Following the successes of its previous opera masterclasses, Helios Collective is pleased to announce that Formations 2017 will feature a new and more extensive masterclass and performance programme, proudly hosted in conjunction with English National Opera.
With support from King’s Cultural Institute, in November 2016 Helios Collective and King’s College London’s Music Department co-presented a series of reimagined readings of Purcell’s Dido and Aeneas as Dido and Belinda.
Following on from the success of Formations 2015 – when three new operas were developed over a two-week period by Kasper Holten (director of opera, Royal Opera House), Robert Saxton (composer), Stephen Unwin, (director), Stephen Barlow (artistic director, Buxton Festival), Bettina Bartz (dramaturg), and David Parry (conductor) – Helios Collective returned in 2016 with an extended Formations Masterclass series, hosted by English National Opera and King’s College London.
To bring radically new meaning to a play is a virtue. To bring radically new meaning to a musical score is sacrilege. But why? Why shouldn’t musicians be as creative and interpretative as actors?
Two weeks ago, I wrote on this blog about two of the operas we are creating for Formations 2016. As I zoom through the British countryside on a train, I have the opportunity to write about the third opera, Dead Equal, by composer Rose Miranda Hall and librettist Lila Palmer.
Here’s your chance to meet the creative team being Dido and Belinda.
In this interview, mezzo-soprano Camilla Bull talks about becoming Dido in Helios Collective’s production of Dido and Belinda.
Lighting Designer for Dido and Belinda, Robert Youngson, is busy working on building a rig in The Great Hall of King’s College London for this specific production to create a unique dramatic statement.
Like a kid in a sweet shop (or a bull in a china shop?), I’m feeling the same leg-wiggling excitement of squeezing and weighing up presents before opening them on Christmas day: yes, I have the huge privilege of receiving vocal score first drafts for two of the three new operas we will be creating for Formations 2016. But what is inside?