Far from the Madding Crowd
Instrumentation Principal roles for soprano, alto, tenor and bass soloists, with chorus, dancers and instrumental ensemble. |
Other Information Opera in 5 Acts with libretto by Cynthia Downes based on the novel by Thomas Hardy List of roles: Bathsheba Everdene - soprano; Gabriel Oak - baritone; Frank Troy - tenor; Mr Boldwood - bass; Bathsheba´s Aunt - mezzo-soprano/contralto; Maryann Money - soprano; Fanny Robin - soprano The world première performances of Andrew’s new full – scale opera, Far from the Madding Crowd, commissioned by the Thomas Hardy Society for the 2006 Hardy Festival in Dorchester, Dorset, were given to audience and critical acclaim on July 26th, 27th and 28th at St Mary’s Church, Dorchester. A DVD recording was made of this performance, and is available from Lynwood Music. Excerpts can be viewed at www.andrewdownes.com and on YouTube. Far from the Madding Crowd was given a second run of performances on August 29th, 30th and 31st 2007 at the Church of St James the Great, Wednesbury. Funding was provided by the Wednesbury Music Club in celebration of it´s 60th anniversary. REVIEWS OF THE OPERA:- On July 27th, in the Dorset Echo, Marion Cox wrote of “this milestone musical work: composer Andrew Downes’ score injects all the emotional ups and downs, the passion and the poetry of Thomas Hardy’s great novel upon which the opera is based, and in doing so, he has created a rich and lyrical musical feast” ´Of the libretto by Cynthia Downes, Marion Cox wrote: “she has tackled the stern task of transforming one art form into another with sensitivity and skill, leaving the core of Hardy’s plot intact.” The part of Bathsheba Everdene was taken by Paula Downes, described as possessing a voice of “appealing lilting quality”, whilst Jonathan Pugsley (who took over the major role of Gabriel Oak at two weeks notice) was described as possessing “an exceptional talent”. Other roles were taken by Daniel Sumner (Mr Boldwood), Simon Walton (Frank Troy), Emma Rothman (Bathsheba’s Aunt), Ali Hill (Maryann Money), and Kate Hopkins (Fanny Robin). The orchestra was the Central England Ensemble (led by Anna Downes), and the Musical Director was David Trippett, who “interprets the lush score with robust grace” (Marion Cox).´ (from the Music Journal of the Incorporated Society of Musicians, September 2006, including quotations from the review by Marion Cox in the Dorset Echo, July 27th 2006) ´The English composer Andrew Downes is appreciated worldwide for the warmth and integrity of his music, and his strongly individual artistic personality renders his work instantly recognisable. A contemplation of Downes cardinal qualities – touching lyricism, a pungent harmonic gift and a strong rhythmic bite – promised good things for this new opera, based upon one of Hardy’s more optimistic novels. Downes’ Hardy settings to date have contained some of his most satisfying writing, and there was every reason to suspect that “Far From the Madding Crowd” would be something rather special. ´Two weeks in Dorset acting as repetiteur and orchestral pianist gave me a clear perspective of the new work, which was given to large audiences in Dorchester’s St. Mary’s Church on three consecutive nights. It is a generously and powerfully conceived work, characterised by high spirits and opulent communicative power. Intimate moments of sublime beauty give way to passages of relentless percussive drive which capture the crueller elements of Hardy’s rustic vision. The harshnesses and despondencies of the human soul are faithfully mirrored, yet optimism and joie de vivre are here in plenty, captured in music of endlessly fertile invention and with plenty of good tunes. The variety of characterisation in Downes’ rich score matches the complex layering of plot and texture which makes the book itself so gripping. ´The performance was commendably faithful and atmospheric, especially so given the unyielding acoustic of the venue. Of particular interest was the mixture of professional and amateur singers, which had the entirely satisfying and altogether appropriate effect of replicating the very nineteenth century rural gatherings with which Hardy would have been so familiar. Not only was this a charming touch in performance, but it reminded us what such projects as this should be about: throbbing with team spirit and verve. ´All the leading roles were in safe professional hands: Paula Downes brought a delightful purity and coquettishness to her role as the flirtatious Bathsheba Everdene, whilst Jonathan Pugsley, a late substitution as the faithful shepherd Gabriel Oak, projected a warm tone with admirable sincerity and strength. Other fine singers included the bubbly Alison Hill as a bewitching Maryann and the splendid Emma Rothman, whose Aunt was richly and hilariously characterised. Simon Walton was a marvellously declamatory and forthright Sergeant Troy and one admired Daniel Sumner’s richness of tone and security of delivery as the ultimately tragic Mr Boldwood. Soprano Kate Hopkins was a perfect choice for the role of Fanny Robin, whose character and poignancy she brought to life with immense sympathy. ´David Trippett directed the Central England Ensemble, an orchestra of much personality. Orchestral playing was strongly projected and muscular, the music itself deeply emotional and richly idiomatic. Ann Nation’s costumes were fabulously colourful and the dancing captured the spirit of Victorian Dorset with charming felicity. The libretto, by the producer Cynthia Downes, was economical whilst preserving all the verve and nuance of Hardy’s masterpiece.´ (Review by Duncan Honeybourne for Musicweb and other websites) After attending a performance of the opera, Roderick Dunnett of Church Times wrote that the opera “deserved the highest accolades. Andrew Downes’ music seems to me apt and inventive at every turn. Much of the lyrical writing is quite splendid…Downes marries an instinctive feeling for a good tune with real substance in the orchestral argument and texturing.” Richard Bratby of the Birmingham Post wrote: “...hugely appealing...magical episodes abound…poetry and surging lyricism…a magnificent romantic opera.” Helen Guy of the Sandwell Chronicle wrote: "This adventurous adaptation of Thomas Hardy´s classic novel kept its audience spellbound from beginning to end." Michael Jones for the British Music Society Journal wrote: "Downes´ music is very accessible - drawing upon folk-dance on occasion while in general using much leitmotivic thematic development. Some of his style reminded me of RVW (Andrew studied with Herbert Howells at the RCM in the 70s), but Downes´ personal voice did full duty in responding to a demanding range of circumstances - from farm fires and storms to a murder... I was particularly impressed by Downes´ orchestration - lots of solo work for the woodwind in particular, which included cor anglais, bass clarinet and contrabassoon - often in dialogue with the singers on stage. There was also an important part for orchestral piano, which took thematic leads and had a role on its own as a sort of continuo... Act 4 reveals the consequences of Troy´s neglect of Fanny when her coffin is opened - this scene was especially musically powerful... Overall a very fine performance, well appreciated by the large local audience present - and all for £5 a ticket - not Covent Garden prices but much better value!" Roderick Dunnet of Opera News (January 2008) wrote: "Conversion of a novel into an opera sometimes works (as in Of Mice and Men, or Verdi´s success with Dumas and Victor Hugo); sometimes, however, it proves dramatically defeating. Conrad´s Under Western Eyes (John Joubert), Bronte´s Jane Eyre (set by Joubert and Michael Berkeley) and Hardy´s The Trumpet-Major (Myfanwy Piper´s libretto for Alun Hoddinott) are all modern British operas on the cusp between triumph and failure.
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