28 August 2022


So here's my excuse from the last report.  I was on Llewellyn stage practising with National Capital Orchestra and National Opera for the Opera Gala on Saturday night.  Now it's done, it was fun, I was just inches from some fabulous voices in the choir, the basses and the whole orchestra played well although inevitably with some little slips.  My worst was to count poorly at one spot but quietly enough that it didn't matter.  We managed the hardest works, not least Verdi  Forza del Destino overture which is seriously tricky, in changes of feels and counts and bar placements.  Overtures cna be like that, being a collection of themes from the whole work.  Mozart Seraglio overture was also tricky, but just because it was quick in the delightful, overt presentation.  Mozart is easy to love.   We had three singers, too, although not too well heard from my backline (a la Vienna Phil), and three basses (not tons but adequate).  So 90+ on stage for this collection of tunes from a range of operas, even the hyper-known Wedding March by Wagner no less, and bell and humming and anvil and slave and champagne choruses and a few themed arias and an encore waltz by Gilbert and Sullivan Gondoliers which just bopped along and had everyone smiling madly as we left the stage.  Some tricky bits but overall doable and some delightful singing.  Opera is not something I know too well, but with any luck we might just play some more.  And, of course, our jokey and capable and supportive conductor, Louis Sharpe.

National Capital Orchestra performed with National Opera, the National Opera Chorus and singers Eleanor Greenwood, Hannah Carter and Emma Mauch (sopranos)  for the Opera gala at Llewellyn Hall.  Bottom enders were Henry South, Geoff Prime and Eric Pozza (bass).

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