Sunday 25th October 2015
at Cadogan Hall
Concert performance sung in German
with English surtitles.
Wagner's second opera, Das Liebesverbot (The Ban on Love), was written in 1836 to a libretto based on Shakespeare's Measure for Measure and reflects contemporary fashion and taste for French and Italian operatic styles. One of Wagner's two grand comic operas, the other being Die Meistersinger , this is a rare opportunity to reassess what in many ways remains his most significant early work and non-German opera with its action transferred from Vienna to Palermo. Despite hints of Mozart, Beethoven and Weber, Wagner's later music is discernible, albeit in embryonic form.
The performance will be conducted by Anthony Negus.The cast includes Helena Dix (Isabella), Kirstin Sharpin (Marianne), David Soar (Friedrich), Nicholas Folwell (Brighella),Paul Curievici (Luzio), Elizabeth Cragg (Dorella), Peter Hoare (Claudio),
Piran Legg (Danieli) and Toby Girling (Angelo).
There will be a pre-concert talk for ticket holders in the hall at 5.15pm, to be given by Christopher Fifield.
With this performance of Das Liebesverbot COG continues its policy of providing opportunities to hear the lesser-known works of great composers. Other COG performances of early operas by Wagner were Rienzi in 1999 and Die Feen in 2013.
Tickets are now on sale and can be booked at Cadogan Hall.
♫The Cimbasso – clarity for Verdi's low brass♫
A number of people in our audience have asked about the strange instrument which sometimes appears at the end of the trombone section.
'The Chelsea Opera Group holds a unique place in the history of British opera. ....' (&London magazine). Read the full article (pdf)which appeared in the Spring 2014 issue of &London magazine produced by Sunday Publishing for UK property partnership Strutt and Parker.
‘Chelsea Opera Group’s three concert performances a year are among London’s most joyful operatic events.’ Richard Nicholson at Classical Source
"As for Elizabeth Woods, it is hard to provide a technical commentary to her nigh-on-perfect performance." (Mariana Romani reviewing Simon Boccanegra at MusicalCriticism.com). See Elizabeth Woods in Come in quest`ora bruna.
"Opera simply does not come much better
than this: the Chelsea Opera Group’s concert performance
of Verdi’s Macbeth was an unqualified triumph." (Evan Dickerson at Seen
‘A great work superbly done. The conductor was Richard Bonynge...There was fine playing and choral singing.’ Tim Ashley in The Guardian reviewing COG’s performance of Donizetti’s Belisario.
For forthcoming performances see Future Plans
For booking information see Box Office page
For links to complete reviews of recent
performances see Reviews.