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8/2/2019 Serge Prokofiev
1/23
World premiere of the original versionby Sergei Prokoev
8/2/2019 Serge Prokofiev
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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.
The Academy gratefully acknowledges the permission andsupport of the Prokoev family for the reconstruction andperformance of the original version ofWar and Peace.
The performances are given by permission of Boosey &Hawkes Music Publishers Limited. The Academy thanksBoosey & Hawkes for their help to the editor, and forproviding performing material for the reconstruction ofthe opera.
RSAMD 2010
All details correct at time of going to print.The Royal Scottish Academy of Music and Drama reservesthe right to change perfomance details without prior notice
if necessary.
by Sergei Prokoev
Libretto by Sergei Prokoev and Mira Mendelson-Prokoeva
Original version ofWar and Peace edited by Rita McAllister
Sponsored by Supported by In association with
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Welcome
05
Professor John Wallace OBE
Principal, Royal Scottish Academy of Music and DramaAlex Reedijk
General Director, Scottish Opera
Alexander DanilovRector, Rostov State Rachmaninov Conservatoire
Tonights joint RSAMD/Scottish Opera production is the continuation of a
long-term relationship with the Rachmaninov Conservatoire in Rostov-on-
Don, 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, P rokofievs War and Peace brings together Scottish and Russian
institutions and their deep wells of talent, to enable you to have the opportunityto 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 side-
by-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 i t through to
such a fruitful conclusion.
I would also like to take this opportunity to thank Standard Life for their
support of this production.
Welcome to this performance of Prokoevs magnicent opera War and Peace.
This production is very much testament to the benets 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 ne piece
to audiences in Scotland not only because Prokoevs operas are not often
staged in the UK, but also because it ts perfectly with Sco ttish Operas ongoing
commitment to sharing with you a broad range of interesting but lesser-known
operas.
Particular thanks are due to Dr Rita McAlli ster for producing this wonderful newperforming 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 beneciary of a major re-study that leads directly to a performance.
Now in its fth year, the partnership between Scottish Opera an d the RS AMD
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 benets of our operatic collaboration.
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 inno vative project. The creative processes
involved will bring together, even more closely than before, our youngmusicians, 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 Peaceby Conrad Wilson
07
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 nally 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 Prokoev 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 Prokoev
authority Rita McAllister, former Vice-Principal
of the RSAMD, has forged a performing version
of the music as the composer rst conceived
it, resulting in a leaner, tauter, more keenly
lyrical work, some 90 minutes shorter than the
increasingly tub-thumping ination of it Prokoev
assembled in the last years of his life. It omits
the many accretions or what the composercalled all the patriotic stuff he was obliged
to add in order to please the Soviet authorities
after their rejection of the rst 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.
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 reected, 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
Prokoevs The Love of Three Oranges, both withRostov 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 ung 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.
Prokoevs 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 Prokoev 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
nally 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 Prokoevs 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.
But what is present is impeccably Prokoev.
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
Prokoev of farming out the orchestration of his
works to helpers, McAllister refutes this, saying
that, with his fondness for long ute melodies
and the rasp of tubas, Prokoevs orchestration
was idiosyncratic, many-layered, and very muchhis 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 Prokoev. Above all,
perhaps, War and Peace can now be seen as a
great Russian opera, not a Soviet one.
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The Creative Team
11
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 nat ional 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); DidoandAeneas (Royal
Academy of Music); a translation ofDonnerstag
aus Lichtby Karlheinz Stockhausen (ROH); EdwardAlbees 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 directedJenufa by Gabriela
Preissova/Timberlake Wertenbaker (Arcola, 2007) and
in 2011 will produce Britannicus by Racine.
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 lm 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
Emptyby 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 Mists, 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-specic 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 (Nufeld 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-specic project by Anna
Reynolds, The Ring Road Tales. She wrote and
directed a short lm, Being Venus, which was shownat the 2006 LA Short Film Festival.
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 rst 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 BachSociety 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.
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 includesA 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), FlyGlobespanTV
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 Interna tional 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.
The Creative Team
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Time present and time pastAre both perhaps present in time future,And time future contained in time past
T.S. Eliot Burnt Norton
Dr Rita McAllister /
Editor, original version ofWar and Peace
Dr Rita McAllister was born in Lanarkshire, Scotland.
