THE BARBER OF SEVILLE
Thursday 15 July 2021 to Saturday 24 July 2021
‘Completely blown away’
‘My husband and I were absolutely delighted by the performance. We were brought by friends and though we have been before, we enjoyed this performance the most. The singing, acting and music were so well performed, the surtitles were amusing and current – it was such an entertaining afternoon. Thank you so much to all involved. It must have been very hard to pull it all together, but it was worth it a hundred times over and gave us such a lift.’
‘Watched last night’s novice performance and was completely blown away. Every aspect of the performance was faultless. Congratulations to all associated with this brilliant production. Opera is safe in the hands of these talented people. Thank you for a truly wonderful evening.’
‘We were at the dress rehearsal. It was fabulous. My first experience of opera and what an amazing experience it was!!’
‘A delicious box of bon bons’
‘Brilliant tonight, well done all’
Theatre Arts Desk by Robert Beale
A very enthusiastic Opera Novice audience, who watched the Public Dress Rehearsal, kick started the run of 6 performances of the Barber of Seville, acting as the perfect warm up to the Opening Night.
Just two performances left. Tickets still availabe for both Thursday 22nd, and Saturday 24th July
Opera novice or opera aficionado, this truly could not come more highly recommended, at this of all times, offering something amusing, escapist, and with some glorious music. What more could you wish for! A jolly good romp!
This production of Rossini’s “sizzling” comic opera will highlight the use of disguise as a means to find confidence, acceptance and status, and the clash of old-fashioned perceptions of femininity colliding with the modern age.
The opera will be set in a psychological space, where time & locations ran rotate quickly from stifling comfortable confinement to a Barber’s shop where fresh ideas & invention proliferate.
The opera will be sung in Italian with specially adapted English sur-titles. 7 Artists will perform in 6 fully staged performances. Two pre-performance talks by the director will give an insight into the creation of the piece and contextual background.
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Due to the fact that the original cast, staff and crew – The Company – were gathered for 2020, understandably some have now got other offers and commitments, and therefore you will notice some changes in the cast and staff line up.
The role of Count Almaviva will now be performed by Sam Kibble, who replaces Anthony Flaum; the role of Doctor Bartolo will now be performed by Adam Maxey, who replaces Samuel Pantcheff; the role of Figaro will now be performed by Henry Neill, who replaces Jacobo Ochoa; the role of Don Basilio will now be performed by Benjamin Schilperoort, who replaces Timothy Edlin; the Music Director post will now be filled by Philip Sunderland, who replaces Paul Wingfield, and the Director post will now be filled by Greg Eldridge, who is seamlessly taking on the production devised by Julia Burbach.
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‘Henry Neill (Figaro) stood out from the opening scene’
Extract from The Arts Desk, 24 July 2017 – Article by Robert Beale
Le nozze di Figaro, Clonter Opera review – a wedding full of future stars
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Henry Neill performed the role of Figaro in Clonter’s production of The Marriage of Figaro in 2017, and Clonter couldn’t be more delighted that he will be returning to perform this character again, in the first of the Beaumarchais trilogy of Figaro comedies. To see Henry Neill in action, follow this link.
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COVID-19 Precautions
Due to Covid restrictions, you are still not able to select a specific seat, but we hope the plan below will assist with helping you in choosing the price bracket, that best suits the area you would like to sit in.
We are offering two different options, to cater for as many different situations and sensibilities as possible, which take the form of either 2 seats between groups, with a 1 row gap, or just 1 seat between groups, and no gaps in the rows. This choice is being offered to ensure maximum comfort and confidence for our audience, across all age ranges.
All of the above is still dependant on the government guidelines, and therefore the 2nd scenario may be subject to review, but it is important to reassure you that a full refund will be offered. Also early bookers will take priority, should numbers need to be reduced.
In line with government guidelines, face masks will still need to be worn throughout the theatre, including the auditorium, due to the review of the 21 June deadline. However, we hope that the 19 July deadline will enable us to lift this restriction in the auditorium.
We would still request that masks continue to be worn in all other areas of the theatre, unless seated to eat and drink, for the comfort and confidence of your fellow customers. This is in line with the guidelines, upon which we promoted the individual performance dates, following the outcome of our Customer Confidence Survey.
For Clonter’s COVID-19 FAQs, click here.
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Outside Picnicking
Whilst we will be operating the same picnic table booking service as normal, you are very welcome to picnic – socially distantly – outside, free of charge. Please note that tables and chairs are limited, and are available on a first come first served basis. You are however welcome to bring your own. We would ask that you ensure that you take your rubbish home with you, and if constructing a gazebo, that you take care to ensure that you have removed all metal pegs.
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Other Dining Options
We are delighted to announce that dining options for Clonter’s Barber of Seville performances on the 17, 18, 20, 22 and 24 July are now bookable.
