Jenny Miller Opera
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Performances

Currently Viewing - Barefoot Opera

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Review of Arcola workshop performance of Alcina Acts 1 and 2:

"With the company currently seeking funding for the composer Peter Foggitt to complete his adaptation of the score, the two extant acts... ran to less than an hour.Even in reduced circumstances, Penelope Randall-Davies, a reigning Queen of the Night, made an authoritative enchantress, and Foggitt's reconstruction / deconstruction of the score proved striking and often haunting....the cheeky klezmer tango transformation of "Ama Sospira", sweetly and stylishly sung by Carleen Ebbs as Morgana, proved a high point of the show. Krysia Mansfield...made a feisty Ruggiero...Aino Konkka fielded a fluent, well-schooled Bradamante and Anna Bolton (Oberto), Nikos Painesis (oronte) and Antoine Salmon (Melisso) seized their roles with elan. The production by Jenny Miller and Polly Graham was energetic and often inventive...to be continued...." (review by Yehuda Shapiro in November Opera)

Breaking the Rules:

 

  • - Movement values are as important as vocal values
  • - And work together not separately
  • - The group is more important than the individual -no stars
  • - The body is more important than the set and costumes
  • - And the set/costumes are minimal/recycle-able
  • - There is no separate stage crew
  • - Earnings are shared equally
  • - The musical scores are adapted and played with for flexibility, economy, artistic exploration
  • - The instrumentalists are fully involved in the movement/vocal work
  • - And train singers/train WITH them

 

 

 

Barefoot Opera has been formed in order to rediscover the thrill of opera by going back to basics: using just voices and bodies with minimal instrumentation, exploring the scoring in new ways and throwing away all but the most basic of extraneous materials, working as a collective, so that opera can be performed in a new way to new audiences in new venues, affordably.

"With the company currently seeking funding for the composer Peter Foggitt to complete his adaptation of te score, the two extant acts... ran to less than an hour.Even in reduced circumstances, Penelope Randall-Davies, a reigning Queen of the Night, made an authoritative enchantress, and Foggitt's reconstruction / deconstruction of the score proved striking and often haunting....the cheeky klezmer tango transformation of "Ama Sospira", sweetly and stylishly sung by Carleen Ebbs as Morgana, proved a high point of the show. Krysia Mansfield...made a feisty Ruggiero...Aino Konkka fielded a fluent, well-schooled Bradamante and Anna Bolton (Oberto), Nikos Painesis (oronte) and Antoine Salmon (Melisso) seized their roles with elan. The production by Jenny Miller and Polly Graham was energetic and often inventive...to be continued...." (review by Yehuda Shapiro in November Opera)