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Opera della Luna

Logotipo de Opera della Luna Opera della Luna (OdL), fundada en 1994, es una compañía teatral británica itinerante compuesta por actores y cantantes, especializada en obras cómi...

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Logotipo de Opera della Luna

Opera della Luna (OdL), fundada en 1994, es una compañía teatral británica itinerante compuesta por actores y cantantes, especializada en obras cómicas. Dirigida por el director artístico Jeff Clarke, toma su nombre de la ópera que Haydn adaptó de la farsa de Goldoni , Il mondo della luna . La compañía presenta producciones y adaptaciones innovadoras, generalmente extravagantes e irreverentes, de pequeño formato, de obras de Gilbert y Sullivan , Offenbach y otras óperas y operetas cómicas , en inglés. OdL es una organización benéfica británica registrada.

Tras dirigir su propia compañía de ópera itinerante en la década de 1980, Clarke fundó OdL en 1994. Pronto comenzó a producir adaptaciones itinerantes de óperas de Gilbert y Sullivan y operetas conocidas, como La viuda alegre , El murciélago y varias piezas de Offenbach. La compañía también ha presentado espectáculos y conciertos en el crucero QE2 y en otros lugares, pantomimas navideñas anuales y producciones de verano o festivales. Otras obras han sido de Donizetti , Verdi , Strauss , Mozart y Bernstein .

La compañía suele realizar dos giras importantes al año, visitando en algunos años más de cien teatros de tamaño medio en todo el Reino Unido. Ocasionalmente, la compañía ha realizado giras internacionales. Clarke dirige todas las producciones, que en su mayoría son adaptaciones a pequeña escala representadas sin coro, acompañadas por una pequeña orquesta. [ 1 ]

Historia y descripción

En 1986, Clarke fundó The English Players, una compañía de ópera itinerante. Sus producciones para esta compañía incluyeron adaptaciones en inglés de Love in a Village (que realizó una gira hasta Denver , Colorado), The Caliph of Bagdad y Abu Hassan de Boieldieu (dos óperas de un acto presentadas juntas), Il mondo della luna y Robinson Crusoe . Después de cuatro años, Clarke disolvió The English Players mientras planeaba una nueva compañía con mayor financiación. [ 2 ]

Con la ayuda del experto en marketing y versátil profesional del teatro Graham Watson, Clarke fundó Opera della Luna (OdL) como una organización benéfica registrada con una junta directiva y una base de seguidores habituales. El nombre de la compañía, adaptado del nombre Il mondo della luna , pretende transmitir su estilo extravagante de adaptación. La primera producción de OdL, en 1994, fue Robinson Crusoe . Afectada por las huelgas de transporte, la obra perdió dinero. [ 3 ] Clarke y sus amigos compensaron parte del déficit ofreciendo conciertos nocturnos en salas de música . [ 2 ] La compañía se recuperó y desde entonces ha realizado giras exitosas. En 2010, Clarke describió los primeros 15 años de OdL en unas memorias de la compañía organizadas en torno a fotografías de sus producciones, Borrowed Light: A retrospective of 15 years on the road with Opera della Luna . El libro describe todas las producciones de la compañía hasta 2010 e incluye listas de reparto. [ 2 ] Diez años después, para celebrar el 25 aniversario de Opera della Luna, Clarke publicó otro volumen similar, Borrowed Light 2: Another 10 Years on the Road with Opera della Luna . [ 4 ]

Carte , Gilbert y Sullivan en 1893. OdL reinterpretó varias de sus óperas un siglo después.

Adaptaciones de Gilbert y Sullivan

Los piratas del párroco

La compañía logró su primer éxito financiero teatral en 1995 con la adaptación de Clarke de Los piratas de Penzance de Gilbert y Sullivan , titulada Los piratas del párroco , sobre el vicario de St Michael's Under Ware, a quien se le encarga recaudar fondos para la iglesia mediante una producción amateur de Los piratas . [ 3 ] La idea original había sido simplemente producir una velada de éxitos de Gilbert y Sullivan con cinco cantantes. Clarke escribió, en sus memorias de 2010,

