- November 2014
Lady Billows is organising the annual May Day festival and desperate to find girls for the coveted position of Queen of the May. However, it turns out none of the girls in the village are virgins – disqualifying them. Thus, Lady Billows and Superintendent Budd decide to select a May King instead of a May Queen. Albert Herring, a virgin, is the perfect candidate. He is crowned May King at the Fete. But, feeling ridiculed, jealous of his colleague, Sid’s relationship with Nancy and drunk from a spiked drink, he heads out into the wide world. The town assumes he is dead, and are deep in tragic mourning when Albert finally, and most comedically, returns to their great surprise and frustration!
- October 2014
This opera tells the story of St Mary of Egypt, once a prostitute in Alexandria, who went into the desert for spiritual contemplation and met Zossima, a holy man. Mary’s love was love misdirected, and although her door was wide open, Zossima's was closing around him with pride: even though he 'understood all the mysteries', he did not understand why his good deeds and virtues had not brought him peace. His arrogance meant he failed to find the one thing he needed - the supreme mystery, the humility essential for love. In the arid desert, Mary and Zossima find in each other a kind of spiritual ecstasy.
The simplicity of the music is in stark contrast with the theology of the desert fathers in all it's searing compassion. Staged in the iconic King's College Chapel, this production presents a rare opportunity to see an opera in the city's largest natural theatre as well as being the UK premiere of the chamber scoring. The performances will be part of the 70th birthday year celebrations, and also close to the first anniversary of the composer's death.
- June 2014
A tale from the Book of Tobit, this simple yet witty and uplifting opera follows the character of Tobias as he progresses on a journey towards spiritual education - learning to listen to the world and preparing to cast out an evil demon.
This 'community opera' has proved immensely popular since its 1999 premiere. This May Week production, staged in Queens' College Chapel, will stage the opera as if it is being performed by a small close knit community for their friends and family. When various members of the production are missing left, right and centre, the line between performance and reality gets increasingly blurred. Exactly who is playing the demon?
- February 2014
From the moneyed aristocracy to the working classes, freedom seems on the horizon. Zerlina and Masetto are getting married. The Commendatore’s daughter is tying the knot, too. It seems that hope is finally in the picture. Soon to put a spanner in these happy works, though, is the return of the wealthy libertine Don Giovanni. After years of hedonistic womanising, he goes on leave from his military service for what he thinks will be the ultimate weekend of decadence and debauchery. As Don Giovanni is confronted with lovers past, present and future, his quick wit and ambition begins to get the better of him, and his web of seduction starts to unravel.
- February 2014
"Go your way in peace, mother. The dead shall rise again, And in that blessed day, We shall meet in heav'n"
The Madwoman is desperately looking for her child and has reached the Curlew River. Crossing the river amongst pilgrims on their way to a shrine, travellers and the ferryman, the Madwoman is brought to realise the fate of her child.
Benjamin Britten's church parable 'Curlew River' will be performed this Lent Term in Trinity Chapel, a venue fitting for Britten's beautiful music. An adaptation of a Japanese noh play, this production will stage the opera according to the principles of noh theatre - facial actions, movements and gestures controlled by a formal rigour to give a great visual artistry. Only the Madwoman is free from this style of theatre and the so a clash between Eastern and Western styles, so apparent in the music, will be dramatised.
- June 2013
Sam and Dinah, like all of their cheery suburban neighbours, appear to be happily married and lead normal lives. Follow Sam and Dinah as they live through a normal day, uncovering as we go the dark heart of Fifties America.
Accompanied by a jazzy orchestral score and a scat trio of singers, we see the true state of the couple's life. Amidst the daily lunches and appointments are scattered lies, selfishness, sexism, and a sad recognition that life is not like an island paradise movie. Their son, Junior, seems to be unimportant, if not a mere figment of the social imagination. As their neighbours pretend that suburban life is perfect, we begin to wonder how many more marriages in fifties suburbia undergo the same process of lies and the pretence at normality. Sam and Dinah's jazzy, gossipy neighbours even have their eye on the audience.
Set in an era of consumerism, anti-communism and the Beat generation, this opera shows us the hurdles which married life must overcome, all the while to a West Side Story-esque score. It challenges our social perceptions while offering something for everyone: whether you like Maria Callas or Michael Buble, this show will never disappoint.
- February 2013
Deep within the woods, a naive fox cub stumbles into a Forester's clutches. Tied up in a yard, she grows up dreaming of freedom. Battling the banality of her existence, surrounded by egg-layers and stick-fetchers, her frustration builds until, in a moment of fury, she breaks loose.
Pursued by her captor, she returns to the wild for the first time since her childhood. Around her, the forest teems with life. Dragonflies dance, badgers doze and a riot of animals resound the coming Spring. As the months pass, the Vixen discovers the world, topples established order and finds love. But before the last season is out, she and the Forester will meet one more time.
