Love for Glasgay, lighting technician for summer festivals at Scottish Youth Theatre, The Fringe in Edinburgh in 2009, International Arts Festival in Austria in 2005 and National Arts Festival in South Africa in 2006. During the past two years she has worked on operas and musicals as lighting and sound technician, and recently made the sound design for The Selfish Giant at the 2009 World Stage Design Exhibition and Conference in South Korea. Louise Marr / Stage Supervisor Louise Marr is a third-year BA Technical and Production Arts student at the RSAMD. She graduates this year specialising in Technical Stage Management. This is her second management role at the Academy, her first being on Dying For It at the New Athenaeum Theatre in 2009. She has worked on many Academy productions including The Love of Three Oranges (2009), Mother Goose, Wounds to the Face, Eugene Onegin, Cos fan tutte (all 2008) and Cinderella (2007). Outwith the Academy she has been Technical Manager for productions of Room 17 (2007), Inside, Clan Gathering, Shakespeare in the City Festival, Dance UK at the SECC (all 2008) and the Luv Esther NGM 2007 tour. She joined Scottish Operas production teams on Cinderella, The Italian Girl in Algiers, The Elixir of Love and Ktya Kabanov. She has also event managed music gigs across Glasgow for many years and is currently working as Technical/Tour Manager on a Scottish tour of Inside. Karlene Reid / Assistant Lighting Designer Now in her final year of the design specialism of the BA Technical and Production Arts programme, Karlene Reid has designed the lighting for a range of productions at the Academy, including Romeo and Juliet and King Lear in the Brian Cox Studio and The Seagull directed by John Kazek and Hugh Hodgart in the New Athenaeum Theatre. In March she is Lighting Designer for Plasticine directed by Adrian Osmond in the Citizens Theatre Circle Studio. Emma Whoriskey / Stage Manager Emma is currently in her third and final year at the RSAMD where she is specialising in Stage Management. Throughout her time at the Academy she has been a Stage Manager on Romeo and Juliet at the Scottish Youth Theatre and CPP2 Through the Iris in the Chandler Studio. She has also been part of the stage management team on several productions, including Cinderella (2007), Cos fan tutte, Wounds to the Face, Whisky Kisses, Spitfire Grill, The Ruling Class, Mother Goose (all 2008) and The Love of Three Oranges (2009). Other Academy productions include Dialogues of the Carmelites and Ariadne auf Naxos. She will be Deputy Stage Manager for Three Sisters, opening at the Citizens Theatre in March.

Royal Scottish Academy of Music and Drama Foundation The Royal Scottish Academy of Music and Drama is the United Kingdoms first conservatoire of Dance, Drama and Music. In order to achieve our aim of providing the best student experience in Europe, we need your support.
The Royal Scottish Academy of Music and Drama Foundation has been established to advance the levels of philanthropic giving and support to students, staff, facilities and the performances through which our students learn. There are many ways to support our Academy. The Annual Fund encourages unrestricted giving at any amount, or you can join our Membership Programme, starting from 24 a year. Many specific opportunities are encouraged, whether these are aimed towards scholarships or to one of our special funds. In September 2007, the Academy introduced a programme of International Fellows. Nadine George, the Lecoq family, Angelo de Castro in Drama; the Brodsky Quartet, Johannes Goritzki, Ilya Gringolts, Lorna McGhee in Music. This programme of masterclasses and intensive teaching periods has been made possible through the support of generous individuals who share our value of going beyond excellence. Our Piano and Instrument Fund was established in 2007 to ensure that our students benefit from a world-class fleet of pianos and instruments at the Academy. The production of War and Peace was greatly helped by the support of our Opera Fund by Standard Life. Please consider making a gift to the Academy which will be used to ensure that we continue to provide the optimum student experience. The Foundation Team is available to answer any questions you may have about supporting the Academy and to assist you in making a donation. John Wallace / Principal Royal Scottish Academy of Music and Drama Registered Charity Number: RSAMD SCO 15855

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Get In On The Act


Every individual donor is a valued supporter of the Royal Scottish Academy of Music and Drama. Contributions enable the Academy to invest in priorities for each academic year and allow us constantly to develop and renew our commitment to democracy of opportunity, to nurture and bring out the best in every individual, and to go beyond excellence. Becoming a donor offers a number of benefits including priority booking, invitations to special events and the chance to engage with the students, staff and alumni, as well as the knowledge that you have directly contributed to the life and work of the Academy. Friends As a Friend, with a 24 annual membership, you can enjoy priority booking at one of Scotlands busiest arts venues and the opportunity to attend special Academy events. Individual and Corporate Donors If you would like to become more involved with the Academy, as an individual or as a company, we can tailor donor opportunities to your particular passions and requirements. There are opportunities to support scholarships, bursaries, the creation of much-needed rehearsal and performance spaces, equipment, productions, competitions and much more. It is only with the continued support of Friends and Donors that we are able to maintain the highest creative and intellectual ambition for our students, reach outside the Academy to engage with young people across Scotland and offer the chance for everyone to enjoy the power of performance please consider joining us. To discuss supporting the Academy and find out more about the different levels of membership please contact the RSAMD Foundation office on: 0141 270 8254 or email: i.mills@rsamd.ac.uk.