"Cuando empecé a intentar armar un programa, pensé en hacer la segunda parte... un gran fragmento de una de las óperas... Poco a poco, una idea comenzó a desarrollarse... Con un intérprete más, posiblemente podríamos hacer Piratas del Caribe ; requeriría cambios de vestuario ridículamente rápidos y algunas duplicaciones sorprendentes... Richard Gauntlett hizo un número cómico como vicario, en el que dividió al público en dos mitades y los hizo unirse a 'Tit-Willow', decidí... construir la primera parte en torno a él. Se representaría como una audición con algunos miembros del elenco entre el público. El propio Richard interpretaría al Mayor General" [en la segunda parte de Piratas del Caribe ]. [ 2 ]

La actriz Louise Crane interpretó a Ruth y sigue siendo miembro de OdL. La coreógrafa Jenny Arnold había trabajado en Robinson Crusoe con la antigua compañía y ha continuado como coreógrafa desde entonces. La pieza (y todas las piezas posteriores de G&S de OdL) se interpreta sin coro: los solistas principales son asignados para cubrir las líneas corales en la música, de maneras a veces sorprendentes y divertidas. La temporada original de tres noches fue un éxito inesperado, y le siguió una gira. [ 2 ] Desde entonces, Richard Suart e Ian Belsey han actuado en la producción en numerosas ocasiones. El crítico George Hall escribió que la producción «es una velada brillante, un homenaje y una parodia cariñosa de [ Piratas del Caribe ], realizada con brío, estilo, excelentes voces y una buena dosis de extravagancia. Con Richard Suart... sabemos que nos espera un espectáculo... Ian Belsey [y el resto del reparto] son ​​todos muy divertidos y Jeff Clarke dirige todo a un ritmo trepidante... Este es un espectáculo tanto para los devotos de Gilbert y Sullivan como para los principiantes... En resumen, un auténtico deleite: irresistible e imperdible». [ 5 ]

Ruddigore y Mikado

Pronto le siguieron otras tres adaptaciones de G&S, dirigidas por Clarke y coreografiadas por Arnold, todas adaptadas para un elenco de 6 a 8 personas y sin coro. La primera fue The Ghosts of Ruddigore (1997), donde un par de nerds, Amanda Goodheart y Kevin Murgatroyd, tienen problemas con el coche como Brad y Janet en The Rocky Horror Show . Se encuentran en el espeluznante pueblo de Rederring, al estilo de Brigadoon , donde descubren a sus ancestros y se ven envueltos en la historia. [ 6 ] Un crítico dijo que la producción proporcionó "Carcajadas, barones y más de un toque de Blackadder ". [ 7 ] [ 8 ]

Next was The Mikado (1998). The company's updated adaptation is set in a hip tailor/design shoppe and inspired by the sexy, flashy world of fashion. As Clarke described the genesis of the production, he was in New York City over Christmas 1997 and visited the Metropolitan Museum of Art, which was showing a special exhibition of the work of Gianni Versace. "I was confronted with a dress; a cheeky mini-crinoline, sexy and sassy, classical and witty. The startling originality, colour and fun of it hit me like a blow – imagine three of these – the three little maids! Remembering that Ko-Ko, before his elevation to Lord High Executioner, had been a cheap tailor.... the germ of an idea started. Why not make Ko-Ko a designer? ... a Jean-Paul Gaultier – camp, outrageous, and bursting with creativity and invention. This gave the green light to filling the stage with all sorts of over-the-top theatrical fashion creations".[2] Clarke engaged fashion designer Gabriella Csanyi-Wills to create the costume designs; she originated the idea to make the second act set, Ko-Ko's garden, out of fabric. Clarke decided that Katisha would be based on the older women in Dallas or Dynasty. "Women long past the first flush of youth, but determined not to grow old gracefully. ... [If] she becomes a sympathetic character, the whole plot collapses. But the ridiculous picture of a woman in love with a man half her age is one we are all familiar with ... the key to what makes Katisha pitiful."[2] This production, featuring Simon Butteriss as Ko-Ko and the Opera Babes as Yum-Yum and Pitti-Sing, also became a success, and theatres were eager to book it. One new opportunity for the company was the chance to showcase the production at the 1999 Covent Garden Festival – OdL's first London performances – and at subsequent Covent Garden Festivals. The production continued to be very popular on repeated tours.[9]

H.M.S. Pinafore, The Sorcerer and The Gondoliers

OdL has performed at the Buxton Opera House in both the International G&S Festival and the Buxton Festival.

