DEAR FRIENDS
A MESSAGE FROM THE CHAIR OF THE FRIENDS, TONY PARSONS
New roles, new faces: Following Pete Spriggs’ decision to step down from the Chairmanship of the Friends, my fellow trustees decided that I should take over the role. So, as of last November I have been doing my best to find out what I have let myself in for. I’ve had a lot of comments to me of the type ‘Pete always did that’ followed by an expectant look! Stepping into that role has meant stepping out of the job of Treasurer. Fortunately, Mandy Travis, who joined us as a Trustee in 2024, has been willing to take on that responsibility. In addition, Lindsay Crowe was elected as a new Trustee at the AGM in March (read her introduction on p. 26), and will take over running our Governance sub-committee. Meanwhile, Judy Barker continues to be our efficient Membership Secretary, and I continue to be amazed by her encyclopaedic knowledge of the membership. Louise Potter continues as Events Secretary, and to deliver an exciting programme of Friends events combining familiar venues with new delights. Finally, John Gaunt continues as Deputy Chair and Secretary, and keeps us all under control. I am grateful to them, and all my fellow Trustees for the generosity
“A quick reminder of the Friends Days on each Wednesday of the Festival when there will be the opportunity to drop into the Assembly Rooms for a chat and to hear free performances”
with which they give their time to supporting the Friends (and me!).
By the time you receive this edition of Overture priority booking will be over and we will all have our tickets ready for this year’s Festival and be looking forward to another glorious couple of weeks. This year, the Festival will have its own Buxton International Festival Orchestra playing for some of the operas, as well as the orchestra of Opera North playing for the performances of Hamlet . Let us hope that the weather is as glorious as the events in store for us. Strolling home through the Pavilion Gardens after an uplifting musical performance or an inspiring interview does add that bit extra. As does the company of the friends for whom the Festival provides a focus around which to visit us.
A quick reminder of the Friends Days on each Wednesday of the Festival when there will be the usual opportunity to drop into the Assembly Rooms at the Buxton Crescent Hotel for a chat,
Clockwise from top, Tony with Ben Tarlton at the Friends AGM, Briamah Kanneh-Mason, Erling Kagge and Ineza.
HAMLET 45 YEARS ON
The Friends of BIF enjoyed a coffee morning and fascinating talk with our Vice-President, the celebrated baritone Donald Maxwell. Kindly hosted by Francine Salisbury at Thorneycroft in Buxton, the event took place on Wednesday 26 March.
Donald performed in the famed 1980 production of Hamlet in Buxton, alongside Sir Thomas Allen. We caught up with him after the talk to delve deeper into the experience:
What was your role in the production 45 years ago and what impact did it have on your career?
something you don’t see now that’s for sure. I think people are always going to be fascinated by the character of Hamlet. It’s interesting to see how Thomas delivers Hamlet - he’s tried to make him somewhat more vigorous so they give him a drinking song for example…so there is more to the character. It’s important to remember the play and opera are different beasts!
‘It’s interesting to see how Thomas delivers Hamlet – he’s tried to make him more vigorous…the play and opera are different beasts’.
I was the Ghost of Hamlet’s Father and also First Gravedigger, so they got two for the price of one. It was quite early on in my career, around 5 years in and it was something new to perform in a new Festival - the second ever Buxton Festival. I’d also sung cabaret at the first Festival in 1979, so my connection to Buxton runs deep.
What do you think audiences should look out for at this year’s Hamlet and what are you looking forward to?
This is a 19th-century grand opera - very romantic, with fantastic music. Back in 1980 it was a big scale piece with a big chorus of 35;
If you could step back into one moment from that 1980 production - or share a backstage anecdotewhat would it be?
Coming to Buxton Opera House, which was newly refurbished and looked beautiful and which was not too big either, and the fact they had this marvellous chorus. That was a big thing; the scale of it was astonishing. Malcolm Fraser, who directed, would like to include an animal if he could, such as two ravens or maybe a Great Dane. There were always surprises in his productions, which sometimes came in at the last moment! In my case they were going to get the Ghost of Hamlet’s father played by a puppet - needless to say I never saw the puppet so I played that part visible from the waist!
Hamlet is on at Buxton Opera House on 12, 16, 20, 22 July 2025.
UPCOMING FRIENDS EVENTS – ALL WELCOME
OPERA DISCOVERY DAY
Monday 19 May
10.15am–12.40pm | £35 (£10 for BIF Next Gen Friends via info@buxtonfestival. co.uk) | Cavendish Suite, Palace Hotel
A fascinating deep dive into four of this year’s operas, featuring directors and experts. Get the inside scoop and find out what to look out for from this year’s productions:
• Hamlet – Jack Furness, Director (via zoom)
• The Impresario –Christopher Gillett, Director
• Shorts – Helen Goodman, Artistic Manager and Producer of Shorts, BIF
• Trouble in Tahiti and La Voix Humaine –Michael Williams, BIF CEO
FESTIVAL LAUNCH CONCERT
Wednesday 28 May 6pm – 7pm | £10 | Pavilion Arts Centre
The countdown is on for BIF2025! Join us at a special launch party, for a taste of the opera, music, books and jazz events to come. Enjoy:
• A special concert by singers of this year’s Young Artists Programme, ahead of their performances in Hamlet and Shorts. They’ll be performing a variety of favourite arias, from Mozart to Massenet and Donizetti to Dove.