She undertook her undergraduate studies at the
University of Glasgow, graduating BMus with rst-
class honours. At the same time she was a part-
time 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 rst 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 Prokoev resulted in intensive workin 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 com-
positions 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 andAriadne
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 a lso 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 andNew 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 RachelCorrie (Royal Court/West End/New
York).
The Creative Team
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War and Peace Part One: Peace
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 ying. Stirred by this girl, Andrei realises that life is
not over at thirty-one.
The Great Patriotic War is announced as Hitlers army
invades the Soviet Union.
Scene One/
The Rostovs Otradnoye Estate,
May 1809
Overture/Moscow, 1941
Cast/
Prince Andrei Bolkonsky Michel de SouzaNatasha Rostova Diana Harutyunyan*/Maria Kozlova**Sonya,her cousin Beth Mackay
Performances: *23 and 28 January **22 and 30 January
Model box images from designs by Chloe Lamford.
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War and Peace Part One: Peace
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 Two/
Old Bolkonskys Mansion, Moscow,
February 1811
Cast/
Old Footman Jamie RockChambermaid Laura Margaret Smith
Valet Ott Indermitte
Natasha Rostova Diana Harutyunyan/Maria KozlovaCount Rostov,her father Stephen Fennelly
Princess Marya Bolkonsky, Maria Brown
Prince Andreis sister
Prince Nikolai Bolkonsky, Craig Wickhamfather of Andrei and Marya
Mlle Bourienne,governess Elizabeth Garton
17
War and Peace Part One: Peace
At Hlne Bezukhovas soire, the hostess con-
gratulates Natasha on her engagement to Prince
Andrei, but condes 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 thegirls home.
Scene Three/
Hlne Bezukhovas Salon, Moscow
Cast/
Hlne Bezukhova Lucinda Stuart-GrantPrince Anatole Kuragin, Sergey Mankovskiy
her brother
Natasha Rostova Diana Harutyunyan/Maria KozlovaCount Rostov Stephen Fennelly
Sonya Beth MackayA French Abb Gitai Fisher
Dr Metivier Owain Browne
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War and Peace Part One: Peace
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 anc 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 inadvertentlyreveals his own feelings towards her and leaves.
Natasha takes arsenic and calls to Sonya for help.
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 hasbroken up with Prince Andrei. Akhrosimova is
relieved to welcome Count Pierre Bezukhov,
Anatoles brother-in-law, caught up in a loveless
marriage to Hlne.
Cast/
Natasha Rostova Diana Harutyunyan/Maria KozlovaDunyasha, Natashas maid Marie Claire Breen
Maria Akhrosimova Rebecca Afonwy-JonesGavrila,her butler Bryan Benner
Prince AnatoleKuragin Sergey MankovskiyDolokhov James BirchallSonya Beth MackayCount Pierre Bezukhov Dmitry Ivanchey/Bjartmar Sigurdsson
18
War and Peace Part One: Peace
Anatole, at the quarters of his comrade-in-arms,
Dolokhov, is getting ready for Nata shas 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 Four/
Dolokhovs Study, Moscow
Cast/
Prince AnatoleKuragin Sergey MankovskiyDolokhov,his friend, an ofcer James BirchallBalaga,a troika driver Donald Thomson
Matryosha,a Gypsy Melissa Lunn
Joseph,valet David OHanlon
Performances: 22 and 30 January 23 and 28 January
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War and Peace Part One: Peace
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.
Scene Six/
Pierre Bezukhovs Study, Moscow
Cast/
Hlne Bezukhova Lucinda Stuart-GrantCount Pierre Bezukhov Dmitry Ivanchey/Bjartmar SigurdssonPrince Anatole Kuragin Sergey Mankovskiy
A French Abb Gitai Fisher
Dr Metivier Owain Browne
Lt. Colonel Vassily Denisov Nicholas Morris
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War and Peace Part Two: War
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 nal 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 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 Field-
Marshal 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 shareswith Andrei his plan to break through the
enemy line with a detachment of peasant
militia. Alone for a moment, Andrei reects 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.
