The Bristol Opera auditions panel is delighted to announce the cast for the April 2025 production of Verdi’s Macbeth.
Lady Macbeth Hannah Macaulay
Macbeth Niall Hoskin
Banquo Roderick Hunt
Macduff Jay Broadhurst
Lady-in-waiting Georgia Strong
Servant/Herald Marco Orazio Mazzarella
Cutthroat Daniel Nisbett
The roles of Malcolm, Doctor and Apparitions are open to further auditions.
Our new season starts on Thursday 3rd October at Horfield Methodist Church
If you are interested in joining our company then find out more by clicking on the ‘join us’ menu or here:
Bristol Opera is looking for principal singers for its forthcoming production of Macbeth at Redland Hall, Red Maids in the week ending12th April 2025.
This is a fully staged production in costume and will be accompanied by a reduced professional orchestra.
Rehearsals begin in October 2024, with chorus rehearsals held on Thursday evenings. Soloists’ rehearsals will take place on Sunday afternoons by default, likely beginning in December 2024. From January 2025, soloists will need to be able to attend some Thursday evening rehearsals as well, increasingly as we approach the performance period.
Depending on overall availabilities, we may be able to vary the rehearsal scheduling but when you apply, we ask that you note any N/As for the period 1st December – 3rd April, for the following slots:
– Sundays 2-6pm
– Thursdays 6-7.30pm
– Thursdays 7.30-9.50pm
You will need to be available for all the final rehearsals, including Sitzprobe, Technical and Dress Rehearsals as follows:
– Sunday 6th April, morning/early afternoon – Sitzprobe
– Monday 7th April, afternoon/evening – Technical Rehearsal
– Tuesday 8th April, evening – Dress Rehearsal
There will be three performances as follows:
The finances of Bristol Opera are dependent on membership subscriptions, payable by all singing members, chorus, and principals alike. In the case of singers actively working in the profession, we invite you to make a donation equivalent to the level of subscription paid by our amateur membership, to support the charitable aims of the company. All donations, including additional donations, are gratefully received. We would never want to exclude anyone from joining the company for financial reasons and so if your circumstances make the subscription unaffordable please get in touch. Bristol Opera does not pay fees or expenses to singers.
The subscription is £18.75 per month (£6.25 pm for students) and you will be asked to pay this for the duration of your time with the company beginning the month you join (or accept a principal role). You can choose to set up a monthly standing order, to pay annually, or to make a one-off payment for a fixed term.
Use this link for all materials from google drive or individually using the links below
https://drive.google.com/open?id=1Aoeb5vip6TwB2B6j28Fi_YxitGnj8kWj&usp=drive_fs
General Overview of audition pieces to be read by all applicants:
The audition pieces are as follows:
Macbeth – Baritone
Lady Macbeth – Soprano/Mezzo soprano
Macbeth and Lady Macbeth duet
Macduff – Tenor
Malcolm – Tenor
Banquo – Bass
Dama Mezzo soprano– Doctor – Bass
Servant – Bass
Please contact the following if you are interested in applying for one of the roles, or you have any questions. Follow the out of office message, if applicable.
Auditions will take place on:
Sunday 29th September 16:00 to 20:00 at Horfield Methodist Church: 1 Churchways Ave, Bristol BS7 8SN. If you wish to apply for any of the roles please contact the address below and include a brief CV of your experience. Closing dates for applicants is 20th September.
Contact: secretary@bristolopera.co.uk
Bristol Opera is pleased to announce the appointment of Felicity Green as the Company’s Director for our next production. The company will be performing Verdi’s Macbeth at Redland Hall, Red Maids between 10th and 12th April 2025. If you are interested in joining the company for this large scale production then please get in touch with the membership secretary: membership@bristolopera.co.uk
Felicity is a Director and Creative Producer. She trained in theatre (University of Warwick, Central School of Speech and Drama) and primarily focuses on opera. Directing credits include The Marriage of Figaro, The Magic Flute, Hansel and Gretel, The Bartered Bride, and La Cenerentola. Semi-staged credits include La traviata and La bohème. Felicity is also an arts fundraiser, having raised nearly £5 Million for creative causes.
