#GOSilverBirch: An Inspiring and Authentic New People’s Opera

It’s not every day that a year 5 primary school pupil has a chance to perform in the world premiere of a contemporary people’s opera – but that’s exactly what my ten year old daughter Emily did this weekend. On Sunday night I had the joy of seeing her take part in Garsington Opera’s Silver Birch, (social media #GOSilverBirch, @GarsingtonOpera ), at its base on the stunning Getty owned Wormsley Estate.

Photography of the performance was not allowed, but I snapped the stage just before the start of the final performance.

The Silver Birch opera was composed by Roxanna Panufnik with a poignant libretto by Jessica Duchen, who expertly integrated excerpts of poetry into its modern text that were written by World War 1 Poet and hero, Siegfried Sassoon (a frequent guest at Garsington Manor in Oxfordshire).

What was also moving was the fact that Siegfried Sassoon’s great-nephew was singing in the opera as part of the community chorus. Through interaction with Stephen Bucknill Jessica was able to also meet other members of Siegfried Sassoon’s family to share living memories of their relative and Great War poet.

“I believe that this War is being deliberately prolonged by those who have the power to end it.”  ~ Siegfried Sassoon

Everything about this project was special. Not least because it was based on certain experiences in 2003 of real life Iraq War veteran, Jay Wheeler (who was in the audience Sunday night), as well as the wartime poetry of Siegfried Sassoon and the participation of so many enthusiastic young people.

Intro into Silver Birch by Garsington Opera (Emily is right at the back of the very last frame):

Silver Birch required the training and co-ordination around 180 people on stage, which in addition to the main characters, comprised of a Primary Company auditioned and selected from 7 local primary schools, a Youth Company of teenagers aged 11 to 18, a small group of dancers, the Foley Company and the Adult and Military Community Company.

Many of the child, teenage and adult participants had never sung or performed in a professional production before Silver Birch.

It’s wonderful that all their names were featured in the programme, and Emily is happy that she is also in the main picture (top far left), on the page where her name appears.

The youngest singer in the opera was the sweet and spirited Maia Greaves, only 8 years old, who co-played the part of Chloe, Jack’s younger sister.

The stand out performances for me were Sam Furness as Jack,  after Mad Jack (nickname of Sassoon from WW1), Bradley Travis who played the ever present ghost of Siegfried Sassoon and Victoria Simmonds, Jack’s mother. I thought the entire cast and crew were just brilliant! I hope Silver Birch is commissioned into mainstream opera repertoire.

Silver Birch Synopsis: 

Anna and Simon plant a silver birch to grow up alongside their children. But later, when Jack and Davey join the army to prove their strength, devastating experiences await the entire family. Spring restores a weather-beaten tree, but can their damaged bonds of love sustain them all through the impact of war?

Interview with Roxanna Panufnik about Silver Birch on BBC Radio 3.

The Humbled Heart by Siegfried Sassoon (sung in Part 1 of Silver Birch)

Go your seeking, soul.

Mine the proven path of time’s foretelling.

Yours accordance with some mysteried whole.

I am but your passion-haunted dwelling.


Bring what news you can,

Stranger, loved of body’s humbled heart.

Say one whispered word to mortal man

From that peace whereof he claims you part.


Hither-hence, my guest,

Blood and bone befriend, where you abide

Till withdrawn to share some timeless quest.

I am but the brain that dreamed and died.

Even the title of the opera was inspired by a comment from a young boy at Lane End Primary School, who, when asked during a workshop what he would miss most if he were at war, replied that it would be the silver birch his parents’ planted and watched grow up.

Under the auspices of Garsington Opera’s Learning and Participation Programme many individuals of all ages came together for a musical and cultural experience that has changed their lives. My daughter is no exception.

Ruby excited to see her sister perform in Silver Birch.

As a musician and also a passionate speaker about the power of music education, I was keen to get Emily interested in music at a young age. She had piano lessons briefly but didn’t really take to it. She preferred the violin and now the guitar, but it seems her true passion is for singing, and she has a wonderful natural instrument. The only problem was she didn’t believe in it herself – until now.

Performing in Silver Birch seems to have been the catalyst for her confidence to blossom as well as unlocking her creative potential. I have noticed a massive change in her.

I believe her participation in Silver Birch has positively impacted her cognitive abilities, capacity for learning, her emotional and mental wellbeing as well as her social skills and overall self-esteem.  Emily can be quite shy with those she doesn’t know, and being outside her comfort zone has pushed her to higher levels of achievement than she would otherwise have thought possible.

Before the start of the opera Karen Gillingham, the Creative Director of Learning & Participation for Garsington Opera, did a wonderful job of introducing us to key members of the cast and stage crew,  explaining to us (with some fun audience participation), the creative process from inception through rehearsals to the world premiere performance of this compelling, multi-layered opera.