Cast/
Tikhon Shcherbaty Vahagn MargaryanFyodor Jakob Holtze Johansen
Matveyev Andrew McTaggartTrishka Catriona Morison
Kondratyevna Charlotte Emma Whittle
Vassilissa Melissa Lunn
Prince Andrei Bolkonsky Michel de SouzaLt. Colonel Vassily Denisov Nicholas MorrisCount Pierre Bezukhov Dmitry Ivanchey/Bjartmar SigurdssonField-Marshal Prince Mikhail Kutuzov Aram Ohanian
Dolokhov James Birchall1st German General Ott Indermitte
2nd German General Owain Browne
Prince Andreis Orderly Benjamin Vale1st Staff Ofcer Bryan Benner
2nd Staff Ofcer Jamie RockKutuzovs Adjutant Kieran Bain
27
War and Peace Part Two: War
On the other side of the battleeld, Napoleon is
dreaming of taking Moscow and civilising Russia.
As the situation on the battleeld 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.
Scene Eight/
Shevardinsky Redoubt during the
Battle of Borodino, 7 September 1812
Cast/
Napoleon Aleksey GusevMarshal Berthier Owain Browne
General de Caulaincourt Cailean Swainson
Monsieur de Beausset Warren Gillespie
General Belliard Jamie RockAide-de-Campto Napoleon Donald Thomson
Aide-de-Camp to General Compans Gitai Fisher
Aide-de-Camp to Marshal Murat Brynne McLeodAide-de-Campto Prince Eugene Matthew Todd
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War and Peace Part Two: War
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 bymadness and destruction. The Muscovites vow to
avenge the destruction of their city.
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 t he 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 re.
Pierre is intercepted and arrested together with
other culprits.
Cast/
Lt. Jacquot Dominic BarberiLt. Grard Steven PhillipsCaptain Ramballe Stephen Fennelly
Lt. Bonnet Stephen ChambersShopkeeper Elizabeth GartonMatveyev Andrew McTaggartYoung Worker Jonathan Cooke
Dunyasha Marie Claire Breen
Mavra Kuzminichna Jemma Brown
Count Pierre Bezukhov Dmitry Ivanchey/Bjartmar SigurdssonMarshal Davout Craig WickhamDavouts Adjutant David OHanlonFrench Ofcer Nicholas CowieIvanov Barry McAleerPlaton Karatayev Jamie Munn
1st Lunatic Gitai Fisher
2nd Lunatic Benjamin France3rd Lunatic John Findon
29
War and Peace Part Two: War
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.
Scene Ten/
A peasant hut in Mytishchi
Cast/
Prince Andrei Bolkonsky Michel de SouzaNatasha Rostova Diana Harutyunyan/Maria Kozlova
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The Cast
Kieran Bain / Kieran Bain is in his rst 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 rst 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 nal 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 nalscene (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.
Owain Browne / Owain Browne is a Suffolk-born
baritone of Welsh stock on the nal 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 Lysistrataand Tamino Die
Zauberte . He also premiered the role of Tramp in Dust
of the Roadby 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 singingThe 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 Crucixion.
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 rst year of the BMus (Hons) course at the RSAMD.
Although this is his opera performance debut, he hassung 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 BillowsAlbert 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 ofMessiah
involving numerous choral societies from around thecountry in Edinburghs Usher Hall. His sol o performa nces
also include Mozarts Requiem, and Haydns Creation
and Nelson Mass. At the Academy he has appeared as
Scaramuccio inAriadne 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.
32 33
The Cast
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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.
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 nalist 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 rst 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.
Steven Phillips / For over ve 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 ofLe 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, PhilipLangridge, Julian Rodescu and Laura Brooks. His roles
include Bacchus Ariadne auf Naxos and, in excerpts,
Don Jos Carmen, Pollione Norma, JenkThe 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.
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
rm believer in the empowering benets 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 the2008 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.