As Founder and Artistic Director of HighTime, she established a mid-scale opera company who were appointed artists in residence at the Belgrade Theatre, Coventry. The company produced vivid and captivating interpretations of opera performed by exceptional artists, whilst connecting deeply with the local community to provide operatic experiences for those who may never have engaged with the artform before.
HighTime developed a pioneering approach to opera translation, creating a writers’ room with artists from a wide range of disciplines, championing the diversity of opera creatives’ skills and experiences. Around 65% of audiences for their work were not regular opera attendees. They initiated the first relaxed performance at the Belgrade Theatre and collaborated with Mind to provide supportive theatre visits for those experiencing mental health issues. The company delivered opera workshops to 2,000 children and young people from across the region.
Recently, Felicity has focused on new approaches to opera. She co-wrote and directed an opera-cabaret with drag queen Davida Loca, performed in unconventional spaces including the Shoreditch Treehouse and Brunel Museum. As Creative Producer and Director, she is developing a new work for voice and orchestra based on the testimonies of medical workers’ experiences of crisis. The project brings together musicians and medics, asking questions about the unique pressures facing the workforce, and exploring where this fits in the wider context of medical history.
Bristol Opera is pleased to announce the appointment of Robert Marson as Bristol Opera’s MD for the forthcoming season. The company will be performing Verdi’s Macbeth at Redland Hall, Red Maids between 10th and 12th April 2025. If you are interested in joining the company for this large scale production then please get in touch with the membership secretary: membership@bristolopera.co.uk
Bristol Opera is looking for its next Stage Director for our 2024/25 season. The Stage Director is typically engaged from January to April leading to the production week commencing 7th April. Rehearsals are on a Thursday evening with some Sundays nearer the run. There is an honorarium of £1000 associated with this role.
Bristol Opera is currently seeking applicants for the role of Musical Director for out 2024/25 season – to lead on our next production of Verdi’s Macbeth. This role comes with a fixed honorarium of £1750, so is not a ‘salaried’ position.
For more information please contact secretary@bristolopera.co.uk
Tickets for our semi-staged production of Mozart’s Magic Flute will be available from 9.00 am on 20th April 2024. There will be two performances – 19:30 on 1st June and 18:30 on 2nd June.
We hope that the the earlier start time on Sunday might attract a family audience to the show. As the Monday is back to school, the show will be finished around 9:00, so not too late for returning pupils!
February 16th 2024 performance
Bristol Opera The Merry Wives Of Windsor as seen by Debi Weaver (NODA Southwest District 13/16) on Friday 16th February 2024
Director: Frazier Meakin Musical Director: Arne Kovac
Associate Director: Annie Keith
The Merry Wives of Windsor” is a comedic opera by German composer Otto Nicolai, based on William Shakespeare’s play of the same name. Premiering in 1849, it tells the story of Sir John Falstaff, a roguish character from Shakespeare’s Henry IV plays, who tries to seduce two wealthy married women, Mistress Ford, and Mistress Page, in hopes of sexual satisfaction and financial gain. However, the clever wives outwit Falstaff, leading to humorous and farcical situations. Ultimately, Falstaff is humiliated, and the wives’ marriages are reaffirmed. The opera features lively and comedic music, capturing the spirit of Shakespeare’s original play and its humour and wit. Director Frazier Meakin developed a modern interpretation of this story, including amongst other things, mobile phones, selfies, and a King Charles t-shirt. Set in the fictional town of Windsor, the design and set was well thought out. The 18-piece orchestra led by Arne Kovac placed upstage, with a staircase leading up to a balcony with a wooden archway underneath and some simple flats and pillars. The space was very well utilised, with all possible entrances and exits used to maximum effect. The lighting design was extremely effective, vibrant, colourful, and well cued. There were moments when members of the cast faced upstage and I lost some of the words, but overall, the Sound was clear. Costumes/Hair and Make-up were all in keeping, enhancing the overall performance.