The 17 and 18 July performances are now sold out, however if you would like to add suppers or tea to an existing booking, please contact the Box Office on 01260 224514.
If you have not yet booked for either the 20, 22 or 24 July performances, there are still some tickets left and you may book your seats and catering online.
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Cast
Samuel Kibble – Count Almaviva
Samuel Kibble recently completed his postgraduate studies at the Royal Academy of Music, for which he earned a distinction. He was also awarded a Diploma of the Royal Academy of Music for an outstanding final recital. Recent operatic roles include Arcetro L’Euridice (Caccini) and the title role in Jonas (Carissimi) with Ensemble Orquesta in Hastings, The Rooster The Cunning Little Vixen for Royal Academy Opera, Henry Crawford Mansfield Park (Dove) and Le Remendado Carmen with Durham Opera Ensemble and Eisenstein Die Fledermaus for Royal Academy of Music Opera Scenes. Other solo performance highlights include Bach’s Cantata 198 ‘Trauerode’ with Masaaki Suzuki, Mozart’s Requiem with the London Mozart Players in Norwich and Beethoven’s An die ferne Geliebte at All Souls College, Oxford. In September 2021 Samuel will take up a place on the Opera Course at RAM, where he will continue his studies with teacher Richard Berkeley-Steele.
Click here for full biog
Click here to ‘Meet Count Almaviva’
Adam Maxey – Doctor Bartolo
Adam Maxey is a British bass-baritone from Dorset. He has studied at the Guildhall School of Music and Drama and the Royal College of Music, and currently studies at the GSMD on their prestigious opera course under the tutelage of John Evans. He will be graduating in the summer of 2021. Adam works extensively in both concert and opera. Recent highlights include performing as King Tartaglia and Clamon The Little Green Swallow (J. Dove), Gil Il segreto di Susanna (E. Wolf-Ferrari), Melibeo La fedelta premiata (J. Haydn), the Ambasciatore and Boscaiuolo La bella dormente nel bosco (O. Respighi) as and as the Apothecary in Amy Crackshaw’s new work The Apothecary (the latter two part of the GSMD’s virtual opera series during the covid-19 lockdown) and Don Magnifico in British Youth Opera’s production of La Cenerentola (G. Rossini’s).
Click here for full biog
Click here to ‘Meet Doctor Bartolo’
Elsa Roux Chamoux – Rosina
Elsa Roux Chamoux is a French mezzo-soprano. She completed her Masters of Performance on the Opera Course at GSMD. She has already won awards and been a finalist in several national and international competitions (Paris, Bordeaux, Vendôme, England, Austria, Wales, Sicily, Italy, Armenia). She has performed the roles of: Dido in Purcell’s Dido and Aeneas, La Regina/La Vecchietta/ La Duchessa in Respighi’s La bella dormente, Sister Edgar in Lliam Paterson’s The Angel Esmeralda, Celia in Haydn’s La Fedelta Premiata at GSMD, Ruggiero in Händel’s Alcina in Fulham, Romeo in Bellini’s I Capuleti e I Montecchi in London and Cherubino in Mozart’s Le Nozze di Figaro in New York. However, Elsa does not have only one string to her bow: She also obtained her bachelor’s degree in Management in Paris (in e-learning), as well as being a World Champion in Rink-Hockey (roller skate) in 2012 as the goalkeeper of the French women’s team from 2010 to 2015. In 2021 Elsa is going to the Opera Studio of the National du Rhin, in Strasbourg in France.
Click here for full biog
Click here to watch ‘Una voce poco fa’, The Barber of Seville – Rossini
Click here to ‘Meet Rosina’
Henry Neill – Figaro
British Baritone Henry Neill performed at Clonter Opera in 2017 as Figaro Le Nozze di Figaro. From 2017-19 he held a position in the ensemble of the Deutsches Nationaltheater, Weimar, where he played roles such as Papageno Die Zauberflöte, Conte Le Nozze di Figaro, Guglielmo Così fan tutte, Silvano Un ballo in maschera and Angelotti Tosca. Other appearances include Schaunard La Bohème with Opera North, Papageno Die Zauberflöte with Opera Pä Skäret and guest appearances with Grange Festival Opera, English Touring Opera and Theater Erfurt. Henry was nominated as best newcomer for Opera Magazine´s Critic´s award (Germany) and was the winner of the 2016 Royal Overseas League Singing Competition. He has appeared performing song at Wigmore Hall, on BBC Radio 3´s In tune and at the International Holland Music Festival. Future engagements include opera projects with the Vienna Boys Choir, Théâtre Fribourg and Grand Théâtre Genève.