H.M.S. Pinafore was first presented in 2001 on the QE2 cruise ship and sailed as far as Australia. Clarke's adaptation was designed to meet the ship's one-hour time limit for entertainments. This was repeated in subsequent seasons on the H.M.S. President, a ship moored on the River Thames that doubled as the Festival Club for the Covent Garden Festival (Julia Goss played Little Buttercup), and in 2002 on a different cruise ship with both Pinafore and Mikado.[2] In the energetic opening scene of Pinafore, the company erects the H.M.S. Pinafore right before the audience. Clarke noted, "Many an old sailor, when his sea-faring days were over, worked on the fly floor of a theatre ... used to signal cues to fly the scenery by whistling. That is the origin of the theatrical superstition that it is bad luck to whistle in the dressing room. ... I wanted to find some visual way of showing this connection, so to have the sailors "flying" the scenery by pulling the ropes and tying them off would be a great trick.[2] The company's typically zany version of Pinafore is played in Victorian dress with few textual and musical changes from the original.[10][11]

OdL has performed all of its Gilbert and Sullivan productions at the International Gilbert and Sullivan Festival nearly every year since 2003 as well as touring them extensively.[12] Another G&S-related piece is The Burglar's Opera, with a script by Stephen Wyatt, based on W. S. Gilbert's 1890 short story, Burglar's Story, mixed with elements of The Threepenny Opera. The music was adapted by Jeff Clarke from Arthur Sullivan's orchestral music. This toured in 2005 and 2006.[13] In 2007, Clarke introduced a new piece called Nightmare Songs in which Simon Butteriss plays an understudy to the principal comedian of a fictionalised D'Oyly Carte Opera Company during World War II and must be ready to go on at very short notice to play in any of ten G&S patter roles. Clarke plays another resident of his lodging house, an itinerant "variety" performer who assists and hinders the patter man's nightmarish rehearsal. The two men have performed the piece many times.[14]

The company's adaptation of The Sorcerer was first produced at the 2009 International Gilbert and Sullivan Festival. The setting of the opera is updated to the 1970s, and the love potion causes Dr. Daly to fall in love with Alexis, rather than Aline. Clips from the Buxton presentation are included in a 2010 Sky Arts TV series about G&S, narrated by Butteriss, called A Motley Pair. OdL toured the production repeatedly over the ensuing years.[4] A review called the show "one of the most delicious musical feasts on the circuit".[15] Another review commented, "Sharp and witty, it oozed fun and inventiveness while satirising the class structure of English village life and marriage. ... The uniformly good cast have fine voices, allied to stagecraft and excellent comic acting skills. They delivered the piece with pace and panache. Clever use of tableaux and excellent sung and spoken diction ... ensured total enjoyment."[16][17] The company toured this opera extensively in the years following its premiere as part of its regular repertory.[4]

The last Gilbert and Sullivan piece staged by OdL was The Gondoliers in 2014; Clarke added to his usual small principal cast a local chorus, at each tour stop, made up of 24 local singers.[18][19] Also during this period, Clarke directed, and some members of the company starred in, productions of the National Gilbert & Sullivan Opera Company, including Princess Ida (2009), The Yeomen of the Guard (2010 and 2011), Ruddigore (2011) and The Gondoliers (2012).[4] Clark returned to the National Gilbert & Sullivan Company in 2022 to direct Utopia, Limited.[20]

Other repertory

1996 to 2009

The company has mounted several Offenbach works

Early on, the year after its first success with The Parson's Pirates, the company produced a Donizetti adaptation, Lucia, The Bride of Lammermoor. As it turned out, the opera would be OdL's only non-comic piece, and Clarke decided that the company was better off making a name for itself through its zany comic productions than competing in the standard repertoire against the other small touring British opera companies.[2]

After introducing its first three Gilbert and Sullivan productions, the company turned to other works, as Clarke feared that it would become identified exclusively as a G&S company. In 1997, when the Royal Opera House had to close for renovations, they presented a season at the Shaftesbury Theatre, including some lighter works, such as The Merry Widow, with a translation by Jeremy Sams. It was not a success, and the Royal Opera agreed to license the translation to OdL after having seen the company's Mikado at the Covent Garden Festival. The company first played the piece at the Covent Garden Festival in 2000 and later toured it extensively, often to larger theatres. OdL's updated chamber adaptation included naughty puppets three years before Avenue Q premiered. Clarke recalled, "Shadow puppets for Valencienne and [Camille] in the pavilion required some restraint from Miss Knight and Mr [Carl] Sanderson, who were only too ready to make their assignation more graphic than Lehár intended. But the "grisettes" [were] life-size puppets – dazzlingly costumed in frills and feathers and prepared to reveal far more than any chorus girls had previously done."[2]