From a simple folk tale, this opera weaves a dazzling evocation of nature - of life and death, marriage and regret, drunkenness and unrequited love, fear, pride, grief and, of course, foxes. Janáček fills the stage with all forms of life, human and animal, in a rich tapestry of stories which ultimately coalesce to tell just one – that of the Cunning Little Vixen.
Cambridge University Opera Society’s 2013 Mainshow will combine dance, song, movement, music and more to bring this profound, beautiful, unsentimental opera to the West Road stage, assembling the university’s top performers and creative talents to create a visually spectacular, musically stunning, unmissable show.
- February 2012
Cambridge University Opera Society’s production places this much-loved farce in the privileged world of twenty-first century young socialites. Bubbling with infectious energy and fizzing with melodious charm, Strauss’s Die Fledermaus will leave you as giggly as those onstage (champagne optional).
Prince Orlofsky is throwing a party, and Falke has orchestrated some real-life drama for the Prince’s entertainment. All in revenge for the time his best friend Eisenstein left him in the middle of town, passed out and dressed as a bat...
Everyone who’s anyone is going to be there. They just don’t want each other to know. Eisenstein should be in prison so he’s keeping a low profile, especially as police-chief Frank is also there in disguise. Eistenstein’s wife, having left her former lover locked up in her husband’s prison cell, is also keen to conceal her identity. Their maid Adele should be tending to her sick aunt, not partying with her sister. With the help of a bit of waltzing and copious amounts of champagne, everyone’s identities will be exposed, and their philandering revealed.
- August 2011
Two new chamber operas, two five-star reviews.
Bonesong: a twisted fairytale with live electronics and video installation.
Unknown Position: a woman in love with a chair.
'Impressive, sung with flawless command' – Varsity.
www.cuos.org.uk
- June 2011
Giovanni Pergolesi's classic intermezzo receives a rollicking update in Cambridge University Opera Society's last show of the year.
The wealthy, miserly Uberto has had enough of waiting for his cup of hot chocolate. He is convinced his pretty young maid, Serpina, has completely forgotten her place and become mistress of his household. When he tries to get rid of her, however, he finds he has reckoned without the combination of her and mute servant Vespone, as they conspire to make his fears come true in the original opera buffa chaos of pratfalls, disguises and wonderful arias.
End May Week in the only proper fashion - to the sound of musical bickering.
Uberto - Mike Craddock Serpina - Ruth Shannon Vespone - Fred Maynard
Conductor - Dan Smith Director - Fred Maynard Associate Director - Imogen Tedbury
Performances: 25th June as part of the Sidney Sussex Arts Festival 27th June 8pm 28th June 8pm
- June 2011
The action takes place in the drawing room of Madam Popova's house in the country in 1888. Popova, a pretty widow affectedly faithful to the memory of her late and, alas, promiscuous, husband is confronted by Smirnov, one of her husband's more boorish creditors. They quarrel to a point at which each aims a loaded pistol at the other, but neither can fire. They have both fallen helplessly in love.
This delightful domestic chamber opera will be set in the Round Church, enhancing its surreal comic qualities.
- February 2011
Below-stairs in the Almaviva household, Figaro and Susanna are blissfully happy: it's finally their wedding day. But even today there is nowhere to hide from the ringing of the servant's bell - and this time the Count is ringing for Susanna. The Countess is abandoned to her secluded garret, as the Count prowls the servants quarters, determined to add Susanna's name to the others in his little black book. Constantly aware of every creaking door, every watchful eye, Figaro and Susanna know they must rely on their wits, but can they pull off their wedding? And will they live happily ever after?
Cambridge University Opera Society are delighted to present Mozart's Marriage of Figaro. Set in the back passages of 18th century England and starring some of Cambridge's finest singers, this new production celebrates both the darkness and the hilarity of this much-loved comic opera.
- February 2011
Stravinsky's neoclassical setting of W. H. Auden's tragic masterpiece, based around the 18th century engravings of William Hogarth.
Lured away from his quiet country life with sweetheart Anne Truelove, Tom Rakewell descends to the raucous delights of a dissolute London life, aided by the enigmatic Nick Shadow. A disastrous marriage to the bearded lady Baba the Turk, spiralling debts, and distaste for the debauchery that surrounds him eventually provoke the madness that consigns him to Bedlam.
"For idle hands and hearts and mind, the devil finds a work to do".
- February 2010
- February 2010
Cambridge University Opera Society presents Pelléas et Mélisande Opera by Claude Debussy Adapted from the play by Maurice Maeterlinck Performed in the original French 'all destiny appears to our eyes as if reversed' (Maeterlinck)
Wednesday 17th February - Saturday 20th February, West Road Concert Hall £9 / £15.
Tickets are available from the ADC theatre Box Office, at www.adcticketing.com.
Pelléas et Mélisande is a gem of Symbolist opera, what Olivier Messiaen called 'the great, quite exceptional masterpieces of opera' (1979), certainly at the peak of 20th century operatic composition.