36 37
The Cast The Cast
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38 39
The Orchestra of Scottish Opera RSAMD students names are in italics
First ViolinsAnthony Moffat / LeaderFrances PryceKatie Hull / Assistant Leader
Terez KorondiTim EwartSharon HaslamSian Holding
Anne SimpsonMichael Larkin
Vaclav BohonekSiu Hay YipGergely Horvath
Second ViolinsAngus Ramsay / Section PrincipalGenevieve MartineauLesley NellJohn RobinsonGemma OKeeffe
Malcolm RossLiz ReevesMary WardGordon Duncan
Aaron McGregor
ViolasLev Atlas / Section PrincipalRachel Davis
Alison HastieIan SwiftPanna KakusziChristine AndersonLiam Redmond
Jenna McNeill
CellosRudi de Groote / Section PrincipalStephen AdamMarie ConnellSarah Harrington
Aline GowFeargus Egan
Double BassesDavid Peller / Section Principal
Tom BerryChristopher FreemanChristopher Sergeant
FlutesRichard Blake / Section PrincipalElisabeth PyperJohn Hall
OboesJoseph Houghton / Section Principal
Arlene CochraneKirstie Logan
ClarinetsNicholas Ross / Section PrincipalRebecca HumphreysLawrence Gill
BassoonsJanet Bloxwich / Section Principal
Judith BarclayAlan Warhurst
French HornsSue Baxendale / Section PrincipalDavid PryceRebecca HillIan SmithDavid Smith
TrumpetsAndrew Lynn / Section PrincipalSimon Bird
Andrew Connell-Smith
TrombonesAndrew ColeAlan Pash
Bass TromboneChristopher Stearn
TubaFraser Russell
TimpaniRuari Donaldson / Section Principal
PercussionJay Allen / Section PrincipalCalum HugganGlynn ForrestJoe BostockPhilip Hague
HarpSaida de Lyon / Section Principal
Offstage Band
FluteDavid Jervis
PiccoloRachel Coghlan
TrumpetsGregor Beattie
Fiona PitcathleyBen Hirons
TrombonesChristopher ManseldCillian OCeallachain
EuphoniumScott Findlater
Snare DrumPhilip Hague
The Orchestra ofScottish Opera Staff
Orchestra and Concerts DirectorJay Allen
Assistant to the Orchestra andConcerts DirectorRona Chisolm
Music LibrarianJane Watts
Orchestra TechnicianBrian Murphy
RSAMD Staff
Head of OperaTim Dean
Head of Vocal StudiesChristopher Underwood
RepetiteursSe Ho Lee
Ayako KanazawaAdam Laslett
Musical PreparationDuncan Williams
Chorus PreparationSusannah Wapshott
Assistant Conductor andConductor of Offstage bandJessica Cottis
Language CoachMaria Kozlova
Programme SupportInstrumental PerformanceGemma Carlin
Programme SupportVocal Performance
Anita Dick
Performance LibrarianLucy Robertson
Head of InstrumentalPerformance and Brass
Bryan AllenHead of StringsPeter Lissauer
Head of WoodwindHeather Nicoll
Distinguished Fellow inTimpani and PercussionKurt Hans Goedicke
Research AssistantChristina Guillaumier
The Production Team
For Scottish Opera
Technical and Operations DirectorSteve Green
Production ManagerDarren Joyce
Lighting SupervisorStephen Powles
Lighting ChargehandsRoberta GollopDaniel Murn
Stage SupervisorBen Howell
Flying and Rigging SupervisorCraig OHanlon
Stage ChargehandsStephen FultonGary Quinn
Additional Costumes made by Scottish Opera Wardrobe Department
Additional Costumes hired fromScottish Opera Costume HireDepartment
Scenery Constructed and Painted by Scottish Opera Workshops
Audio DescribersJacqueline BouchardSheila Hawthorn
For RSAMD (BA Technical andProduction Arts)
Company ManagerMark Hathaway (Staff)
Production ManagerAndrew Storer (Staff)
Fight DirectorMark McKenzie
Costume SupervisorBill Butler (Staff)
Stage Management SupervisorHelen C Gorton (Staff)
Audio Visual DesignerSeth Hardwick
Assistant DesignersJessica Lennon
Andrew Wilson
Assistant Lighting DesignersKatrina KellyKarlene Reid
Stage ManagerEmma Whoriskey
Deputy Stage ManagerKieron Johnson
Assistant Stage ManagersGraham ColvanCatherine Lewis
Assistant Props Stage ManagersJames ClellandLaura Jarvis
Stage SupervisorLouise Marr
Stage TechniciansMartin AitkenScott Bremner
Production ElectriciansMichaella FeePuleng B Mabuya
Stage ElectriciansJamie FallenMadeleine HillmanDavid MacMorris
Lighting OperatorsEmily LennoxJonny Reed
Follow Spot OperatorsLauren MacKayBarry McDonald
Audio Visual OperatorCraig Ralph
Assistant Scenic ArtistScott McIntosh
Scenic Artist (Props)Iain Waugh
Touring Wardrobe MistressHannah Clark
Touring Wardrobe AssistantRosie Blackshaw
Additional Costume making by Robert GordonHilary Willi
SurtitlesAndrew Huth
We are grateful to the Royal Opera
House, Covent Garden for the use oftheir surtitles.