Click here for full biog
Click here to watch ‘Ein Mädchen oder Weibchen’, Die Zauberflöte – Mozart
Click here to ‘Meet Figaro’
Benjamin Schilperoort – Don Basilio
Benjamin Schilperoort is an artist-in-residence at the Queen Elisabeth Music Chapel in Belgium where he studies with and performs alongside José van Dam and Sophie Koch. Benjamin began singing during his History degree at Trinity Hall, Cambridge, before studying for a Masters at the Royal Academy of Music. Benjamin’s recent operatic roles include Marco Gianni Schicchi, Golaud Pelléas et Mélisande, Colline La bohème, Fiorello Il Barbiere di Siviglia, Masetto and Il Commendatore Don Giovanni and Seneca L’Incoronazione di Poppea. Benjamin is also dedicated to the performance of song repertoire, and has appeared at the Palais des beaux-arts de Bruxelles, Wigmore Hall and Leeds Lieder Festival. On the concert platform, he has given recitals across Europe and performed as a soloist in the Kohn Foundation Bach Cantata Series under Philippe Herreweghe and Ton Koopman. In addition to his performing career, Benjamin is in high demand as a vocal teacher, and gives masterclasses for young singers. He also works as a stage director; his current projects include an improvised staging of Così fan tutte and a one-act musical about the lives of Kurt Weill and Lotte Lenya (Opera on the Move).
Click here for full biog
Click here to ‘Meet Don Basilio’
Faryl Smith – Berta
Faryl is currently on the postgraduate course at The Guildhall School of Music and Drama, studying with Marilyn Rees. After graduating with a first-class honours degree, Faryl was awarded the Wyburd Prize for the most accomplished performance of German Lied, and was sponsored by The Felix Mendelssohn Foundation to perform German Lied in Mendelssohn-Haus in Leipzig. Faryl is proud to be an ambassador for The Llangollen International Musical Eisteddfod. At The Guildhall, Faryl has had the opportunity to work with renowned coaches and conductors such as; Kamal Khan, Brenda Hurley, Sarah Walker and Eugene Asti. She has performed in many different opera scenes, preforming roles such as Fiordiligi from Mozart’s Così fan tutte and Norina from Donizetti’s Don Pasquale and is looking forward to playing the roles of Zdenka in Arabella and Sophiein Der Rosenkavalierin The Guildhall’s opera scenes.
Click here for full biog
Click here to watch ‘Il vecchiotto cerca moglie’, The Barber of Seville – Rossini
Click here to ‘Meet Berta’
George Reynolds – Fiorello
George Reynolds is a 22-year-old English Baritone currently studying as an undergraduate at the Guildhall School of Music and Drama under the tutelage of Gary Coward. George sang as the cover Figaro in Saint Paul’s Opera’s 2019 summer production of Le Nozze di Figaro. George was due to work as a Chorus member for Opera Holland Park’s productions of Eugene Onegin and Rigoletto in 2020. George was due to be playing the role of Guccio and the cover role of Marco in the 2020 British Youth Opera production of Gianni Schicchi. George returns to Clonter following a recital broadcast from the Clonterbrook Music Room in 2020. This will be his professional debut.
Click here to watch ‘Hai gia vinta la causa’, Le nozze di Figaro – Mozart
Philip Sunderland – Music Director & Conductor
Philip was born in Norwich and educated at the Cathedral School. A graduate of the Royal Academy of Music and the National Opera Studio, Philip began his professional like as a repetiteur, working for all the major opera companies in the UK. This led to many conducting opportunities, first with English Touring Opera, for whom he conducted Marriage of Figaro, Cenerentola, Pearl Fishers, Daughter of the Regiment and Cosi fan tutte. In 1999, having worked as an assistant conductor at Opera North, Philip was appointed Chorus Master, a role he performed for five years. Whilst working for Opera North he conducted La traviata and the company’s acclaimed production of Sweeney Todd, as well as numerous concerts including the Brahms’ Requiem in York Minster. Philip has continued to conduct for ETO, winning an Olivier Award for Paul Bunyan in 2015 and returned the following year with Tales of Hoffman. He was music director to Swansea City Opera and W11 Opera for Young People and Chorus Master at the Bregenzer Festspiele. In 2014 he was commissioned by the Saffron Hall to write an opera for over 200 schoolchildren, professional singers and orchestra. The Glass Knight was first performed in the Saffron Hall, Saffron Walden in March 2015. Advent Calendar, a setting of biblical texts and a poem by Ronan Williams, was premiered in St Mary’s church, Saffron Walden in 2018. Philip is delighted to return to Clonter Opera, having conducted Rigoletto in 2009, a particularly exciting time as his son was born prematurely during the final stage and orchestra rehearsals! Philip is currently Head of Preparatory and Vocal Faculty Opera at the Royal Academy of Music, for whom he conducted Cunning Little Vixen in 2019.
