Posts Tagged ‘Clark Rundell’

Author: Ben Kaye - Librettist, Co-founder
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May 21st 2015
“Riveting Art”

ANYA17 makes the “Best” List of the Bay Area’s Classical Music Scene for 2014.

 

“Anya 17, a modern treatment of sexual slavery and trafficking, was premiered by Opera Parallele last June. This gifted opera company has moved from edgy productions of twentieth century to their second premiere, and it was a humdinger.

 

A multi-layered score by British composer Adam Gorb and a haunting libretto by Ben Kaye took this most uncomfortable subject and turned it into riveting art. Go to anything this company does. Anything!”

 

 

Repeat Performances

Online reviews of events in the San Francisco Bay area and beyond…

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Author: Ben Kaye - Librettist, Co-founder
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December 7th 2013
Second Review of Anya17 in Germany

“No champagne this evening, no Premierengeschnatter (Premiere Chatter). Only concern. And silence. Then applause, roaring loudly after seventy minutes of silence…”

 

No champagne this evening, no Premierengeschnatter. Only concern. And silence. Then applause, roaring loudly after seventy minutes of silence. No known opera evening in Meiningen Kammerspielen, for many reasons. The subject is not a unusual in musical theater: the prostitute, the prostitute. But it is not those romanticized as the Alban Berg’s Lulu or Violetta in Verdi’s “La Traviata”. Instead, it’s about young flesh, fresh from Eastern Europe, numbered. Thus, no suitor has to bother with pesky name when he ordered the goods woman.

Forced prostitution. To raise this issue on a stage as well, as it creates through the means of music that pretends less images rather in the minds of the audience that has to Adam Gorb not a composer still married. “Anya 17″ has the Briton called his chamber opera, translation superfluous, as superfluous as the concrete location of the plot. Anya’s story could play anywhere between Eastern and Western Europe: A poor girl who loves for the first time. Want to believe the nice thing about this life in the West, which promises you the beloved. And then without it ending up in a dump. For money to buy, day and night.

Tell that everything is from the perspective of women to men has librettist Ben Kaye the marginal roles intended for, ugly roles: love vorgaukelnde decoy Uri that sex with love be confused Free Gabriel (both parts sung by Rodrigo Porras Garulo) and the brutal pimp Viktor . Stephanos Tsirakoglou shows him as a patronizing dealer who supplies the market only what this requires. And for that the hand is staying.

The market wants girls like Anya, whose dismay flashes her fate from each shooed views from every gesture, from each desperate tone of Anne Ellersiek. He also wants girls like Natalia (Carolina Krogius), happy girls, raped by father, clarified by strangers at age ten, twelve working the streets. He wants girls like the blind Elena (Camila Ribero-Souza), bruised resigned to their existence. But he does not want a girl like Mila (Elif Aytekin) whose body apparently suffers from this market than for a Free favor could find him. The reason has to die is disposed of.

Director Mareike Zimmermann leaves the four women occur in nude Suites, like bathing suits with sewn breasts and buttocks. The alienated, makes the scenes appear grotesque. The sex is just as ugly as those men who thus make a deal in this oppressive intensive production. The viewer comes when looking at the stage like a voyeur before looking to a container with mirror foil, the times reflected, sometimes gives a view of the scene free.

What happens twice in the music Gorb that makes kicks and punches audible. According opulent with two musicians on percussion is the fifteen-member Court Orchestra under the direction of the first Kapellmeister Leo McFall occupied. It leads – enriched with quotes – sound in two opposite spheres. After kicking off with folklore bonds it changes with the flight to the West. Commented it the glittering world of the goods ironically with Broadway and jazz. In the score, there are so cliché, as well as on stage plenty of cliche-affected can be seen, the touched yet or perhaps because. At the end of a little hope for Anya.

More still affected after all the pain, blood, fear. No known opera evening.

Further performances on 8./14. December 10 January 8 February every 20 clock

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Author: Ben Kaye - Librettist, Co-founder
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November 16th 2013
The Calm before the Storm

In about a week, I will be heading down to Meiningen Germany to Das Meininger Theater to attend the fully-staged world premiere of Anya17 (and many subsequent performances over the coming months).

When you are in the midst of a long-term project, it can be all too easy to look forward with trepidation and be forced to accept the sudden realisation that you have “so far to go…”

Today (for a change) I decided to take the opposite view and “stopped on the mountainside” to look back and see just how far we had actually come.

From the genus of an idea, the amazing Anya17 team has:

1. Premiered concert performances with the Royal Liverpool Philharmonic Ensemble 10/10 and The Royal Northern College of Music.

2. Gained extensive coverage to raise awareness of Human Trafficking on the brilliant BBC and with many many others (as far afield as South Korea and Australia).

3. Premiered Anya17 in Romania and received an invitation to take the opera all over Romania by The Ministry of Internal Affairs (in conjunction with The UK-Romania Friendship Foundation and their wonderfully-successful International Human Trafficking Symposium).

4. Secured a USA premiere with Opera Parallele in San Francisco in 2014, and used the opportunity to engage a swathe of Human Rights groups and Media in America.

