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12.Opera 'Don't Breathe a Word'

A first foray into opera for Fraser, and the second for composer Andrew Lovett. Collaboration on Don't Breathe a Word (DBAW)

 followed the success of Andrew's first opera, Abraham on Trial.

(The music that plays automatically, when this page is opened, is an excerpt from the Colchester showcase of 'Don't Breathe a Word'- see below for further details. It has been setup to play once only).

 

Synopsis DBAW is designed as a chamber opera for eight voices, saxophone, cello, percussion, keyboard and electronics. Dramatically, it is the reverse of a classical tragedy; a flawed man  finds he possesses a small but stubborn sliver of humanity-which brings about his ruin.

Based loosely on the experiences of the former British Ambassador to Uzbekistan, the opera follows the adventures of Alex McCloud, newly appointed Ambassador to the former Soviet republic of 'Ushkent', a land-locked country in Central Asia, and the new darling of the West in its 'War on Terror'. This flawed but engaging character in the very vanguard of Britain's new ethical foreign policy- embraces his new posting with enthusiasm. He is determined to get to know the country 'from the grass roots up'. Within weeks, he has begun an affair with a bargirl, and discovered that the country's ruling regime is involved in hideous human rights abuses against political prisoners. From this torture, the West is drawing intelligence. Unable to accept the advice of his Foreign Office superiors- that he should do nothing to upset Britain's  ally- McCloud goes public-and quickly finds himself the subject of a ruinous scandal over entirely fabricated financial irregularities. In fighting to clear his name, McCloud upsets even more people and the scandal of his affair mysteriously breaks in the British tabloids. He loses everything, or nearly everything. Declared innocent, he nonetheless loses both his family and any prospect of a diplomatic career in the future. He retunes to see out his time by the Embassy swimming pool, accompanied only by the ghosts of those he has fought to defend, and the beautiful and still faithful, Salieva.

A cast of eight singers is required: three sopranos, a counter tenor, a tenor, two baritones and a bass baritone. Instruments required: saxophone, cello, percussion, two keyboards, electronics.

Anton Lukoszevieze (cellist)

Production History  Work on DBAW  was facilitated, initially, by a Grant for the Arts from Arts Council England East, which was awarded to Fraser in February 2005. This enabled the libretto to be written, and for Andrew Lovett to begin a first draft of the score. Early drafts were workshopped with support from Aldeburgh Productions, prior to a showcase performance on Tuesday 9th May, 2005, supported by Colchester Arts Centre and Mercury Theatre, Colchester. The showcase was performed by members of the Electric Voice Theatre (Artistic Director, Frances Lynch) and directed for stage by Paul Bourne (Artistic Director of the Menagerie Theatre, Cambridge).

The cast:

Alex McCloud......................................James Meek

Mrs McCloud........ ..............................Jenny Miller

Salieva.......................................... Frances Lynch

Old Ambassador........ .......................Gwion Thomas

Deputy President..........................Andrew Gallacher

First Secretary................. ................Julian Stocker

First Secretary' s Wife............................Mary Philips

Professor/Grandson.......................... David Sheppard

Anton Lukoszevieze (Cello), Nancy Cooley (Keyboards) and Elaine Turnbull (sound projection).

As a result of the showcase's success, Andrew was awarded an Arts Council Fellowship to go to the Banff Centre, Canada- a three month residency to further develop the score.

The opera is now nearing completion.

Andrew Lovett was born in Glasgow, Scotland. He studied music at Cambridge University, the Guildhall School of Music and Drama, London, and City University, London. He specialises in electroacoustic composition, particularly combined with small groups of instruments or soloists. His work has been performed in Germany, France, Switzerland, Portugal, Spain, Sweden, Japan, Canada, Cuba, the USA and throughout the UK.

Abraham on Trial (2005) An opera for five singers, electroacoustic music and digital video, was performed at the Junction Theatre, Cambridge by The Electric Voice Theatre, directed by Patrick Morris.

The Colour of Sadness (2003) for soprano, saxophone and electronics, was premiered by Damien Royannais and recorded by AM Publishing.

Unknown Terrors (2000) for cello, keyboard and electronics. It was premiered by Judith Mitchell and Clive Williamson and broadcast on Radio 3.

Voyage (1997) for ensemble and electroacoustic music. It was performed by the London Sinfonietta at the South Bank Centre, London, in April 1999, conducted by Martyn Brabbins.

Theatre credits include: Correspondence (2008), Gaugleprixtown (2005), Two into War (2004), Michelle and the Landlady (2001).

Fraser's View So many people have invested so much in this project-Anthony Roberts at Colchester Arts Centre, Dee Evans at the Mercury Theatre, Electric Voice Theatre, Aldeburgh Productions, the Banff Centre in Canada, Arts Council England East-the list goes on and on, before we even get to the performers and musicians, composer and librettist.

Every week, it seems, someone in the opera world is bemoaning the dearth  of new, genuinely dramatic operas with innovative scores on subjects that connect with a contemporary audience. But as anyone who works in this field knows, if you are not a very famous composer, it is fiendishly difficult to get anyone to invest the money, time, and energy to push a new opera through to production. All applications for this coveted role welcome!

 

  
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