Silver Birch was a truly collaborative effort by many gifted individuals, whose collective efforts produced an emotional and meaningful experience. It was obvious that creativity, talent, love, respect and dignity had been poured into it right from the start, and was woven into every element of the work and its live performance. Silver Birch is a people’s opera on every front.

Douglas Boyd, the conductor and Artistic Director of Garsington Opera, eloquently elucidated in his brief address to the audience how the Silver Birch production had affected not just him, but the whole Garsington company as well as the community participants on a profound level.

His words were completely in alignment with my own ethos about the power of music to transform lives.

Emily auditioned at school in May and rehearsals begin in earnest at the end of June. As she chatted in her animated post performance high, we talked about all the different emotions that she experienced. The times of boredom, how she became physically tired, (the rehearsal schedule was full-on), with no weekend break in the two week run-up to the opening night.

This last week I have been a full-time taxi service. But I don’t mind supporting her in such a worthwhile endeavour! Emily now understands what it means to rehearse when she doesn’t feel like it (a few culinary bribes helped!) along with her lessons in work ethic and commitment to a project.

She certainly felt the euphoria that inevitably accompanies hard work: rehearsing alongside her best friend – culminating in the actual performances themselves, where all the separate companies and the orchestra came together on-stage and were duly rewarded by an appreciative audience. All the bowing and clapping at the end made a big impression on her!

She was standing at the front of the stage singing her heart out in quite a few scenes, and I was able to see her wherever she was on the set. My heart swelled with joy!

Whenever she bursts into song, either in the car or at home, I have noticed how much more powerful and resonant her voice is now. All the singers gave stunning performances. Certain scenes made the hairs on my arms stand on end.

I was so proud of Emily for all she accomplished on her musical journey and and my thanks and gratitude go to Garsington Opera as well as headteacher Miss Mansfield and her colleague Mr Dodd of Millbrook Combined School, without whose support it would not have been possible for Emily to take part in this amazing project.

BBC Arts filmed various aspects of the rehearsals and live performances in conjunction with Pinewood Studios at the Wormsley Estate, which will be broadcast online later this year. I will provide the link in this post when it becomes available.

I can see her love of singing and performance has been ignited, so I hope Silver Birch will be a springboard for future aspirations. Even if it isn’t, it has been worth it for Emily for the experience alone, and I’m sure other proud parents must feel the same way.

Expectant sister and mother in the audience!

Silver Birch certainly seemed to inspire and elevate not only the audience, but all who took part.

After all this excitement Emily can now relax and is  looking forward to our family holiday in Spain, as am I! But she can’t rest for too long – she has her 11+ exam to sit in September…

Happy holidays!

“Music in the soul can be heard by the universe.” ~ Lao Tzu

An Introduction to the Outstanding World of Opera

“No good opera plot can be sensible, for people do not sing when they are feeling sensible.” ~ W.H. Auden

If I could sing this post I would! Except you wouldn’t thank me, I can’t sing in tune so I tend to warble alone in the car…

Opera - stage curtain

Welcome to this week’s performance! The sumptuous curtains have been pulled back so you can catch a glimpse of a wonderful and varied cast of characters, divas and arias. Opera is the most colourful realm of musical drama. When text, (libretto) and music (usually singing) combine, it can result in heart-stopping moments of exquisite human expression. 

I’ve always enjoyed classical music, even as a youngster, but it’s only been in the last decade that I’ve really come to appreciate opera more fully. I must have matured and grown into the art form.

My mum took me to see Puccini’s romantic tragedy, ‘La Boheme’ at the Royal Opera House when I was about eighteen; we sat up in the stalls, almost in the roof if I recall. I don’t remember who the singers were – but I do remember their passion.

The old Burgtheater by Klimt c. 1889

The old Burgtheater by Klimt c. 1889

I loved the drama, the costumes, the live singing and music, but still it wasn’t until a good few years later I went to see Madame Butterfly, again at the Royal Opera House. We had better seats this time. Kleenex tissues were very much in demand during that performance!

Stephen Fry and comedian Alan Davies undertook an ‘operatic’ experiment in conjunction with the Royal Opera House, to monitor their cardiovascular output and physical markers during a performance of Simon Boccanegra, with a view of measuring their emotional responses throughout the performance. It was undoubtedly impactful on both of them, even Alan, who was not an opera fan. The Science of Opera:


The first known surviving opera was written in 1600 to celebrate the wedding of Marie de’ Medici and Henri IV of France, and was composed by the duo ‘il Romano’, Giulio Caccini (1551-1618) and Jacopo Peri (1561 – 1633).

L’Euridice is more of a drama set to music with some divine choral sections; the first attempt to combine text by Ottavio Rinuccini with vocal music. This type of early performance; a fusion of music with solo vocals and choral ensembles to combine both literary and visual arts evolved over 400 years, into the opera we are familiar with today.