Iford Manor, home of the Iford Arts Festival, a frequent OdL venue

En 2003, el Festival de Artes de Iford encargó a la compañía la creación de una versión de cámara de La bella Helena de Offenbach , que OdL luego realizó en gira. Belsey regresó y Simon Butteriss debutó con la compañía; ambos han tocado muchas temporadas para OdL, particularmente en las producciones de Gilbert y Sullivan. Clarke no les dijo a los organizadores del festival lo que tenía planeado: "El espectáculo fue grosero. Contenía no pocas palabras de cuatro letras; el elenco repartió Viagra al público en el último acto; y lo más alarmante, en el célebre dúo de Helena y París del Acto 2 '¿Estoy soñando?'", la mezzosoprano estaba en topless. [ 2 ] El público fue entusiasta y la obra salió de gira. Iford encargó más tarde producciones de Robinson Crusoe (2004), una versión reducida de Los cuentos de Hoffmann (2005) y Lucia de Clarke . Clark escribió sobre estos años: «La primera parte del año se dedicaba al trabajo en el QE2... seguido de la gira de primavera de la compañía. El verano se dedicaba a los preparativos y las actuaciones para Iford y [el Festival Internacional G&S en] Buxton . Habría una extensa gira de otoño desde septiembre hasta principios de noviembre, y luego la compañía representaría su pantomima navideña anual en el Corn Exchange, Newbury ». [ 2 ] OdL comenzó a presentar pantomimas navideñas en 1995, incluyendo Dick Whittington y su gato , Aladino , La Bella Durmiente , El Gato con Botas , Cenicienta , Robinson Crusoe y Robin Hood . Clarke sentía que estas producciones realzaban la reputación de la compañía, y «la oportunidad de crear emocionantes espectáculos de teatro musical para niños era algo que disfrutábamos». [ 2 ]

In 2006, at Iford, the company revived Il mondo della luna. Clarke's English translation hews closely to the original libretto, but some material is cut.[21] The same year, OdL first produced a new English version of Donizetti's L'Elisir d'Amore set at a health spa, which it then toured.[22][23] That Christmas, the show was a revue called A Little [Christmas] Night Music, with songs from musical theatre, operetta, opera and cabaret.[24] Occasionally, the company presented other similar revues that it called Moonstruck or The Amorous Goldfish.[2] In 2007, it also mounted Stravinsky's The Rake's Progress.[25] At the end of the year OdL staged the first of its holiday-themed Christmas Nuts pastiches, which it continued to stage most Christmases until 2019, in aid of a charity.[26] In 2008, the company toured Verdi'sUn giorno di regno ("King for a Day"). In Clarke's broad English adaptation, the story is moved to post-war Italy around the reign of Umberto II, infused with elements of organised crime, and political humour is added. One reviewer commented that the production "makes up for what it lacks in bel canto elegance by being a riotously funny, enormously enjoyable evening's entertainment".[27] In 2009, OdL began touring its version of Strauss's Die Fledermaus in Clarke's English translation. The show was another success for the company, was toured to larger venues, and was featured in Opera Now magazine in May 2009.[28][29] OdL toured this opera extensively over the following years.[4]

2011 to present

OdL's production of Don Giovanni premiered at Ilford in 2011 and later toured to such venues as The Lowry.[4] Nicola Lisle, writing in the Oxford Mail praised its "suitably explosive and menacing treatment of the more sinister elements of the opera, [while grief and love are] handled movingly and sensitively. ... [Its comedy] bristles with energy and purpose, with plenty of laugh-out-loud moments, [in] a witty and daring new translation."[30] The company followed this with a revival of The Merry Widow, which it toured for several years. It was then commissioned to produce three summer productions of French comic opera.[4] Its farcical La Vie parisienne was first seen at Ilford in 2013, with a partly steam punk setting.[31] The second of these was The Daughter of the Regiment in 2014. Clarke puzzled over how to produce this opera in Ilford's small space with a small cast. He remembered that American G.I.'s returning from the Second World War had formed motorcycle gangs with quasi-military hierarchies and often supported disadvantaged children.[4] In his concept, a tough girl is raised by a 1950s "regiment" of California bikers.[32]