Surtitle OperatorsGemma SummereldKatherine Grant
For James Watt College
Make-up ArtistsNina BlakeEmma RockGemma ThompsonKayleigh SutherlandMichelle Lyons
Angela BeattieLisa CampbellMegan GilliesRuth HigginsLinsey GillhooleyNatasha Dardas
RSAMD Technical and ProductionArts Staff
Head of ProductionRos Maddison
Scenery Construction LecturerZander Lee
Scenic Art & Design LecturerJamie Mackay
Stage Technology LecturerSteve Macluskie
Lighting & Sound LecturerSimon Cadell
Props Construction & Design LecturerMartin Mallorie
Costume Technology & Design LecturerChristine Murphy
Stage Management LecturerJohn Wilkie
RSAMD Central Production Unit Staff
Head of Production PlanningAndrew Storer
Production ManagerLynfryn Mackenzie
Production Support TechnicianSarah Leask
Costume TutorsAnna AntczakGillian AfeckCate MackieLynn McGinleyGillian McLeod
Lighting TutorChristine Scott
Props TutorAstrella Oldham
Scenic Art TutorGary Fry
Workshop TutorsSimon CookKris Whitehead
Our thanks go to the following fortheir support of this production:
Darren Joyce and all the Production
Staff at Scottish OperaAll staff at Theatre Royal Glasgow
All staff at Festival Theatre Edinburgh
SG Baker Ltd, sgbaker.co.ukBrian ClementsDundee Repertory Theatre2nd Glasgow Scout HallDavid Lloyd JonesM&S Argyle Street, marksandspencer.comNoel Kegg LtdRalph PlasticsScottish Opera (Claire and Alistair)Shearer candles, shearer-candle.com
TescoToolbank, toolbank.comKris WhiteheadHugh Whoriskey
The World Flag Store
8/2/2019 Serge Prokofiev
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Royal Scottish Academy of Music and Drama
Foundation
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 performance s 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 specic 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
benet from a world-class eet of pianos and instruments at the Academy.
The production ofWar 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 / PrincipalRoyal Scottish Academy of Music and Drama
Registered Charity Number:
RSAMD SCO 15855
The Royal Scottish Academy of Musicand Drama is the United Kingdoms rstconservatoire of Dance, Drama and Music.
In order to achieve our aim of providingthe best student experience in Europe,we need your support.
40 41
Final Year BA Technical andProduction 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 nal year studying Technical
Theatre at the RSAMD, specialising in StageManagement. His previous RSAMD productions include
Assistant Stage Manager for Into the Newat 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 ofA Midsummer Nights Dream at
Scottish Youth Theatre. He has also been Assistant Stage
Manager/Deputy Stage Manager for seven musical-
theatre 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
andJulius 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 ofThree 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 Selsh 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 rst being
on Dying For Itat 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 (all2008) 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 ofInside.
Karlene Reid/ Assistant Lighting Designer
Now in her nal 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 Julietand 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 ManagerEmma 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 Julietat the
Scottish Youth Theatre and CPP2Through 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, Spitre 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.
8/2/2019 Serge Prokofiev
22/23
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 benet 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 Artistsscheme. Two of last years outstanding students, Louise Collett
and Miranda Sinani, were chosen for the rst 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 benets for both institutions.
Under the leadership of tonights conductor, Timothy Dean, the
Masters Opera courses are orientated towards fully-edged
operatic performance. After developing their skills through the
performance of operatic excerpts in their rst 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 newdevelopment 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
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
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 artsvenues 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 nd out more
about the different levels of membership please contact
the RSAMD Foundation ofce on:
0141 270 8254 or email: [email protected].
Take A SeatNow 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.
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:
42
Our Supporters
8/2/2019 Serge Prokofiev
23/23
100 Renfrew Street
Glasgow
G2 3DB+44 (0) 141 332 4101
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