A period performance of the entire work with Nicolas Achten and Céline Vieslet:

Orfeo ed Euridice

Over a century later composer Christoph Willibald Gluck would become inspired by the ancient Greek mythical tale of Orpheus, son of Apollo; legendary musician, poet and prophet (bard for that matter). His music dramatises Orfeo’s journey to Hades to appease the furies with his music in order to bring his new bride, Eurydice back to life, in his 1762 opera, Orfeo ed Euridice.

Orpheus leading Eurydice from the underworld by Jean-Baptsite Camille Corot

Orpheus leading Eurydice from the underworld by Jean-Baptsite Camille Corot

It was a box-office hit in Vienna when it premiered at the Burgtheater on 5th October, and was then revised and expanded further by Gluck for its French premiere at the Paris Opéra on 2 August 1774 as Orphée et Eurydice.

A superb clip of American tenor Richard Croft singing ‘J’ai perdu mon Eurydice’ by Gluck:

Offenbach wrote his operetta, ‘Orpheus in the Underworld’ in 1858 as a satirical send-up of Gluck’s earlier opera. The ‘Infernal Galop’ from Act 2, Scene 2, is infamously referred to as the ‘can-can’. Saint-Saëns took poetic license with the Galop, by slowing it to a crawl, and arranging it for the strings to represent the tortoise in The Carnival of the Animals.

I really have the urge to don stockings and kick my legs right now!

Baroque Opera

The great Baroque opera composers were Händel, Purcell, Monteverdi and Vivaldi, who I think must have written as many operas as I’ve had hot dinners!

Monteverdi’s music marked the crossover from the late Renaissance to early Baroque, and he also wrote an opera about, yes, you guessed it, Orpheus! ‘L’orfeo’ was written and first performed in Mantua in 1607.

Orfeo by Cesare Gennari

Orfeo by Cesare Gennari

In fact, I was flabbergasted to learn that a total of 71 Orphean operas (not all completed) have been written between 1600 and 2015.

Cecilia Bartoli as Euridice in Haydn’s L’anima del filosofo ossia Orfeo ed Euridice, ‘Al tuo seno fortunato’:

Georg Friedrich Händel composed 42 operatic works of varying genres that were written between 1705 and 1741. He achieved great success with his operas after he settled in England. Many of his works were premiered at the opera house in the Haymarket, initially the Queen’s Theatre which then became known as the King’s Theatre.

One of my favourite Händel arias is ‘Lascia ch’io pianga’ (let me weep) from his first opera, Rinaldo, published in 1711.  Arleen Auger has the purest, sweetest voice in this remarkable recording:

Barbara Bonney ‘Thy hand, Belinda…When I am Laid in Earth’ by Henry Purcell:


His partnership with Venetian librettist, Lorenzo Da Ponte created some of the most memorable operas ever written. From the tale of the philandering rake, Don Giovanni, to the complicated marriage of Figaro, to the outlandish Magic Flute with a psychotic Queen of the Night, as well as others such as Idomeneo, Cosi fan tutte, La Clemenza di Tito, Mitridate, Lucio Scilla and Zaide to name but a few.

Opera quote-opera-is-when-a-tenor-and-soprano-want-to-make-love-but-are-prevented-from-doing-so-george-bernard-shaw-79-81-87

Diana Damrau isn’t taking any prisoners in her stunning rendition of the ‘Queen of the Night’ aria:

A really beautiful clip of Cecilia Bartoli and Jean-Yves Thibaudet performing ‘Voi che sapete’ (with translation) from the Marriage of Figaro:


Dear Ludwig only wrote one opera in his lifetime, about a dutiful wife, Leonore, the early title of the work that would become known as ‘Fidelio’. It contains his hallmark themes of heroism and courage at its core. Leonore disguises herself as a prison guard in an attempt to rescue her husband, Florestan, from death.

Marilyn Horne – Abscheulicher! Wo eilst du hin?


His iconic opera, Carmen, based on the eponymous novella by Prosper Mérimée, about a feisty and fickle young gypsy woman who captures the heart of a soldier, Don Jose, is one of my favourites. It broke with convention at the time of its premiere in March 1875, and was received with indifference. However it has become hugely in popular over the years.

Carmen lithograph by Pierre August Lamy c. 1875

Carmen lithograph by Pierre August Lamy c. 1875

The story follows Don Jose’s total immersion into infatuation, obsessive desire, love and jealousy against the back drop of a parched, proletarian Seville. The music portrays his eventual downfall as he becomes a deserter and vagabond, consumed with malicious intent towards Carmen –  the woman who has spurned him. If he can’t have her, then neither can his rival for her affections, toreador Escamillo…

It has many wonderful, memorable arias and evocative orchestral music that capture its passionate and tragic themes: the key ingredients of unforgettable opera.