• Jazz by local artist Hannah Brine, who’s supporting Rumer at this summer’s Festival.
• A light-hearted look at the ‘ups and downs’ of creating a book festival from BIF’s Books Director, Vicky Dawson.
As a Friend you have access to a special discount. Bring someone new to the Festival launch event and get a free ticket with code BIFLAUNCH50.
JAZZ AND WINE AT THE ROOKERY
Wednesday 4 June 6.30pm | £45 | The Rookery, Ashford in the Water
Relax in stunning riverside gardens with canapés, wine and the infectious energy of the Nightcreatures Trio. Expect funky jazz, blues and classic covers from Prince to the Beatles - served with serious New Orleans spirit. A perfect early summer’s evening.
HAMLET PREMIERE: A RED CARPET AFFAIR
Saturday 12 July
6.15pm | Free | Buxton Opera House Join us for a red carpet celebration as BIF 2025 launches with the premiere of Hamlet . Enjoy live music outside Buxton Opera House, mingle with the creative team, and soak up the glamour of this unforgettable evening.
BIF’S ARTISTIC DIRECTOR, ADRIAN KELLY INTRODUCES THE BIF 2025 OPERA SEASON
This year BIF presents 9 operas, all of which have been carefully chosen or commissioned by Artistic Director Adrian Kelly. We caught up with Adrian to ask what audiences can look forward to.
AMBROISE THOMAS’S HAMLET
Hamlet is a piece I’ve always loved. Whenever you undertake a work with a famous Shakespearean title, there’s always a frisson for British, and indeed all English-speaking, audiences, since the operatic version usually embarks significantly from the original text. It’s a truly great opera, and I was aware of the integral part it has played in the festival’s history, specifically with the 1980 production starring Sir Thomas Allen. I also believe we shouldn’t shy away from revisiting titles, especially as we haven’t explored much of the French repertoire, having focused more on Italian works. This opera is a particular passion of mine, and it’s a bucket list project for me, especially as we have the exceptional soprano, Yewon Han, who I believe has the qualities needed to sing the opera’s most important role of Ophelia.
Book your tickets now by ringing the Box Office on 01298 72190, or visiting buxtonfestival.co.uk
One might ask, is it simply the French version of Donizetti’s Lucia di Lammermoor ? After all, what captivated audiences in Paris was Ophelia in her ‘mad scene’, which is the heart of the piece. However, while there are parallels to Donizetti’s work, Thomas’ music possesses a unique inventiveness and colour, embodying the height of French Romanticism.
A COMPELLING DOUBLE BILL: POULENC’S LA VOIX HUMAINE AND BERNSTEIN’S TROUBLE IN TAHITI
I always enjoy exploring the operas of the 20th century, which tend to reflect the increasing influence of technology, and where other musical styles, especially jazz, start to influence the writing. There’s something about the 1950s, a period some of our audience will remember, that holds a particular fascination for me. I have a very clear idea in my mind of the character of that era. I feel these two pieces, although in different languages and from different continents, tell stories that make sense together.
Presenting them as a double bill is ideal, as both are short masterpieces that complement each other. Moreover, the director, Daisy Evans, has conceived this evening as a single narrative, which will allow her to explore similar themes in a more nuanced and engaging way than simply pairing two unrelated works.
MOZART’S THE IMPRESARIO
Mozart’s The Impresario is less frequently staged than his full-length operas, which are rightfully lauded as masterpieces. However, The Impresario is also great Mozart. It’s a playful and tongue-in-cheek work, brimming with some of his most inventive and sparkling music and there are real fireworks between the female singers.
There’s also a wonderful element of looking behind the scenes of the opera world. We get a glimpse into the realities composers faced in their daily lives, particularly when dealing with the challenges of difficult singers. It’s a situation that, even today, has a certain ring of truth. Our co-production with Opera Zuid embraces this backstage world, and Christopher Gillet, who is both a singer and the director, shows the behindthe-scenes chaos that often needs to be seen to be believed. While it’s a comedy, like many such works, it often comes surprisingly close to reality.
Yewon Han
Greg Feldmann
Alistair Miles
Allison Cook
ADRIAN KELLY INTRODUCES THE CAST OF HAMLET
Yewon Han Ophelia
Talented soprano Yewon Han won the ‘Tenor Viñas’ International Singing Competition in Barcelona in 2023 and the third Prize at ‘Neue Stimmen’. A member of the International Opera Studio at Opernhaus Zürich, Yewon has performed the role of Romilda in Händel’s Serse and served as cover for both the title role of Lakmé and Norina in Don Pasquale.
Greg Feldmann Hamlet
Baritone Greg Feldmann’s highlights include critically acclaimed performances in roles such as Figaro in Le Nozze di Figaro and Papageno in The Magic Flute. He has performed with the English National Opera and Opera North, earning praise for his nuanced interpretation of Marcello in La Bohème.
DON’T FORGET TO BOOK YOUR BIF PROGRAMME BOOK 2025
Alistair Miles Claudius
One of Britain’s finest basses, Alistair Miles enjoys an international career appearing at the Metropolitan Opera, Royal Opera House, and the Coliseum. His repertoire spans from Baroque masters like Handel to the romanticism of Verdi and Wagner. Career highlights include roles in I Puritani at the Met and La Juive at San Francisco Opera.
