CENTENARY CONCERT

I had the immense pleasure of attending Bristol Opera’s Centenary concert, in the unusual but spectacular setting of Bristol Aerospace, the audience sat below Concorde itself and had the opportunity to explore the inside of the plane during the evening. Producer Charlotte Monk described the event as an “Opera Party” which was an excellent description of the evening. With both past and present members coming together the concert's repertoire showcased a splendid blend of beloved classics and lesser-known gems, representing the rich tapestry of Bristol Opera's illustrious history.

The concert was presented by Alexandra Denman & Charlotte Monk who provided the audience with stories and anecdotes from the company’s history, whilst introducing each item. It opened with the Prologue to Snow Maiden, the first production from Bristol Operatic School (now Bristol Opera) in 1924 and Musical Director Arne Kovac included a diverse range of pieces from different composers and styles, whilst leading an impressive and wonderful 35-piece Orchestra, which sounded fabulous in the vast space. Bristol Opera commissioned a new work from Composer Joel Baldwin called “Fish” conceived as a sequence of dream-like scenes relating to the imagined moments from Harriet Fish’s life. Harriet Fish an illustrator for popular publications such as Tatler, Punch and Vanity Fair in the 20’s.

I was delighted to present the society with their 100th Anniversary certificate on behalf of NODA, along with their award for Best Opera 2021 for L’Elisir d’Amore. It’s a great achievement to celebrate 100 years and this concert was a great celebration. Let’s look forward to the next 100 years with Bristol Opera continuing to shape and inspire the future of opera for generations to come.

                                                                         

                                                                             PLEASE NOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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