Perusal scores available on request

 

The Fisherman

Opera in two acts. 1986 (appx. 85’)

Libretto: Jonathan Kreeger, based on Oscar Wilde’s story The Fisherman and his Soul.
Principal roles: tenor, baritone, lyric soprano, mezzo-soprano, bass, counter-tenor, alto
Other roles: tenor, baritone, silent role, Chorus
1.1.1.1 – 4.1.1.0 – hp, celeste, 5 perc. – 3,3,2,3,1

This opera in two acts is a retelling of Oscar Wilde’s beautiful but sad tale of a fisherman’s love for a mermaid and how he seeks to be with her. In order to join this ‘other world’, so unfamiliar to him, he must part with his soul. Thus begins a tale that takes us through exotic realms but ultimately leads to tragedy.

 

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Bayon

Opera in five acts. 1993 (appx. 120’)

Libretto: the composer, based on the true life of the ancient Cambodian God-King Jayavarman VII (1120-1219 AD)
Principal role: Jayavarman – baritone. Other principal roles: 1 high soprano, 2 mezzo-sopranos, 3 tenors, 3 baritones, 1 bass, 1 deep bass. Supporting roles: 1 tenor, 4 baritones. Chorus
5.3.4.2 – 3.6 (+ bass tpt).2.1 – 2 hp, celeste, 7 perc, – 16vv, 12vla, 10vc, 6 db

The city of Angkor is a wonder of the world. Of all its kings, Jayavarman VII made the mightiest impact. But his long life was not easy and he saw cruelty all around him. This opera uses texts from original Sanskrit writings of the period, be they from contemporaneous sources or from actual steles within the city area. 

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Five Arabian Nights

Opera/ballet in one act. 1996 (appx. 90’)

Libretto: Patricia Debney, based on the Tales of the Thousand Nights and One Night
Principal Roles: mezzo-soprano, baritone. Non-acting voices: coloratura soprano, soprano, contralto, tenor, baritone, bass
Dancers
2.1.2.0 – flghn 0.2.1.0 – hp, pno, 3 perc, – 2vv, 2vla, 2vc, 1db, 5 off-stage crotales

The Tales of a Thousand Nights and One Night are well known. This stage work combines opera and ballet to allow us to enter into the heady relationship between Shariar and Scheherazade, while her tales come to life in dance as surreal tableaux that ultimately change him from monster to man.

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Blood Wedding

Opera in two acts 2006 (appx. 90’)

Libretto: Ted Hughes’ version of Federico García Lorca’s original play
high soprano, 2 sopranos, contralto, 2 bass baritones, bass
Flute (doubling piccolo, alto and bass flutes), Saxophone (doubling soprano, alto and baritone instruments), Clarinet (doubling bass clarinet), Trumpet (doubling piccolo trumpet), Guitar, Piano, Percussion – 1 player, Violin, Viola, ‘Cello

Lorca’s great play tells of love and the strictures of society that cause such unnecessary tragedy. Ted Hughes’ translation captures the poetry and imagery of Lorca’s play like no other writer, responding too to the actual style of writing in as close a way as possible.

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Frida

Operatic Monodrama on one act. 2013 (appx. 50’)

Text by Frida Kahlo (excerpts from her diaries)
mezzo-soprano, flute, clarinet, keyboard, 2 violins, viola, ‘cello

Frida Kahlo’s life was filled with creativity, passion, political activism and personal tragedy. This operatic monodrama uses Frida’s original texts and shapes them into a work of symbolic intent that digs deep. It is designed to be practically performed in a variety of settings, not least spaces such as galleries.

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La Belle et la Bête

Opera in one act and seven tableaux. 2017 (appx. 63 mins)

Libretto and music by the composer

Narrator *
Belle – mezzo-soprano
Bête – bass
* The role of Narrator can be spoken by The Beast

ORCHESTRA

Piccolo
2 Flutes (II doubling Alto Flute), Alto Flute, 2 Oboes, Cor Anglais, 2 Clarinets, Bass Clarinet, 2 Bassoons, Contra Bassoon
4 Horns, 3 Trumpets, 2 Trombones, Bass Trombone, Tuba
Percussion (3 players – Timpani, Xylophone, Vibraphone, 3 Suspended cymbals, 3 Gongs, Tam-tam, Hammer Blow (optional), Snare/Side Drum, 3 un-tuned drums of different size, Bass Drum)
Harp
Celeste
Violins 1 (suggest 16)
Violins 2 (suggest 14)
Violas (suggest 12)
Cellos (suggest 9/10)
Basses (suggest 4/8)

This opera takes its inspiration from two sources. Firstly, from Béla Bartók’s one act opera, Bluebeard’s Castle, and secondly from Jean Cocteau’s mysterious and magical interpretation of La Belle et la Bête. This opera was written as a gift for my partner, Giuliana Gomiero.

Fairy tales almost always tell of an innately darker side to life, and they frequently give lessons in moral values, all seemingly wrapped up in a child’s magical imagination.

I had become immersed in Bartók’s masterpiece by creating a chamber version. I had delved deeper still into the added musical symbolism Bartók etches within his score, and I wanted to tell a different tale, but one in which the same sort of personal interplay between two principle characters evolves within the setting of a fantastical psychological drama. Beauty is curiously drawn to The Beast, just as Judith is to Bluebeard. But unlike Bluebeard, The Beast will not allow his own personal dilemma to harm others. The ending of this opera is left purposely unclear. We do not know whether The Beast survives or dies, we only know that Beauty recognises his true good nature. We also do not know to what extent she feels compassion or love for him.

The fact that there are seven tableaux within one act corresponds to Bluebeard’s seven doors. The length of each work is also comparable. Additionally, further elements of design and proportion are inspired by Bartók’s way of working. It is easy to see that La Belle et la Bête is personally intended as a companion piece to Bluebeard’s Castle.