Allison Cook Gertrude
Mezzo-soprano Allison Cook is a renowned interpreter of 20th-century repertoire, including critically acclaimed performances in Powder Her Face, Wozzeck, and Bluebeard’s Castle. She has sung on the stages at Teatro alla Scala and the Royal Opera House.
Pre-order the BIF Programme Book 2025 for £12 (or pay £15 for the Programme book during the Festival). Articles include:
• Christopher Webber on technology in the Double Bill of Trouble in Tahiti and La voix humaine
• Christopher Gillett on his rewriting of the text for The Impresario
• Carmel Smickersgill on the idea behind her composition for Inevitable, one of the four newly commissioned Shorts operas
• Martin Green on the conceptualisation of Life gets Stretched, the second of the newly-commissioned Shorts operas
• Jasper Dommett, the composer of Disorderly House, the third of the Shorts operas, on his new work
• Donald Maxwell reflects on his involvement in the first BIF production of Hamlet in 1980
• George Hall on Hamlet
Visit the box office, buxtonoperahouse.org.uk or email info@buxtonfestival.co.uk to reserve your copy.
From top left to bottom right: Charles Rice Jane Burnell, Hanna Hipp, Richard McCabe, Alix Le Saux,and Nazan Fikret
ADRIAN KELLY INTRODUCES THE CAST
Charles Rice Sam Trouble in Tahiti
Tenor Charles Rice’s singing career includes performances with companies such as Opera Holland Park and English Touring Opera, where his portrayal of Tamino in The Magic Flute was particularly acclaimed. He is also a sought-after concert soloist, performing in oratorios and recitals across the UK.
Hanna Hipp Dinah Trouble in Tahiti
Hanna Hipp is a celebrated Polish lyric mezzo-soprano, and a former member of the Royal Opera House’s Jette Parker Young Artists Programme. She has sung for the Royal Opera House, English National Opera, and Scottish Opera, and her many roles include Cherubino in Le Nozze di Figaro and Hansel in Hänsel und Gretel.
Alex Le Saux Elle
La voix humaine
Praised for her ‘warm rounded voice’ and ‘effortless high notes,’ Alix Le Saux has performed at Europe’s top opera houses, including Opéra National de Paris, Gran Teatre del Liceu, Vienna’s Theater an der Wien, Teatro Real Madrid, and Glyndebourne.
Jane Burnell
Mademoiselle Silberklang
The Impresario
Soprano Jane Burnell starred in last year’s BIF production of La canterina and captivated Buxton audiences with her delightful interpretation of a saucy seamstress. Her career highlights include critically acclaimed performances in roles such as Violetta in La Traviata and Mimi in La Bohème.
Richard McCabe Leo
The Impresario
Richard McCabe is a Scottish actor, renowned for his extensive work on stage and screen. An Associate Artist of the Royal Shakespeare Company, he’s tackled iconic roles like Puck in A Midsummer Night’s Dream and Iago in Othello. Beyond theatre, McCabe has featured in films such as Notting Hill and Eye in the Sky, and TV series including Peaky Blinders and Wallander. He won a Tony Award for his portrayal of Harold Wilson in the play The Audience.
Nazan Fikret
Madame Herz
The Impresario
Soprano Nazan Fikret is a rising star having sung for companies such as Opera North and Welsh National Opera. Her portrayal of Pamina in The Magic Flute has been particularly praised. She is also an accomplished concert performer, with a growing repertoire in oratorio and song cycles
SHORTS: INTRODUCING THE OPERAS
Four 20-minute operas by award-winning artists
Get ready for an exhilarating journey into the future of opera with the Shorts project! This groundbreaking commissioning initiative brings together award-winning writers and composers to create four original operas, each a captivating twenty-minute gem. The project began in January 2024 with an innovative matchmaking process, pairing talented musicians from jazz, contemporary classical, and folk music with dynamic writers from poetry, film, TV, and theatre.
At the heart of Shorts is a bold vision: to bring opera to new audiences and engage artists from diverse backgrounds and disciplines in the opera-making process. By injecting fresh energy into the art form, Shorts aims to answer the question: what’s next for opera in the modern day?
Join us on this exciting adventure as we push the boundaries of opera and discover what happens when opera specialists collaborate with top-tier artists from wider art forms. The results are nothing short of spectacular!
THE OPERAS
Inevitable
One of the standout pieces is Inevitable, composed by Carmel Smickersgill (Jerwood Live Art Award Winner, Ivor Novello Rising Star Award Nominee, Rushworth Composing Prize with Liverpool Philharmonic Orchestra Award Winner). The libretto, crafted by Josh Overton (Sunday Times Playwright Award Winner), presents a thought-provoking narrative. Carmel’s experience working in contemporary classical music fused with Josh’s background as a performance poet and theatre playwright create a rich sound palette of music and luscious text.
The story revolves around the countdown to the end of the world, posing a poignant question: would you spend the rest of your life turning a crank to keep it all going? This piece
promises to be a compelling exploration of human resilience and existential dilemmas.
‘The music juxtaposes the drama, says Carmel, it’s quite fun and upbeat – think 1920’s American Songbook, but better.’
‘The opera has been an opportunity to be a bit more on-the-nose about what we want to say about the world. The whole process has been very liberating’.