The third was Orpheus in the Underworld, a typical madcap OdL production that played at The Lowry and elsewhere after its 2015 premiere at Ilford. Rupert Christiansen commented in The Telegraph: "I can't think of a performance of Orpheus in the Underworld that I've ever enjoyed as much as this rumbustious, unpretentious, and jolly version, executed with tremendous verve".[33][34] A few years earlier, in Paris, Clarke had been delighted by a double bill of two hilarious one-act Offenbach operettas, Croquefer, ou Le dernier des paladins and The Isle of Tulipatan.[4] Under the title Tales of Offenbach, the company first brought Clarke's translation of the two to Wilton's Music Hall in 2016 and then toured them.[35] OdL next returned to Strauss. The Queen's Lace Handkerchief (1880) had been very popular in Austria, Germany and the US through the turn of the 20th century but is almost unknown in Britain. Clarke reconstructed and adapted the piece largely from American translations.[4] OdL presented this "spirited revival" at Wilton's in 2017.[36]

Ilford asked the company to stage Candide for the 2018 centenary of Leonard Bernstein's birth. Because the work demands a larger production that OdL typically mounts, it joined forces with Ilford Arts and then played the piece at two other venues. One review found the production to be a "whirling, high-energy collaboration [that] packs every possible punch in a furiously creative evening".[37] The same year OdL was invited to appear at the Buxton Festival, where it revived Daughter of the Regiment.[4] This was repeated soon afterwards at Wilton's,[38] where OdL also presented a semi-staged concert of The Arcadians.[39] At the request of the Buxton Festival, the company revived Orpheus in its 25th anniversary year, 2019, which OdL repeated at Wilton's, followed by revivals and tours of Parson's Pirates, Pinafore and La belle Hélène.[4][40] The company gave only one performance, in January 2020, before theatres closed during the COVID-19 pandemic.[41] For its first show upon reopening in 2021, OdL toured a double bill, titled Curtain Raisers, of Cox and Box by Sullivan and Offenbach's The Two Blind Beggars, with a translation by Clarke.[42]

OdL celebrated its 30th anniversary in 2024 with a run of The Parson's Pirates at Wilton's Music Hall.[43]

Critical reception

Johann Strauss II, composer of some OdL works

The press generally praises the company for its innovative, irreverent small-scale productions. Musical Opinion wrote, "Who needs grand opera when you can have Opera della Luna? The scale of their performances ... is so small as to be minuscule, but they are so skilfully conceived and realised as to be totally engaging. In their way, they are every bit as rewarding as far more ambitious, not to say pretentious stagings. Director Jeff Clarke can be relied upon to provide a whole new perspective on a piece through his brilliant translations".[23] A review of the company's 2009 adaptation of The Sorcerer in Bucks Free Press stated, "Opera Della Luna is innovative, imaginative and inventive. Its grasp on musical theatre is astounding and director Jeff Clarke should be applauded for bringing a new spirit of the age to G&S."[15]Opera Now magazine wrote, in its review of OdL's 2009 production of Die Fledermaus:

Jeff Clarke's Rocky Horror version of The Bat ... turned out to be rather brilliant, not to mention hilarious.... As is his wont, Clarke, panjandrum of Opera della Luna and its nifty pianist too, had not only translated but rewritten the show so as to be actually funny.... Clarke's hallmark is a cheery vulgarity underpinned with a subtle but distinct moral eye.... But this was all very good-natured.... This non-preachy evening was a success, in the end, mostly because of an inspired cast.... Clarke's little band moved things along at a terrific lick. The most enjoyable evening for ages.[28]

Gilbert and Sullivan expert Ian Bradley comments, "Opera della Luna has achieved the rare feat of bringing in a new audience for G&S without alienating the old one."[44] Typical of reactions to OdL's many appearances at the International Gilbert and Sullivan Festival in Buxton is this Manchester Evening News review of the company's H.M.S. Pinafore in 2006:

[The] festival proper opened with this inventive and entertaining production by M.E.N. Award-winning Opera della Luna. It's a cleverly pared-down version to suit the mere eight-strong company, plus [its five-person orchestra] (and how haunting to hear Dear Little Buttercup as a violin solo by Rachel Davies). Jeff Clarke directs from the keyboard.... The cast is led by the irrepressible Simon Butteriss as Sir Joseph Porter. He gestures, minces and trips around to great comic effect, splendidly aided and abetted by the others... Ian Belsey makes an imposing and funny Captain.... Between them, they entertain hugely."[45]