Les tringles des sistres tintaient (Chanson Boheme) – Angela Gheorghiu:

Jonas Kaufmann as Don José with a poignant performance of the Flower Song ‘La fleur que tu m’avais jetée’:

I love this seductive, slinky performance of “L”amour est un oiseau rebelle” by Elina Garanca in the Metropolitan Opera staging of 2010:

A steamy scene ‘Près des remparts de Séville’ from the film of Carmen made in 1984, with Julia Migenes and Plácido Domingo:

Bizet’s Carmen has also provided inspiration for ballets and instrumental music.

The Italians are in the house!

Somehow the dramatic nature of opera suits the Italian psyche, after all, it originated there, and none were more successful in this genre than Guiseppe Verdi. He composed famous operas such as the romantic tragedy La Traviata, the epic Aida, Rigoletto, Nabucco, Otello, Il Trovotore, Macbeth, Falstaff, La Forza del Destino, Simon Boccanegra and many others.

Verdi blows my socks off with this colossal classic from Nabucco. Chorus of the Hebrew Slaves:

The drinking song from La Traviata with Rolando Villazon and Anna Netrbko:

Hot on his heels is Giacomo Puccini, a true romantic at heart. Among his best-loved operas are, Tosca, La Boheme, Turandot, Madame Butterfly, Manon Lescault and Gianni Schicchi.

Anna Netrebko and Rolando Villazon are superb in this romantic duet from La Boheme ‘O soave fanciulla’:

We musn’t forget Gioachino Rossini, who penned some very memorable tunes, including The Barber of Seville, La Cenerentola, William Tell, La Gazza Ladra and Otello.

The Barber of Seville

The Barber of Seville

During his meeting in Vienna with Beethoven in 1822 at the age of thirty, when Beethoven was fifty one, profoundly deaf, curmudgeonly and losing his health, he still managed to note in his conversation book:

“Ah, Rossini. So you’re the composer of The Barber of Seville. I congratulate you. It will be played as long as Italian opera exists. Never try to write anything else but opera buffa; any other style would do violence to your nature.”

Other Italian opera composers of note were Bellini, Donizetti and Mascagni. One of my favourite arias is Casta Diva by Bellini (Chaste goddess…turn upon us thy fair face, unclouded and unveiled). A fabulous live vintage recording of Maria Callas packed with pathos:

Italy produced the finest tenor in opera history with Luciano Pavarotti. That man was born to sing! For me, no one can top his powerful, emotive and distinctive voice.

E lucevan le stelle (Tosca):

Here he is singing the immortal ‘Nessun Dorma’ from Turandot as an encore:


We perhaps think of his wonderful, warm, lush violin concerto, his romantic symphonies and his immortal ballet music, but this Russian heavyweight wrote a grand total of eleven operas, his most popular being Eugene Onegin.


Probably the closest rival to Verdi for the King of opera crown, Richard Wagner’s operas were usually epic in subject matter, long, very long, with romantic music, involving lovers, mythical characters, gods and large ladies.  And did I mention long?! Brünnhilde is an icon in her own right. So much so, she was even featured in a cartoon!

A beautiful recording with Anne Evans in Brünnhilde’s Immolation from Götterdämmerung:

When it comes to Wagner I can only listen in small doses. I’ve often joked that the ears can only enjoy for as long as the derriere can endure!

Wagner’s 13 impressive operas: Die Feen, Das Liebesverbot, Rienzi, Der Fliegende Hollander, Tannhäuser, Lohengrin, The Ring of the Nibelung (Das Rheingold, Die Walkure, Siegfried and Gotterdammerung), Tristan und Isolde, Die Meistersinger and Parsifal.

This made the hairs on my arms stand up! Ponte Singers – Pilgrim’s Chorus from Tannhäuser:

It doesn’t get more beautiful than this! Georg Solti and the Chicago Symphony Orchestra give a masterclass in building sublime, unresolved tension to an eventual, satisfying crescendo in this performance of Tristan und Isolde – Prelude and Liebestod:

For opera aficionados! Verdi vs Wagner – the 200th birthday debate with Stephen Fry:

I hope I have manged to give you a well-rounded introduction to opera if you’re not already a bit of an enthusiast, in which case you probably know more than me!

Of course there are those who poke fun at opera, even muscians! But we’ll let the irreverent Victor Borge off the hook; after all he was incredibly funny. A night at the opera like no other!

I’ll probably re-visit opera again one day, there’s far too much to cover in one post, and I know you’ve all got things to do and places to be.

For my swan song I’ll leave you with a poignant, sensual aria from Samson et Dalila by Saint-Saens –  ‘Mon coeur s’ouvre a ta voix’ sung by the queen of sopranos, Maria Callas:

“Opera is where a guy gets stabbed in the back, and instead of dying, he sings.” ~ Robert Burns