Life Gets Stretched
Another remarkable work from the Shorts project is Life Gets Stretched, composed and written by Martin Green. Martin is a multi-award-winning musician and Ivor Novello winning composer. As a member of Lau he has won BBC Radio 2’s Folk Award for Best Group an unprecedented four times and toured all over the world. He has received the Paul Hamlyn Foundation Award for Artists in recognition of his talent as a composer, and had commissions from Opera North, Edinburgh International Festival and The Barbican. As a writer he has been commissioned by The Guardian, National Theatre of Scotland and Southbank Centre. In 2019 he won the Ivor Novello award for Sound Art for his large-scale public installation Aeons His critically acclaimed work as a broadcaster for BBC Radio 4 exploring musical and social themes including rave culture, morris dancing and brass banding, has received millions of listens. He was a recipient of the 2024 National Theatre Peter Shaffer Commissions for new large-scale plays.
This piece encapsulates 20 years in just 20 minutes, following a couple as they meet, fall in love, and marry. However, as life progresses, the narrative delves into the complexities of change and growth, questioning whether their bond will withstand the test of time. The Research and Development phase provided invaluable time for Martin to develop this intricate story, ensuring that the emotional depth and musicality are finely tuned. He will explore the power of music to tell a tragic love story, utilising his unique expertise with the accordion.
‘The desire is to get 20 years of one couple’s existence into 20-minutes, so one minute for every year - that’s the pace,’ says Martin. ‘I’ve tried to use the music as the driving force for storytelling, which I think happens in a unique way in opera.’
Disorderly House
Disorderly House transports audiences to a private party in Fitzroy Square in 1927. Composed by Jasper Dommett, an Ivor Novello nominee in 2020, and with a libretto by Jessica Walker, known for her work with Oper Leipzig, Wigmore Hall, Opera North, and the Royal Exchange Theatre, this piece promises a captivating experience. The narrative centres around the sensational dancer Bobby Britt, who mesmerizes guests with Salome’s Dance of the Seven Veils. However, the evening takes a dramatic turn when the police raid the party. The R&D sessions at Opera North allowed Dommett and Walker to delve into the historical and cultural nuances of the era, ensuring a rich and authentic portrayal.
Jasper is interested in micro-tonal music and bringing to light untold stories from queer communities.
Jasper comments, ‘These were real people and real times and it’s important to do them justice.
Using found music linked to Bobby in police records, ‘The Dance of the Seven Veils’ and ‘Lady, Be Good’, I created the musical foundation and narrative of the piece. I weave these together, extrapolate their themes, and distort them with microtones to capture the feeling of queerness in sound.’
Tears Are Not Meant To Stay Inside
Lastly, Tears Are Not Meant To Stay Inside is an ancestral ritual of healing and release. Composed by Thanda Gumede, whose appearances include Opera North and the BBC Proms, and with a libretto by Zodwa Nyoni, a prolific writer in theatre and for television including credits with the BBC, Channel 4, and Netflix.
This piece explores themes of displacement and invisibility. The protagonist, Nomvula, seeks solace from a Traditional Healer to cure her unsettled spirit. The R&D phase provided Thanda and Zodwa with the time to deeply explore the emotional and spiritual layers of the narrative, ensuring a powerful and resonant performance.
‘It’s interesting to think of African music in the context of opera’ says Thanda. ‘I’m very interested in the mechanisms of the voice and I would like the opera singers to pay an ode to the tradition of African music in their approach
and their stylistic embellishment, but the core and the heart of the performance must remain clearly classical and operatic.
‘The libretto is a cycle of release, healing and cleansing. It’s crucially important to tell this story, an opportunity not to be missed’ Zodwa adds. In terms of the music, Thanda says, ‘I’ve used “Ngoma”, derived from the Kongo word for drum. It’s an instrument traditionally used as part of healing rituals alongside song and dance, so it works perfectly alongside Zodwa’s libretto.’
Northern Ballet Productions makes its Buxton Debut
We are delighted to announce that Northern Ballet Productions will make its debut at Buxton International Festival this July for the worldpremiere of Shorts.
As one of the UK’s leading and widest touring ballet companies, Northern Ballet is dedicated to creating stories that connect with audiences. A champion for the cultural exports of the North, the Leeds-based company is committed to bringing ballet to as many people and places as possible. Their expertise in dance and new compositions will add an exciting dimension to the Shorts productions.
The ensemble provided by Northern Ballet joins a host of worldclass orchestras we’re welcoming to Buxton this year, alongside the likes of the Orchestra of Opera North (Hamlet ), Vache Baroque Ensemble (Orphée), and The English Concert, who perform in St John’s Church as part of our music series.
THE BOOKSHELF
Creating a Book Festival is a multi-faceted task! BIF’s Books Director Vicky Dawson shares her reflections on this year’s choices.
Book festivals have changed. No longer are those born into the Establishment talking about the Establishment (literary or otherwise) and those who become part of the Establishment may also come from humble beginnings. The joy of the modern book festival is the range of voices and experiences offered.
Author Joe Tucker’s Uncle Eric was a workingclass man, a jobbing labourer, from Warrington who lived most of his life with his Mother. He would not have expected to be the subject of
a book festival talk. His nephew Joe Tucker, arguably fast becoming a member of the media establishment (he may disagree!) was the script writer for one of last year’s funniest BBC comedy shows Black Ops. He has written one of the most charming and poignant books I have read. Because, on his death, Uncle Eric left behind an enormous collection of his own paintings, often portrayals of the pubs and working men’s clubs of the north of England that he frequented. An inspiring book about perfecting one’s art, without the benefit of critique (or even family encouragement) .
