Soft City American Dream
Britten, arr. Farrington Cabaret Suite
Copland Old American Songs
Dizzy Gillespie Lights and Shadows
Gershwin, arr. Farrington Songs
Burian Suite Americaine
Noël Coward Señorita Nina from Argentina
Jacob Gade Jealousy
Piazzolla Vuelvo al sur (Return to the South), Tango-etude, Oblivion, Devil Suite
with poems by Walt Whitman and Langston Hughes interpolated

An evening of words, music and dance evoking the passions and sensual allure of song and dance across the Americas. Highlights include favourites by Gershwin, Dizzy Gillespie and the master of the tango, Astor Piazzolla, plus movements from Britten’s jazzy Cabaret Suite, a group of Aaron Copland’s delightful Old American Songs, Jacob Gade’s ‘Jealousy’ (one of the most famous tangos of all time) and Noël Coward’s wicked take on the genre: ‘Señorita Nina from Argentina’.



Jazz dans la nuit Jazz dans la nuit
Satie Cabaret Songs
Ravel Violin Sonata
Roussel Jazz dans la nuit (song)
Milhaud La Création du Monde
Iain Farrington A Little Cabaret

A mixed-media programme for baritone and ensemble capturing the heady spirit of the Paris Jazz Age. Jazz dans la nuit incorporates cabaret songs by Satie, Poulenc and Roussel, Ravel’s jazz-inspired Violin Sonata and an arrangement by Iain Farrington of Milhaud’s short ballet score La Création du Monde. A new 12-minute work specially commissioned from Iain Farrington, entitled A Little Cabaret, depicts a group of entertainers in a series of short sketches. The music is predominantly jazzy and tuneful, in a wide range of moods.



Lights and Shadows Lights and Shadows
Eleanor Bron with Counterpoise

The incomparable Eleanor Bron brings her wide-ranging talents to an extraordinarily rich and diverse show which draws on cabaret, poetry and jazz, as well as various classical genres. The programme spotlights the fusion of words and music in contrasting genres and settings, from Britten’s nightclub blues The Spider and the Fly to Copland’s evocative urban landscape Quiet City. Poetry by Keats, Auden, Eliot and Langston Hughes is woven into the texture of the programme and cross-references between the genres (jazz/classical, poetry/music) explored. There is also a rare opportunity to sample the notoriety of George Antheil, the Bad Boy of Music.

Eleanor Bron
Weill The Threepenny Opera Suite
Weill Mack the Knife
Spoliansky, arr. Farrington Zwei Krawatten Potpourri
Hollaender, arr. Farrington Rag 1920
Dizzy Gillespie/Paparelli Lights and Shadows
Schulhoff Hot Sonata
Britten, arr. Farrington Cabaret Suite
Turnage Two Elegies Framing a Shout
Poems by Auden, Brecht and Langston Hughes.



Metamorphoses Metamorphoses
Britten Metamorphoses After Ovid
Britten, arr. Farrington Cabaret Suite
David Matthews Actaeon
Walton Façade

David Matthews' Actaeon in a vibrant translation of the Ovid poem by Ted Hughes combining Romantic nature imagery with a gripping narrative; Britten's jazzy Cabaret Music and Walton’s ever-popular setting of Edith Sitwell’s delectably eccentric Façade poems, both in new arrangements by Iain Farrington. Plus Britten's evocative Metamorphoses After Ovid played on the soprano saxophone.



American Dream Soft City
Benjamin Britten Six Metamorphoses after Ovid
Jean Hasse The Fall of the House of Usher
Russell Hepplewhite Urban Abstract
Charlotte Bray Soft City

This programme explores themes of construction and disintegration, of harmony and alienation, with particular regard to spatial concerns, through music and film. While Charlotte Bray’s Soft City blurs the boundaries between urban and organic tissues, and proposes a vision of the city as a fragile anthropomorphic landscape, Russell Hepplewhite’s Urban Abstract celebrates the individual ‘personality’ and beauty of bold architectural edifices. Jean Hasse’s score for the classic Watson and Webber silent short The Fall of the House of Usher reflects the film’s morbid obsession with death and dissolution; Britten’s Metamorphoses after Ovid similarly play with ideas of transformative change.