Maeterlinck's characters are guided through fate's path as marionettes. Death hangs constantly over the characters with absolute inevitability. Death as it occurs is purely symbolic, as none of the characters were ever alive, in accordance with Maeterlinck's belief that 'poems die when living people get into them'. The souls which wander the stage in Pelléas et Mélisande are merely symbols of humanity. All we see is a single moment, a visible flash of an infinite cycle of life. The characters reveal infinite truths which will recur along with the continuation of mankind - lies, murder for jealousy, possession within love, innocence, and corruption. Ultimately, there is fundamental truth 'la verite', for which Golaud pleads Melisande on her deathbed; 'Tell me no more lies at the moment of death'.But the truth will never be revealed. At her death, Melisande's whispers the words 'the truth? The truth?' and Golaud cries out in agony: 'Now I shall never know. I shall die without knowing, in my blindness.'
- November 2009
CUOS and the Cambridge Festival present Benjamin Britten's musical setting of one of the Chester Miracle Plays. With Abbey Meadows, Ridgefield and Girton Glebe primary schools. Conducted by Carlos del Cueto, directed by Rosalind Parker, produced by Sarah Bowden
- February 2009
This year CUOS returns to West Road for an ambitious and exciting production of Tchaikovsky's most well-known opera, Eugene Onegin. We hope to follow up on last year's sell-out run of Don Giovanni with another equally compelling and challenging show.
- June 2008
"The forest is to me a mirror wherein I see another world, a world where all is nameless, unknown, all sick with fear."
Cambridge University Opera Society, in association with the Holst Foundation and Christian Heritage, presents the next show from the creative minds that brought you Les Incas du Pérou, Quadraginta and Don Giovanni.
- February 2008
The only rule is don't be boring..." Paris Hilton
And no-one could accuse Mozart's Don Giovanni of being boring. Legendary more like, with a reputation greater than Jack Nicholson, Russell Brand and Casanova combined. This bold, exciting new production comes to life in the dazzling lights of the city, throwing the Don headlong into the paparazzi-ridden world of modern celebrity. With a thought-provoking spin on da Ponte's heady tale join us for an evening of decadence, humour, high drama - and an infamously hellish climax.
From the production team that brought you the "totally compelling… totally convincing… best thing I had seen in Cambridge" (Varsity) opera that was Les Incas du Perou comes another theatrical extravaganza that promises to be CUOS' biggest, boldest and best show to date.
www.dongiovanni2008.com
- October 2007
Poulenc's 1944 opera, based on an Apollinaire play, is a surreal and hilarious tale of love, war, breasts and gender-bending, set to a sublimely eclectic score. Housewife Thérèse tires of her husband's misogyny and removes her breasts, becoming the male Tirésias and running off to join the army. The husband then decides to make babies by himself, creating 40,049 of them in one day, and utter mayhem... A far cry from fat ladies singing, this is opera as you have never seen it before. In aid of Breast Cancer Campaign.
- February 2007
In a story-book world, young Hansel and Gretel get lost in the woods, chancing upon an enchanted cottage made of sweets, and an old woman who wants to bring them both to a very sticky end. This timeless tale of the perils of a sweet tooth is charmingly brought to life by Humperdinck's score, which is simultaneously highly Romantic and touchingly naive - an unlikely combination, perhaps, but one which has proved a perennial favourite since its premier in 1893. This production is being double cast to accommodate four performances over three days, and in order to involve as many students as possible; an ambitious education project will also involve young people in the local community. A great favourite with children and adults alike for over a century, and ideally suited to student voices, 'Hansel and Gretel' promises to be a thoroughly magical production. For tickets visit www.hanselandgretel2007.com or call 020 81445433.
- February 2006
Cambridge University Opera Society marks Mozart's 250th anniversary with a grand and sparkling production of The Marriage of Figaro, one of the composer's best loved operas.
- March 2005
Shakespeare Deranged: 4 music theatre pieces after Shakespeare
- February 2005
Cambridge University Opera Society presents THE RAKE'S PROGRESS by Igor Stravinsky, libretto by W H Auden & Chester Kallman.
The Rake’s Progress charts Tom Rakewell’s journey from the idyllic country, where he is celebrating the beauty of spring with his true love Anne, to a decadent, corrupt London where he will be seduced by whores, become bankrupt and eventually end up in Bedlam. The journey is also a psychological one for Tom, who initially shirks his responsibilities and allows himself to be led astray but finally repents and recognises his former ‘madness’, though ironically he is by this time himself in a madhouse.
Our production emphasises the hostility and individualism of the city whilst maintaining a strong flavour of the tongue-in-cheek aspect of this moral fable. With such colourful personalities as the devil, a bearded lady and hoards of whores and madmen, this is sure to be a night to remember.
- October 2004
The opera, based on Henry James' novella, centres on a young governess who is sent to look after two children at an English estate. She soon discovers that the house is haunted by the ghosts of the former governess and the former master's valet. It becomes increasingly apparent that something unsavoury happened between these empoyees and the children, and this appears to be continuing even after their deaths...
- December 2003