The Secret Painter will both break your heart and make it sing, when a lifetime’s body of astonishing art finds an appreciative audience after Uncle Eric’s death.
From the age of eight weeks to eighteen, Lola Young was moved between foster placements and children’s homes. How this child became Baroness Young of Hornsey, one of the first female Black members of the House of Lords in 2004 is the subject of her book Eight Weeks. Heart-breaking, spirited, and challenging, Lola has written a deeply personal account of striving to make sense of who she was. All of this, while performing as an actress and teaching across The Arts, which led to first an OBE and eventually becoming Head of Culture for the Greater London Authority.
In 1987, Diane Abbott MP became the first black woman elected to the British Parliament. She has railed against the Establishment during her prominent career and yet has achieved the positions of both Shadow Secretary of State for Health and Shadow Home Secretary, currently she enjoys the title of Mother of the House. A grammar schoolgirl born in Paddington to British-Jamaican parents she continues to be a prominent voice for the poorly represented and underappreciated.
We enjoyed two sell-out events in the opera house last year: Andy Burnham with Steve Rotheram, and Clive Myrie. Stateeducated northern lads all. Book Festivals have changed. And we are at the forefront of that change.
Vicky Dawson
THE NEAT BEAT OF JAZZ
Jazz at BIF has been hitting some serious high notes, since Neil Hughes joined the team. He’s again creating BIF’s own jazz club at the Palace Hotel and is looking forward to welcoming the Rumer, Clare Teal and Lizzie Ball to Buxton Opera House
The brochure arrived and the excitement was palpable at the Friends AGM in early March. It is a thrilling time of the year as we lay out our creative decisions for you all to see. Across 20 concerts, I try to programme as wide a range of jazz as possible. This year you can listen to 1920s’ New Orleans, 1940s’ Oscar Peterson, 1950s’ Miles Davis grooves, 1960’s Jobim from Sinatra and Doris Day, 1970s’ Streisand, and right up to award-winning contemporary composers such as Emma Rawicz and Ivo Neame. The variety is there for you to choose your favourite period. Drop in and try something new; the live experience is most satisfying.
I’ll pick a few highlights for you, but please explore the brochure in full.
Latin for Lovers – with special guest
Lizzie Ball
Clare Teal, Denny Ilett and the Orchestra of Opera North - 31 Musicians on stage The beauty of Carlos Antonio Jobim’s Bossa Novas are a joy to listen to. Doris Day’s 1965 offering Latin For Lovers was followed, in 1967, by Sinatra’s pairing with Jobim himself. Both albums were full of sumptuous strings and gentle percussion accented by warm, lush woodwinds and brass. And they are recreated for Buxton with full orchestration by Ian Bateman. Songs such as Girl From Ipanema, How Insensitive, and Corcovado. These sit seamlessly with
“This year you can listen to 1920s’
New Orleans, 1940s’ Oscar Peterson, 1950s
‘Mile Davies, 1960s’ Jobim, 1970s’ Streisand and contemporary composers”
Bossa renditions of such Great American Songbook staples as Fly Me To The Moon, I Concentrate on You, and Change Partners.
Baiana
A nine-piece Brazilian-inspired band that spent 14 weeks on the Jazz FM A-list. Harmoniously blending fiery Sambas, Bossa Nova, Baião, and everything in between, Baiana evoke the spirit of Brazilian greats such as Elza Soares, Gal Costa, and Elis Regina and romantic torch singers of the 40s and 50s. They have played Love Supreme and so many jazz festivals; it’s about time Buxton was treated to the beats from this top band.
Pulman Sings Streisand
You’ll know Liza from Fascinating Aida but this is her powerhouse, bravura performance celebrating Barbra Streisand. Iconic songs and amusing anecdotes, all backed by a six-piece band. Listen to a mesmerising performer’s classic Streisand tunes in the Pavilion Arts Centre.
The Entertainers
Sir Richard Stilgoe’s son Joe Stilgoe fronts this remarkable octet, comprised of the cream of Britishbased jazz talent. Astonishing musicianship, instantly memorable and exciting new songs from Stilgoe and Emma Smith, glorious harmonies, and scintillating audience interaction. In their short existence, they have already played Love Supreme, Cheltenham Jazz
MARKING TIME: Five Centuries, New Voices and Familiar Faces at BIF 2025
Eagle-eyed readers may have spotted the unusual clock on the cover of Overture, counting 17 to 21 - a nod to the five centuries of this year’s operas. Time is a key theme for 2025, with a look back to our history with Hamlet’s return and look forward through the new Shorts project. As the Festival enters its 46th year, we’re thrilled to welcome fresh talent alongside returning favourites. Here’s a glimpse of the names - new and familiar - making waves in Buxton this year:
BACK BY POPULAR DEMAND
James Rebanks returns with the tale of one elderly woman’s final season caring for wild Eider ducks against the backdrop of an unforgiving Arctic.
15 July 12.30pm Buxton Opera House
Fresh from last year’s acclaimed performance in La tragédie de Carmen, Niamh O’Sullivan joins Joseph Middleton in one of his four ‘Elements’ concerts, Fire.
Thursday 17 July 11.15am St John’s Church
Former BIF Artistic Director Stephen Barlow is back with Mark Stone for a performance of Schubert’s strikingly emotive Winterreise.
Friday 25 July 11am St John’s Church
The Xhosa Cole Quartet is back with a celebration of jazz legend Thelonius Monk.