Reviewing the company's 2017 production of The Queen's Lace Handkerchief, Richard Bratby wrote in The Spectator, "Opera della Luna understands that, and proves – not for the first time – that the rarest pleasures can come with the lightest touch."[36] The same critic wrote in 2021: "Opera della Luna is a little miracle: a shoestring touring company with a near-supernatural ability to get inside the head (and heart) of 19th-century comic opera. In recent years, they’ve given the UK première of a Johann Strauss operetta, a rare modern staging of the Edwardian West End smash The Arcadians, and an Offenbach double bill that was so raucously, scabrously funny that even writing about it has just made me choke on my tea."[46]

References

  1. ↑Opera della luna official websiteArchived 19 January 2010 at the Wayback Machine, accessed 12 November 2009
  2. 123456789101112131415Clarke, Jeff. Borrowed Light: A retrospective of 15 years on the road with Opera della Luna, Jeff Clarke and Opera della Luna, Bicester (2010). ISBN 978-0-9567694-0-4
  3. 12Bradley, p. 86
  4. 123456789101112Clarke, Jeff. Borrowed Light 2: Another 10 Years on the Road with Opera della Luna, Bicester: Opera della Luna ISBN 978-1-80049-121-2
  5. ↑Hall, George. "The Parson's Pirates", The Stage, 19 September 2002
  6. ↑Bradley, p. 87
  7. ↑Hanning, Elaine. "The Ghosts of Ruddigore: Belly laughs, baronets and more than a touch of Blackadder", Jersey Evening Post, 19 June 2002
  8. ↑ Darvell, Michael. "Críticas teatrales: Los fantasmas de Ruddigore ", What's On (Londres), 4 de septiembre de 2002, pág. 51
  9. ↑ Beale, Robert. Reseña: El Mikado , Manchester Evening News , pág. 10, 18 de enero de 2008
  10. ↑ Beale, Robert. "Luna-tic Pinafore es un triunfo en la costa", Manchester Evening News , 25 de marzo de 2009.
  11. ↑ "Diversión en alta mar". Archivado el 7 de marzo de 2016 en Wayback Machine . The Press and Journal , 22 de abril de 2010, consultado el 27 de abril de 2010.
  12. ↑ Lewis, Peter. "¡ Los piratas son un gran telonero!", Hexham Courant , 19 de octubre de 2007
  13. ↑ Gillan, Don. "La ópera de los ladrones" , stagebeauty.net, 2006, consultado el 4 de noviembre de 2009.
  14. ↑ Lisle, Nicola. "Una pesadilla que se convierte en un sueño hecho realidad" , archivado el 27 de septiembre de 2007 en Wayback Machine. The Oxford Times , 5 de abril de 2007.
  15. 1 2 "Reseña: El hechicero " , archivado el 5 de marzo de 2012 en Wayback Machine Bucks Free Press , 14 de octubre de 2009
  16. ↑ Wilkinson, Lyn. "Una actuación brillante garantizará su popularidad", Newbury Weekly News , 6 de agosto de 2009, pág. 2
  17. ↑ Coffey, Catherine. El hechicero en el Oxford Playhouse . Oxford Theatre Review , 15 de junio de 2011.
  18. ↑ Twinch, Carol. "Reseña: Los gondoleros , de W.S. Gilbert y Arthur Sullivan, Opera della Luna, New Wolsey Theatre, 9 de mayo" , East Anglian Daily Times , 12 de mayo de 2014
  19. ↑ "Preestreno: Opera della Luna Los Gondoleros en el Teatro Lowry" , Live-Manchester, 18 de mayo de 2014
  20. ↑ Bratby, Richard. " Utopia, Limited , reseña de la National Gilbert & Sullivan Opera Company: un éxtasis limitado" , The Arts Desk , 8 de agosto de 2022
  21. ^ Programa de teatro de Il mondo della luna , Iford Arts, junio de 2007
  22. ↑ Christiansen, Rupert. "Elixir igual de potente en el humo del norte" , The Telegraph , 26 de junio de 2006
  23. 1 2 Evans, Rian. "L'Elisir d'amore at Iford Manor, Bradford-on-Avon" , Musical Opinion , septiembre/octubre de 2007, consultado el 16 de noviembre de 2009.
