Newsletter
Summer 2010
Guillaume Tell - Rossini's last opera at the Queen Elizabeth Hall - Sunday 23rd May 2010
It is sad that Guillaume Tell is so seldom performed, either on stage or in concert, given
that the overture is so famous all over the world and that so much has been written about
Rossini's voluntary and premature withdrawal from the opera world just after writing it. In
fact, it is over 40 years since COG last preformed it under John Matheson. It always strikes
me, as a staggering array of tunes, each arriving hard on the heels of the previous melody,
with thoughtful and varied orchestration. It provides a magical mixture of the grand and
elaborate moments of his serious operas and the touching humanity of his comedies.
The exquisite care and attention to detail that we know from the overture, which is so well
written up in the literature on orchestration, is carried through the opera. Perhaps
the writing for the cellos reflects his student years at the Bologna Conservatory
when he studied the instrument. His writing for the voice is equally well crafted and varied.
It is famous for being demanding - the tenor aria "Ah Mathilde" in the first act, with its
powerful high notes is wonderfully effective. Apart from the glorious arias and ensembles
that provide so much colour and excitement, there are interesting duets and trios. For
example, there is a wonderful trio in the second act.
Rossini was not the first composer to use the storyofthe Swiss patriot, William Tell and his
stand against the tyrannical Austrian rule. Nor was this the first opera to incorporate lovers
who came from different camps. The Swiss Arnoldo, has saved the Austrian, Mathilde from
drowning and the two have fallen In love. There are plenty of subtleties in the plot that
hold our attention and you will be glad to know that Rossini does not duck the great
moment with the apple on the head of Tell's son (maybe this is another reason that it is so
seldom staged)!
Dominic Wheeler returns to COG to conduct a judiciously pruned performance of Guillaume Tell in its original French version. First performed in 1829, it is famously
long. Rest assured, none ofthe best music and drama has been cut. The plot may be even
more gripping! Majella Cullagh who sang wonderfully in Roberto Devereux at Holland Park
last year, sings Mathilde.
Verdi's La traviata - Sunday 21st February 2010 at the Queen Elizabeth Hall
The bold decision to perform La traviata in concert was fully justified by the full house and
audience and participant reaction. David Nice, writing for the Arts Desk, said "here was a
vindication of how Verdi's masterpiece can pass in a flash given masterful conducting [by
Gianluca Marciano], how exciting it is to hear a real light Italianate tenor [Cosmin Ifrim]at a
time when they are not exactly in plentiful supply, and how much we can still learn from
Miricioiu". The orchestra and chorus received much praise. Seen and Heard International's
Jim Pritchard wrote, " From the opening veiled strings of the prelude onwards, this was
musically a performance that any leading opera house would be proud of'.
Alceste - 21st November 2009 at the Cadogan Hall
Gluck's Alceste proved a good choice for the smaller Cadogan Hall (on a very wet evening
in November). Nicholas Collon, making his COG debut as its conductor, created a special
performance style and sound. Cecile van de Sant and Peter Bronder sang Alceste and Admete in music
and drama that required them to rise to the challenges of moments that were both incredibly touching
and tense. Mark Berry writing in UK Opera Review said: "There were some truly wonderful moments, for
instance a beautiful melting oboe solo ..... and the extraordinary piercing violin figuration during the Act I
Scene III priests' chorus. Orchestra and priests combined here in the Temple of Apollo to elicit a duly
terrifying effect". We were delighted with the results of our new partnership with the Guildhall School of
Music and Drama who provided us with excellent young soloists and repetiteurs.
Cherubini's Médée - Saturday 20th November 2010 at the Cadogan Hall
Following our successful voyage into earlier repertoire at the Cadogan Hall, I am delighted to announce
that we shall perform Cherubini's masterpiece, Médée, on Saturday zo" November 2010. Very happily,
Yvonne Howard, who is a really exciting singer, has agreed to take on this amazing role. Andrew
Greenwood, who always achieves great COG performances, will conduct.
Donizetti's Belisario - Sunday 13th February 2011 at the Queen Elizabeth Hall
Having asked Richard Bonynge if there was an opera he would like to perform with us, I was delighted
that he offered to conduct Belisario, a Donizetti rarity that has been on our "to do" list for a while. It has
been a challenge to track down the music but various Donizetti enthusiasts have sprung into action and
we are well down the track in our preparations. To add to the excitement, I can also let you know that
COG's great friend, Nelly Miricioiu has agreed to sing the glorious soprano role.
Puccini's Manon Lescaut - Sunday 5th June 2011 at the Queen Elizabeth Hall
To provide a contrast of style from the bel canto to the verismo, we are planning a performance of Puccini's Manon Lescaut. It is a great piece and has not
been performed in London for many years. Gianluca Marciano, who inspired energetic and touching
performances with us of La favorite and La traviata will conduct.
The Launch of Cognoscenti
A brochure about this has been produced and details will appear on this website shortly. We hope that you will want to join and that you will
enjoy being members of this exciting new venture. If for any reason you would like to support us, but
would prefer not to join, do feel free to send a donation instead of a subscription.
Legacy Donations
As the Chairman of the COG charity, let me take the opportunity to ask you to consider leaving the
Chelsea Opera Group Trust a legacy in your will. If you would like to know how to go about it, do get in
touch with me or your solicitor. Since legacies to charities are exempt from inheritance and capital gains
tax, any donation made to the COG Trust will be received in full and before any tax is charged.
Tenors and Basses
The chorus has been successful in recruiting excellent young sopranos and altos - but we could do with
some more tenors and basses to even the balance!
If you would like to receive our communications electronically, please email
Fiona Woolf
Chairman
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