Sunday 13 July 4pm Jazz at the Palace
After her sell-out performance last year, Lizzie Ball returns to BIF along with Clare Teal, Danny Ilet and the Orchestra of Opera North.
Friday 18 July 8pm Buxton Opera House
BIF DEBUTS
Explorer and author Erling Kagge arrives from Oslo sharing insights from his book The North Pole: The History of an Obsession, which draws on his own pioneering expedition.
Wednesday 16 July 12.30pm Buxton Opera House
Following the success of Opera in the Cavern last year, Musicals in the Cavern brings your favourite musical songs to the dramatic setting of Poole’s Cavern.
Thursday 17 July 5.30pm
Mojo award-winning and Brits nominated singer-songwriter Rumer makes her BIF debut at the Buxton Opera House.
Sunday 20 July 8pm Buxton Opera House
Baiana unites singersongwriter Laura Doyle with a full live band for an infectiously joyful, Brazilian-inspired set that will bring sunshine and rhythm to BIF.
Friday 11 July 8pm Jazz at the Palace
Acclaimed Violinist Braimah KannehMason and star pianist Jâms Coleman come to BIF for the first time, performing works by Rachmaninov, Elgar and Boulanger.
Saturday 19 July 3pm –5pm St. John’s Church
Reflections on 2024’s Opera Discovery Day
If you’re interested in finding out more about this year’s opera productions, don’t miss our Opera Discovery Day. It’s a chance to hear from our directors and experts and ask them questions in a friendly environment. Sue and Tony Parson attended last year’s event and thoroughly enjoyed the experience. Here’s what they had to say:
This was the first time we had been to one of these events, but we knew nothing about The Boatswain’s Mate, almost nothing about Ernani, and Peter Brook’s retelling of the familiar Carmen was also new to us. Just what you might expect of the offerings for the forthcoming Festival! So ‘Discovery’ was certainly on our agenda. We were treated to three completely different insights into these three operas – from the perspectives of the conductor, the designer and the director. First up was Iwan Davies who would be conducting La Tragédie de Carmen. Iwan filled in the background to this version of Mérimée’s story that uses Bizet’s music but a much condensed narrative and a slightly different set of characters from those Bizet had selected. Next was Sami Fendall, the designer for Ernani.
In any production of an opera the vision of the composition and the set design are an integral part of how the music is brought to life, the story is told and the emotional response that we have to it. Finally, we heard from Nick Bond who would direct The Boatswain’s Mate. Most interesting, was learning about Ethel Smyth herself. A formidable character who had played a significant role in both musical and political life of her times, but whose legacy seems to have become somewhat overshadowed by her contemporaries in both fields.
We left with anticipation for the forthcoming performances, but did the day help when we finally went to see the operas? In general, the more you know about an opera the more you enjoy it. So these additions to the programme notes certainly made us better prepared and added to our enjoyment of the performances. Thinking about the different roles played by the conductor, designer and director of an opera was insightful, and it would be interesting, perhaps, in a future Discovery Day to follow the journey through the different actors from the decision to mount a particular opera through to its final realisation and staging.
Sue & Tony Parsons
This year’s Opera Discover Day takes place on 19 May at 10.15am, featuring directors Jack Furness and Christopher Gillett, and Artistic Manager and Producer of Shorts Helen Goodman and BIF’s CEO Michael Williams.
Space Day
Over the past few weeks, our Learning and Participation team has been brimming with activity. Joe Clarkson, Head of Learning and Participation, teamed up with pianist and broadcaster Keelan Carew to lead inspiring music workshops with three local primary schools. These sessions invited young minds to delve into the wonders of space, sparking creativity and crafting brand-new musical compositions.
In the workshops, students created their own individual graphic scores, which Keelan brilliantly performed for their classmates, bringing their imaginative ideas to life.
The resulting pieces are now being composed by Sam Kane and will take centre stage at our Space Day, on 17 June for children and their parents and guardians. Alongside these original works, the day will feature a stunning performance of Holst’s The Planets by a chamber orchestra, set against a breathtaking visual journey through Space.
Keelan Carew outside the BIF office
FESTIVAL ACCOLADES AND MEDIA HIGHLIGHTS
Buxton International Festival Named as Top UK Festival by The Times
Buxton International Festival has been listed by The Times newspaper as one of ‘15 of the best classical and jazz festivals for summer 2025.’
The Times’ feature stated that Britain’s summer classical and jazz festivals “have never been more intrepid.” Buxton’s nine operas, including four new chamber operas, Shorts, Ambroise Thomas’ Hamlet and Charpentier’s Orphée are listed as highlights alongside The Tallis Scholars, King’s Singers, Benjamin Grosvenor, Toby Spence and Jane Glover.
Commenting Michael Williams, CEO said: ‘It’s fantastic to be recognised as one of the very best festivals in the UK to visit this summer. The Times list is drawn up by the music and opera critics so it’s a great measure of our artistic pedigree to be listed alongside other greats.’
Finalists at the International Opera Awards and the UK Theatre Awards
We were thrilled to be one of five festivals nominated for ‘Best Opera Festival’ in the 2024 International Opera Awards. Michael Williams and Adrian Kelly attended the star-studded ceremony at Munich’s Prinzregententheater. We were honoured to be recognised alongside Finland’s Savonlinna Opera Festival, who were the winners. The event was hosted by Petroc Trelawny. You can see Petroc in Buxton on Saturday 12 July at 10am in the Pavilion Arts Centre!