5. Won the “Best Film or Stage Production Dealing with Human Trafficking” Award at the Anti-Slavery Day Media Awards last year at The House of Commons, promoted by The Human Trafficking Foundation.

6. Gained the official endorsement of thirteen Anti-Trafficking NGOs, many of whom we hope will attend the German premiere.

7. A performance in Feb next year in Wales is currently awaiting confirmation, whilst other potential performances in the UK with the original Cast are at such an early stage that… let’s just wait and see…

Yes, we do have a long way to go.

Sometimes though it’s good to look back and gain confidence and inspiration for the future, from the successes of the past.

I haven’t met any of the Singers or Musicians who will be performing Anya17 in Germany. I haven’t even yet met the Director, the Conductor, the Costume Designer or any of the others.

I did though receive an email from one of the Singers, who is playing the part of “Elena” in Germany. I won’t relate the email because all these thoughts will be appearing on the blog soon.

All I can say is that “the passion lives on…”

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Author: Ben Kaye - Librettist, Co-founder
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October 26th 2013
“Mein Name ist Anya” – Anya17 highlights Human Trafficking in Deutsche Zeitung and is invited to “go national” across Romania

We couldn’t be more delighted that the Romanian premiere of Anya17 prompted a fact-based report on Human Trafficking in Deutsche Zeitung (Romanian Edition).

Following the performance, the President of Pro Prieyenia Arad (a partner in the performance) received a call from the Ministry of Internal Affairs in Bucharest, inviting Pro Prieyenia Arad and The Friendship Foundation (UK – Romania) to go national with both the Anti-Trafficking Symposium and Anya17! We couldn’t possibly have hoped for a better result!

On that note, it was also wonderful to hear about individual audience experiences of Anya17. The following is typical:

“The standing ovation, which followed what seems like minutes of ‘gob-smacked’ silence, indicated the general audience response. A senior police office from South Africa declared to me the following day that the opera had changed the direction of his vocation.”

Let’s all keep our fingers crossed and hope that in addition to Romania, Germany (Nov 28th), San Francisco (next year) that Anya17 continues to raise awareness of the horrors of Human Trafficking.

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Author: Hayley Chappell - Online Marketer
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December 2nd 2011
Anya17: The Cast

Following the recent auditions for Anya 17 we are pleased to announce the following cast and production team.

THE CAST
Anya                                Andrea Tweedale
Mila                                  Joanne Holton
Natalia/Carole               Lucy Baines
Elena                               Amy Webber
Gabriel/Uri                     Sean Boyes
Viktor                             Thomas Hopkinson

Conductor: Clark Rundell
Director: Caroline Clegg

Première performance in Liverpool on Wednesday 7 March 2012. Further performance at RNCM in Manchester on Friday 9 March 2012.

The audition panel wish to congratulate all who auditioned for the high standard of preparation and presentation.

If you would like more information about the roles in Anya 17, visit our cast page.

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Author: Ben Kaye - Librettist, Co-founder
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November 4th 2011
Anya17 Auditions: It’s tough being an X Factor judge

Hopeful auditionee for the role of Natalia

Being an X Factor judge isn’t as easy as it seems! The harsh reality of picking and choosing between talented performers became all too clear as I sat, somewhat the judging novice, on the panel at Monday night’s Anya17 auditions at the RNCM in Manchester. Whilst neither spray tans nor capped teeth were in evidence amongst the august panel, the many talented performers gave it their all for nearly four hours under the unforgiving gaze of the camera and the expert judges.

Completing the panel and amply compensating for my complete lack of judging experience were Anya17’s Composer Adam Gorb, Clark Rundell and Stephan Janski.

Stephan’s friendly and encouraging style belied his extensive experience and much-praised work with Glyndebourne Festival and Touring Opera, ENO, Scottish Opera, Los Angeles Opera, Ryedale Festival and many others. Now Head of RNCM Opera (and a fantastic Librettist to boot), Stephan inspired some wonderful performances on the night.

Surely winning the prize for the longest title however, Clark Rundell, (Director of Contemporary Music and Head of Conducting at the RNCM, and Artistic Director of the Royal Liverpool Philharmonic’s new music group, Ensemble 10/10), was as knowledgeable as he was incisive. A good thing too, as attempting to choose between the many extraordinary and well-prepared performances would have left me at a complete loss!

It's tough being a X Factor judge - Ben Kaye - Stephan Janski - Adam Gorb - Clark Rundell

Decisions had to be made however, and we will announce the cast line-up very shortly! (So make sure you’re checking back here and on our Facebook page and Twitter feed for all the latest developments.)

Monday also marked the start of filming for the Anya17 Documentary. James from Shilton Photo Film was kept busy for most of the day nimbly chasing light, angles and a variety of interviewees across the vast, labyrinthine landscape of the RNCM whilst burdened with a mountain of gear that would have soon had me screaming for the nearest Sherpa! Thank you also to Tina and Lara from City Hearts for taking part and also to Hope for Justice for finding the time to be with us.

That’s about all for now. In my next blog I will be introducing the talented singers who will become the cast of Anya17, and, if there’s space, I also hope to share my experiences at Unchosen’s latest screening at the LSE in London…

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