All the Principal performances were very strong with some stunning vocals. Mrs Ford (Sophie Kirk-Harris) and Mrs Page (Rebecca Chellappah) both gave very strong comedic performances with great physicality and facial expressions. Falstaff (John DesLauriers) your performance of the bumbling, sleazy, larger than life character made me laugh out loud at points (for the right reasons!!). Mr Ford (Robert Marson) you demonstrated the jealousy and inner turmoil of this character well. Mr Page (Roderick Hunt) I particularly enjoyed those beautiful tones in your voice. Anne Page (Jennifer Walker) and Fenton (Robert Felstead) a lovely pairing, with gorgeous vocals and some very funny moments. Dr Cajus (James Ward) and Slender (Steve Harris) again providing some very amusing moments. I enjoyed the “hiding” in the bushes and also well done for the incorporating of the boot and crutches, very well thought out and effective.
The Windsor’s, Hoy Polloi, Elves, and Spirits were all played with enthusiasm, showing their individual characters. I really liked all the activity in the Overture, and in the pub, lots to see and lots of individual stories going on. A highlight for me was seeing the youngsters fully incorporated into the production, so focused and clearly loving every minute. Their individual moments when tormenting Falstaff in Act 3 were great.
Bristol Opera dedicated this production to Graham Billing who died in July 2023 and who provided the translation for this performance and who directed, performed, and translated librettos for many productions previously.
Congratulations to all involved for a truly memorable and entertaining production. I heard many great comments from the audience as I left. Well Done all.
PLEASE NOTE:
Any observation made by the reviewer can only be based on what he sees at the performance in question. The reviewer may have received information in advance of the performance, and it is inevitable that his assessment will be effected by that knowledge. The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed. It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed. Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre. It is hoped that the audience’s appreciation of your efforts will have given everyone lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.
The company is seeking to audition principals for its Summer performance of Mozart’s Magic Flute on 1st and 2nd June. Venue to be confirmed.
Auditions will take place at Horfield Methodist Church,1 Churchways Ave, Bristol BS7 8SN on 10th March from 17:00 to 19:00 and 14th March from 18:00 to 20:00.
If you are interested in auditioning for this semi-staged production then please contact our company secretary: secretary@bristolopera.co.uk
The Magic Flute, Audition pieces
Audition in English language, page numbers refer to Boosey and Hawkes score using the link below:
https://imslp.org/wiki/Die_Zauberfl%C3%B6te,_K.620_(Mozart,_Wolfgang_Amadeus)
(see Vocal Scores, last one in the list)
Tamino “Dies Bildnis ist bezaubernd schoen”, pp. 28-30
Tenor
Pamina “Ach, ich fuehl’s”, pp.128-129
Soprano
The Queen of the Night “Der Hoelle Rache”, pp. 117-121
Soprano
Sarastro “In diesen heiligen Hallen” (first verse), pp. 123-124
Bass
Papageno “Der Vogelfaenger bin ich ja” (first verse), pp. 24-25
Baritone
Three Ladies “Stirb, Ungeheuer, durch uns’re Macht!”, pp. 10-13
2 Sopranos & Mezzo-Soprano
Monostatos “Alles fuehlt der Lieben Freuden”, pp. 113-116
Tenor
Papagena Duet from “Welche Freude wird das sein”, pp. 182-187
Soprano
The Speaker “Wo willst Du, kuehner Fremdling, hin?”, pp. 64-69
Bass or audition for Sarastro
Two Men in Armour “Der, welcher wandert diese Strasse”, pp. 158-159
Tenor & Bass
Two Priests audition as Two Men in Armour (above)
Tenor & Bass
Three Genii “Zum Ziele fuehrt dich diese Bahn”, pp. 60-61
Sopranos