BIF was also shortlisted for a prestigious Achievement in Opera award by the 2024 UK Theatre Awards, marking another milestone in the Festival’s growing reputation. The UK Theatre Awards celebrate the creative excellence and outstanding work seen on and off stage throughout England, Scotland, Wales and Northern Ireland.
News from Buxton
A bold new £100 million regeneration plan is set to transform Buxton’s town centre, with The Springs shopping centre being replaced by vibrant new shops, bars, restaurants and housing. Spearheaded by regeneration specialists Capital and Centric, the project aims to revitalise the high street, boost tourism, and encourage young adults to stay in the town. Co-founder Tim Heatley calls Buxton a ‘sleeping giant’ with untapped potential.
Derbyshire County Council has confirmed it is prioritising the return of Buxton’s Museum & Art Gallery and Library to a new central location as part of the town’s regeneration. Council Leader Barry Lewis said the move will help anchor a vibrant town centre and support longterm cultural and economic growth.
NEW FACES
James Fairclough
Marketing and Data Officer
James began his career writing gameshow formats for Simon Cowell at Syco Television and he has spent the last 10 years creating interactive books and doing TikTok strategy work for brands.
His book The Mozart Project was featured in the New York Times and The Sunday Times and he co-created the interactive book, The Night Manager: The Insider’s Guide, which accompanied the AMC/ BBC TV series to the John le Carré book. He moved to Buxton for the hills and the walking and is thrilled to be working with BIF.
Lindsay Crowe
Boardmember of BIF Friends
Lindsay Crowe was born and brought up In Belfast, which she left to study Law at the University of Durham in 1979. While living in Belfast she supported the Ulster Orchestra; the Lyric Theatre; Queen’s Film Theatre and Queen’s Festival, all of which continued even at the height of the Troubles. During her studies at Durham Lindsay met her husband and fenced for the University. After qualifying as a solicitor, she worked in Buxton, eventually retiring from partnership at Cooper Sons, Hartley and Williams.
Lindsay is a trustee of Zink, which runs Buxton food bank as well as much other work; of the Satterthwaite Bequest Charity; and of Buxton Film. Additionally, she is on the committees of the Arts Society Cavendish; Buxton and District u3a and chairwoman of the Friends of Buxton Museum and volunteers for front of house at Buxton Opera House and the Arts Centre. She has just retired after thirty years as governor of Milnthorp Homes. Lindsay lives in Buxton and has two daughters and three grandchildren and is a keen gardener and reads extensively.
IN MEMORIUM
The team at Buxton International Festival is deeply saddened by the news that our colleague Michael Harper passed away at the age of 61.
Michael was a hugely respected member of our community, and his kindness and passion for music left a lasting impression. He worked tirelessly to support emerging artists, championing access to live music and performance opportunities.
In 2021, he founded the Williams-Howard Prize, a prestigious competition celebrating art songs by composers of African heritage. It was named in honour of his grandfather, Chester Ambrose Williams, and his teacher, Helen Palmer Howard. The annual prize winner’s concert has become a staple of the Festival line-up, last year attracting a full-house.
Michael will be sorely missed by everyone at Buxton International Festival and we send our deepest condolences to his family and friends.
The Williams-Howard Memorial Prize Recital takes place on Wed 23 July at 2.30pm.
BIF’s Production of Il trionfo del Tempo e del Disinganno goes to Lisbon!
Putting the International in Buxton International Festival.
From one iconic opera house to another, BIF was thrilled to see our five-star 2024 production of Handel’s Il trionfo del Tempo e del Disinganno take flight in Lisbon in April. To see our bold, visually stunning staging brought to life at the magnificent Teatro São Luiz was a true joy, and a proud moment for everyone involved.
A Buxton cohort in Lisbon
Director Jacopo Spirei
Michael Williams with Alessandra Toffolutti from Teatro Nacional Sao Carlos and the creative team
The standing ovation
Why I’m coming to BIF 2025
Thorsten Glaser, a computer programmer and amateur singer from Germany, is one of many traveling to Buxton to take part in Come and Sing with the King’s Singers’ on Thursday 17 July. He got in touch to tell us why he’s making the journey…
I am so eager to attend the Buxton International Festival, especially since I’ve always wanted to participate in a workshop led by The King’s Singers ever since I learned about this a cappella group.
As a computer programmer who has always enjoyed singing, even though I’m not a professional musician, I’ve faced some challenges. I was never able to learn music by heart and always needed the lyrics for the songs we sang in kindergarten, which prevented me from joining the children’s choir. I enjoyed singing privately until my friend’s mother invited me to join her choir. Since then, I’ve sung in a few choirs, always as a tenor, joining the least represented section. However, I’ve always identified as a countertenor, even secretly singing the soprano lines in John Rutter’s pieces, among others, where the tenor part is silent.
Singing along to Tarja Turunen from Nightwish during puberty helped me develop a vocal range of over three octaves, which I’m eager
to utilise fully, having always admired English trebles. This is my first opportunity to develop my counter-tenor abilities, as previous workshops focused on tenor, and that is why I am coming to Buxton this summer.
And to all male singers out there: come join us at the workshop and don’t fear the high notes, we can sing them too!
Come and Sing with the King’s Singers takes place on Thursday 17 July – book at buxtonfestival.co.uk.
The King’s Singers will also be performing a standalone concert on Wednesday 16 July at 3pm in St John’s Church.