Hans Richter Ghosts Before Breakfast
Strauss The Castle by the Sea
Hans Richter Ghosts Before Breakfast (silent film with live music by Jean Hasse)
Kagel Old/New
Kagel MM51
Rushton The Concoction of a Charlatan
Poe Shadow
Goebbels In the Basement
Rushton On the Edge

An adventurous and ambitious exploration of the interaction between words, music and visuals. The programme explores supernatural motifs and also the concept of melodrama not only as a stage genre, but also in terms of its influence on opera and early silent film, examining the broader idea of the relationship between sound and image, spoken text and music.

On the Edge is a boldly innovative, cross-genre project bringing together elements of music, theatre and video. The story, set in the Swiss Jungfrau region, takes as its starting point the memoirs of Sir Arnold Lunn, the inventor of the slalom, and his recollection of his wife’s near-fatal accident while climbing the Jungfrau. The scenario also weaves in the terrifying booming sounds that herald an avalanche, a light-hearted philosophical discussion of the purpose of sport and a Swiss folktale. The 35-minute piece alternates music and narration to create a work which, in the composer’s own words, will be 'colourful, strange, multilayered and slightly absurd'.



Loved To Death Loved To Death
Ross Lorraine Not More Lovely
Jean Hasse The Fall of the House of Usher (music to accompany silent film short)
Mauricio Kagel MM51/Nosferatu
Ryo Noda Mai
John Casken Deadly Pleasures

John Casken’s vividly theatrical setting of a racy Cleopatra story by D.M. Thomas, based on a Pushkin tale, is given alongside Ross Lorraine’s Not More Lovely, inspired by Poe’s haunting story The Oval Portrait, and Jean Hasse’s The Fall of the House of Usher, a new score to accompany the classic Watson and Webber silent film, together with Kagel’s vampiric MM51/Nosferatu and Ryo Noda’s virtuosic Mai for solo saxophone.



macabre Tales of the Macabre
Richter/Hasse Ghosts before Breakfast
Jean Hasse The Fall of the House of Usher
Mauricio Kagel MM51/Nosferatu
John Casken Deadly Pleasures
Edward Rushton On the Edge

In the 2000 years since her death, the image of Cleopatra has been recreated over and over again, each time in a form that fits the prejudices and fantasies of the age that produced it. John Casken’s Deadly Pleasures sets an intriguing story about Cleopatra by Pushkin, completed by the novelist and translator D.M. Thomas. Cleopatra offers a night of love to any man, but on one condition...

Edward Rushton’s ‘colourful, strange, multilayered and slightly absurd’ On the Edge is a boldly innovative, cross-genre project, set in the Swiss Jungfrau region. The scenario weaves in the terrifying booming sounds that herald an avalanche, a light-hearted philosophical discussion of the purpose of sport and a Swiss folktale.

Accompanying a rare showing of the cult 1927 Dada film Ghosts Before Breakfast is a new score specially commissioned from Jean Hasse, who has also composed original music for the classic German Expressionist film version of Poe’s story by Watson and Webber. The programme also includes Mauricio Kagel’s film collage MM 51, which quotes Murnau’s classic silent Nosferatu: a short, sharply humorous piece of musical theatre – funny, slightly sinister and utterly mesmerising.



Cleopatra The Power of Love
Liszt Lenore
Liszt Petrarch Sonnet
Wagner Träume
Grieg Bergliot
Szymanowski Chant de Roxane
John Casken Deadly Pleasures

In the 2000 years since her death, the image of Cleopatra has been recreated over and over again, each time in a form that fits the prejudices and fantasies of the age that produced it. John Casken’s Deadly Pleasures sets an intriguing story about Cleopatra by Pushkin, completed by the novelist and translator D.M. Thomas. Cleopatra offers a night of love to any man, but on one condition...

Grieg’s spine-chilling melodrama Bergliot, based on a story of treachery and vengeance from the Nordic sagas, has been specially arranged by Edward Rushton. A ghostly story of faithful but doomed love is set memorably by Liszt in his melodrama Lenore.