Valeria Racco – Assistant Conductor & Italian Coach
Italian pianist, coach and conductor Valeria Racco collaborates regularly with opera companies around the UK, such as Opera North, Garsington Opera, Clonter Opera, Clonter Opera and Grange Festival and Theater Hagen (DE). She held the prestigious position of Trainee Repetiteur at English National Opera for the 2017/2018 season. Since 2017, Valeria holds the position of Opera Role Coach at the Royal Academy of Music and works with Guildhall School of Music and Drama, Royal Birmingham Conservatoire and Leeds College of Music. Valeria has played for numerous productions working side by side with international conductors and directors such as Karen Kamensek, Leo McFall, Martyn Brabbins, Keri-Lynn Wilson, Hilary Griffiths, Antony Hermus, Daniel Kramer, Phelim McDermott, Edward Dick, Martin Lloyd-Evans and Clive Timms. Valeria has worked with internationally renowned singers such as Anthony Roth Costanzo, Brindley Sherratt, Michelle Young, Latonia Moore, Giselle Allen, Robert Hayward, Sarah Pring and Rafael Rojas. She returned as pianist to ENO in the 2018/2019 season for the Olivier Award winning production of Akhnaten. Valeria studied at Guildhall School of Music and Drama at the prestigious Opera Course under the direction of Dominic Wheeler, where she has been involved in several productions as music director and pianist.
Greg Eldridge – Director
Australian stage director Greg Eldridge studied Performing Arts and Law in Melbourne, before training in Opera Directing in Florence, Italy. In 2013, he became the youngest-ever Young Artist director at the Royal Opera House Covent Garden, where he has now worked on over 20 productions. After directing acclaimed productions of La scala di seta (Rossini), The Lighthouse (Davies), and act 1 of Cosi fan tutte (Mozart), the Royal Opera created the position of Jette Parker Associate Director especially for Greg, which he held until 2016. A former Bayreuth Scholar, Greg has been engaged at leading international houses including Scottish Opera, Den Norske Opera, The Israeli National Opera, Oper Frankfurt, The Icelandic Opera and Opera Australia, winning several directing awards. Having served 3 years on the board of Stage Directors UK, Greg is currently the Associate Professor of Opera Directing at the College-Conservatory of Music in the United States.
Bettina John – Set & Costume Designer
Bettina John is an international set and costume designer for theatre, opera, dance and music originating from Germany, where she graduated from a fashion design degree in 2007 from Kunsthochschule Burg Giebichenstein. After having worked as a costume designer and maker as well as an educator and mentor for aspiring designers, she enrolled in a master program in theatre design at Wimbledon College of Art, from which she graduated in 2018. As well as working as a set and costume designer, Bettina John develops and presents work at the intersection of visual and performing arts, often outside the boundaries of the theatre space.
Performances
Thursday, 15th July (Opera Novice Night)*
Never been to an opera before? Why not come to our Opera Novice Night for The Barber of Seville’s public dress rehearsal, which includes a pre-performance talk, given by the director.
Tickets £20, Students £10, Children (under 16) £5
If you are a current Clonter supporter, but are unable to come to any other performances, or you wish to bring an Opera Novice to this particular performance, tickets are available for £80 (In line with the Tuesday 20th July – Rows B – K ticket price).
Doors Open 6pm
Director’s Talk 6.30pm
Performance Starts 7pm
Interval 30 minutes. The audience is welcome to bring a pre-performance picnic.
Performance Ends Approx. 10.30pm
Saturday, 17th July* (Filmed)
Tickets Band A £70, Band B £50
Doors Open 6pm
Director’s Talk 6.30pm
Performance Starts 7pm
Interval 70 minutes
Performance Ends Approx. 11.10pm
Sunday, 18th July (Matinee)*
Tickets Band A £75, Band B £55
Doors Open 2pm
Performance Starts 3pm
Interval 30 minutes
Performance Ends Approx. 6.30pm
Tuesday, 20th July**
Tickets Band A £80, Band B £60, Band C £40
Doors Open 6.30pm
Performance Starts 7.30pm
Interval 30 minutes. The audience is welcome to bring a pre-performance picnic.
Performance Ends Approx. 11pm
Thursday, 22nd July**
Tickets Band A £95, Band B £75, Band C £55
Doors Open 6pm
Performance Starts 7pm
Interval 70 minutes
Performance Ends Approx. 11.10pm
Saturday, 24th July**
Tickets Band A £110, Band B £90, Band C £70
Doors Open 6pm
Performance Starts 7pm
Interval 70 minutes
Performance Ends Approx. 11.10pm
Due to a Customer Confidence Survey, Clonter shall be offering the following options:
* 2 seats/1 row gap between groups
** 1 seat/no row gap between groups
Band A: Rows B – K
Band B: Rows L – R, Side Aisle – Row U, Left Balcony – Row V & Right Balcony – Row W
Band C: Side Aisle – Row U, Left Balcony – Row V & Right Balcony – Row W
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