Step Into the Heart of the Celebration!
Welcome to the Festival Hub – your go-to spot for information, reviews, snacks, and a great place to relax between performances.
Located in the Old Hall Hotel just steps away from the Buxton Opera House, BIF staff and volunteers will be at the Festival Hub to welcome visitors every day from 10am to 4pm (Sundays: noon - 4pm).
Just look for the blue Festival Hub sign and we look forward to seeing you there!
The Foundation works alongside the Friends and BIF to secure the longterm financial future of the Festival. Its endowment has continued to withstand market uncertainty and currently stands at just under £475k.
As reported in the last Overture, Jane Davies stepped down as Chair having forged a strong relationship between the Foundation, BIF and the Friends. The photograph shows the Trustees of the Foundation at the Crescent Hotel at a small celebration last November to mark Jane’s retirement. Among them is Chris Barron who joined the Foundation as a Trustee in November.
The Foundation looks forward to continuing to provide financial support to BIF, such as its grant of £25k in 2024 to enable the Orchestra of Opera North to perform at Ernani. They are returning for this year’s performances of Hamlet while the Foundation is delighted to be making a grant of £12k to assist BIF in the creation of a new Buxton International Festival Orchestra, which will be performing this summer at The Impresario and the Poulenc/Bernstein double bill.
The Foundation aims to build its endowment fund to a level which will produce around £50k per annum income. The endowment is built on the generosity of those who have enjoyed the Festival in the past and who leave a legacy to enable future generations to do so. We are particularly grateful this year to the late Rex Keen who left a substantial legacy to the Foundation. Rex Keen was born in 1929 in New Mills, in the heart of the Peak District, and lived there all his life with his wife Nancy. He worked as a music teacher at a local school. His love for music did not diminish after his retirement and he travelled to concerts as often as he could.
The Malcolm Fraser Circle (named after one of the founders of the Festival) is made up of those who have declared their intention to leave a legacy to the Buxton Festival Foundation. They benefit from the same priority booking period as the Directors’ Circle level of Friends’ Membership enjoy. If you wish to take advantage of this in the future and have not yet informed us of your intention to leave a legacy, please contact me by email.
Kate Redford Chairman chairman@bffs.world
OPERA, OUTRAGE, AND REINVENTION: CHRISTOPHER GILLETT ON UPDATING MOZART
When Mozart’s The Impresario (Der Schauspieldirektor) first hit the stage, it was a knowing wink at the chaos of putting on a show - artistic egos, backstage politics, and the sheer absurdity of opera itself. Centuries later, the challenge remains: how do you take that premise and make it sing for a modern audience?
Enter Christopher Gillett, tenor, director and writer of the playlet that’s part of the production coming to Buxton this summer.
Gillett takes us inside his process: where the jokes come from, why indignation is the funniest emotion, and how lovingly poking fun at opera is the best way to celebrate it.
“Write us a new version of Der Schauspieldirektor !” he said. “Carte Blanche! I just like the very first line - we have the permit! - so if you could keep that…”
So went my conversation with Waut Koeken, the Intendant (or Schauspieldirektor no less) of Opera Zuid..
This should be in my wheelhouse, I thought, so I said yes. Besides, I needed the work. As a tenor in his mid sixties I wasn’t exactly fighting off the offers of singing jobs. (Surprising honesty - laying the foundations of funny).
Carte Blanche are two terrifying words. Like PAGE and BLANK. Ask any writer, or composer for that matter. We like guard rails, things that set boundaries. We also like nicking ideas from other people. That reversal of BLANK and PAGE for instance? Oldest trick in the book. I could have added “but not necessarily in that order” to land the gag. But I have more taste.
Or do I…?
So, what are my guard rails? The original piece was an obvious start. It’s a show about putting on an opera (like Noises Off is a play about putting on a play - more nicking to be done). My trade. But what makes something funny?
Indignation. Explosive, nuclear indignation is my favourite sort of funny.
The ludicrous. That’s also funny, and there is something inherently ludicrous about opera. Everybody knows that, particularly those of us who do it for a living. The funniest stories about opera always take place in operas that are deadly serious - Tosca bouncing back into view for starters. (Apart from when my breasts exploded in A Midsummer Night’s Dream in Rome. That was funny only because it wasn’t planned. But my character was trying to be desperately earnest at the time, not trying to be funny. VERY important.)
Now if I’d written there ‘when my tits exploded’ that would have been funnier because you wouldn’t expect me to use the word tits in an article for a respectable opera festival in the Peak District. (See also the works of Bill Bryson and David Sedaris). An opportunity missed.
Saying out loud the things that convention says we should keep under wraps - funny.
Chuck in a few silly situations (but avoid embarrassment humour), and a few oddball characters, and there you go.
Generally and LOVINGLY (so important) take the piss (see above re tits) out of opera. Job done.
God, I hope it’s funny.
Introduce someone new to BIF and get a FREE TICKET to the launch using the code BIFLAUNCH50
Wed 28 May 6pm – 7pm The Pavilion Arts Centre £10
THE COUNTDOWN IS ON FOR BIF 2025!
Join us for an unforgettable evening of opera, music and jazz, and exclusive behind-the-scenes stories from BIF’s Books Director. With arias, from Mozart to Massenet from singers from our Young Artists Programme and jazz from rising star Hannah Brine. It’s the perfect introduction of what’s to come!