  24. ↑ Lisle, Nicola. " A Little Christmas Night Music , Opera della Luna, OFS Studio, Oxford" , Oxford Mail , 21 de diciembre de 2006, consultado el 12 de octubre de 2021.
  25. ↑ Clarke, Jeff. "Diario de representaciones: 2007" , Opera della Luna, consultado el 12 de octubre de 2021.
  26. ↑ Proto, Laura. " Christmas Nuts promete ser un éxito rotundo en el salón Thames Ditton" , Sutton & Croyden Guardian , 26 de noviembre de 2012, consultado el 12 de octubre de 2021.
  27. ^ Shirley, Hugo. "Verdi: Un giorno di regno " Enlace obsoleto archivado el 29 de junio de 2012 en archive.today , Crítica musical , 26 de julio de 2008, consultado el 15 de noviembre de 2009.
  28. ^ Espesor , Robert. " Die Fledermaus : Theatre Royal, Winchester", Opera Now , julio/agosto de 2009, p. 96
  29. ^ Campling, Katie. "Opera Della Luna interpreta Die Fledermaus en LBT" , Huddersfield Daily Examiner , 16 de marzo de 2009
  30. ^ Lisle, Nicola. " Don Giovanni : Opera Della Luna" , Oxford Mail , 3 de agosto de 2011
  31. ^ " La Vie Parisienne . Una nueva producción de Opera Della Luna" , VisitWiltshire, 5 de julio de 2013
  32. ↑ " La hija del regimiento – Wiltshire – Opera della Luna" , Opera News , octubre de 2014 – Vol. 79, n.º 4
  33. ↑ Christiansen, Rupert. « Orfeo en el inframundo , Iford Arts, reseña: "absolutamente divertida"» , The Telegraph , 2 de julio de 2015.
  34. ↑ Evans, Rian. « Reseña de Orfeo en el inframundo : el elenco disfruta de la obra tanto como el público» , The Guardian , 6 de julio de 2015, consultado el 12 de octubre de 2021.
  35. ↑ Seymour, Claire. "Dos cuentos de Offenbach: Opera della Luna en el Wilton's Music Hall" , Opera Today , 21 de agosto de 2016
  36. 1 2 Bratby, Richard. "Remolino vienés" , The Spectator , 9 de septiembre de 2017
  37. ↑ Valori, Charlotte. «Escapada al campo: Candide de Bernstein en Iford» , Bachtrack, 31 de mayo de 2018; y Christiansen, Rupert. « Reseña de Candide , Ilford Arts, un festín de delicias», The Telegraph , 31 de mayo de 2018.
  38. ↑ Seymour, Claire. " El regimiento de Donizetti recorre la carretera: Opera della Luna en el Wilton's Music Hall" , Opera Today , 2 de agosto de 2018.
  39. ↑ Hall, George. " Los arcadios " , The Stage , 2 de agosto de 2018
  40. ↑ Groves, John. «Opera della Luna: HMS Pinafore en el Wilton's Music Hall» , LondonTheatre1, 2 de septiembre de 2019; y Snow, Georgia. «El Wilton's Music Hall anuncia sus planes de reapertura en mayo» , The Stage , 4 de mayo de 2021.
  41. ↑ Clarke, Jeff. "Diario de representaciones: 2020" , Opera della Luna, consultado el 12 de octubre de 2021.
  42. ↑ Groves, John. « Curtain Raisers en el Wilton's Music Hall» , LondonTheatre1, 1 de septiembre de 2021; y Hall, George. « Curtain Raisers : ¡Un éxito rotundo!» , The Stage , 2 de septiembre de 2021.
  43. ↑ Turnbull, Stephen. "Opera della Luna", SASS Magazine , n.º 116, Sir Arthur Sullivan Society, invierno de 2024-2025, pág. 4
  44. ↑ Bradley, pág. 89
  45. ↑ Radcliffe, Philip. "G&S: HMS Pinafore en la Ópera de Buxton" , Manchester Evening News , 2 de agosto de 2006
  46. ↑ Bratby, Richard. "Opera della Luna es un pequeño milagro: Reseña de Curtain Raisers en el Wilton's Music Hall" , The Spectator , 11 de septiembre de 2021

Otras fuentes

  • Bradley, Ian (2005). ¡Oh, alegría! ¡Oh, éxtasis!: El fenómeno perdurable de Gilbert y Sullivan . Oxford University Press. ISBN 0-19-516700-7.
  • Sitio web de la empresa
  • Reseñas de Los cuentos de Hoffmann (2005)