Supporting the Academy Opera Fund


The quality of opera training offered at the Alexander Gibson Opera School of the Royal Scottish Academy of Music and Drama attracts singers to Scotland from all over the world. In War and Peace you will hear singers from Brazil and Iceland performing alongside their Scottish counterparts, as well as singers from Rostov-on-Don, with whose Rachmaninov Conservatoire we are in the second year of an Academy-wide exchange programme, Celtic Cossack Connections. The Academys collaboration with Scottish Opera presents a number of key professional development opportunities for our students. Singers and orchestral musicians benefit hugely from performing with Scottish Operas acclaimed orchestra, and the technical staff of Scottish Opera work closely with the students from the Technical and Production Arts degree course, to bring the production into being. All this is in the context of the exciting new development of the Scottish Opera Emerging Artists scheme. Two of last years outstanding students, Louise Collett and Miranda Sinani, were chosen for the first year of the scheme, which sets out to enhance the professional opportunities and experience at the crucial moment when the singers leave their formal training. This has obvious benefits for both institutions. Under the leadership of tonights conductor, Timothy Dean, the Masters Opera courses are orientated towards fully-fledged operatic performance. After developing their skills through the performance of operatic excerpts in their first year, singers move on to perform major roles in the three full productions in their second year. This intense activity would not be possible without the support of numerous individuals, companies, trusts and foundations, and, for Celtic Cossack Connections, the European Commission. The Academy is particularly grateful to Standard Life for sponsoring this production. Our thanks also go to Chevron Upstream Europe for their longstanding award-winning annual support of singers through the Chevron Excellence Award. The Binks Trusts generous donation has enabled the Academy to take opera productions to the Theatre Royal Glasgow and the Festival Theatre Edinburgh in recent years. In an important new development we welcome the Ian Smith of Stornoway Trust as major supporters of the MMus Opera workshops. We are also very grateful for scholarship support received from the Mrs Anne Clutterbuck Charitable Trust, the Ena Mitchell Award, the Mary Garden Scholarship Fund, the Hamilton Duval Music Trust, and many other organisations and individuals who help to sustain aspiring opera stars through their long years of training. There any many ways you can support our opera activities. You can contribute to our opera training programmes, sponsor a production, or help a student by way of an all-important scholarship. For more information about supporting the Academy Opera Fund, please contact the RSAMD Foundation on: 0141 270 8254. Professor Christopher Underwood / Head of Vocal Performance Royal Scottish Academy of Music and Drama

Our Supporters

Major supporters: The Binks Trust Chevron Upstream Europe Glasgow City Council Russian Delegation of the European Commission (IBPP) Standard Life Other support gratefully received from: Douglas Boyd Sir James Cayzer Mrs Anne Clutterbuck Charitable Trust Miss Anne Donald Mr & Mrs Jim Fallen Serena Fenwick Ian Fleming Mary Garden Scholarship Fund James Hunter Blair Bursary Fund Forson Singing Bursary Hamilton Duval Music Trust Mr & Mrs Norman Lessels The Leverhulme Trust Professor Niall Lothian Arnold and Anna Maran John Mather Charitable Trust Ena Mitchell Award Musicians Benevolent Fund The Robertson Scholarship Trust RSAMD Trust John and Caroline Sibbald Thomas Sivewright Catto Charitable Settlement Ian Smith of Stornoway Trust Maurice Taylor Trades House of Glasgow Ye Cronies Dowager Viscountess Younger of Leckie And anonymous donors

Take A Seat
Now that the redevelopment of the New Athenaeum Theatre at the RSAMD is complete, we need your help. Dedicating a seat is a great way to invest in creativity. Make your mark and show your support of the Academy, the performances we present, our students and staff. All contributions, large or small, really can make a huge difference. 42

Making a seat dedication is easy. For a minimum donation of 250 (500 for businesses), you can dedicate: As an individual, couple or family In the name(s) of a special person or loved one As a commemoration of an occasion or performance As a business If you would like further information, please contact Ailsa MacKenzie on 0141 270 8215 or email: a.mackenzie@rsamd.ac.uk

100 Renfrew Street Glasgow G2 3DB +44 (0) 141 332 4101 www.rsamd.ac.uk

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