JOLYON LOY

Baritone

Jolyon Loy is a baritone opera singer and graduate of the Royal Academy of Music


Nov
4
3:00 PM15:00

Wexford Festival Opera: Handel/Vivaldi Concert

Bass soloist - Handel

Handel – Dixit Dominus

Dixit Dominus uses the Latin text of Psalm 110 (Vulgate 109), which begins with the words Dixit Dominus (‘The Lord Said’). The work was completed in April 1707 while Handel was living in Italy, and is scored for five vocal soloists (SSATB), five-part chorus, strings and continuo.

Vivaldi – The Four Seasons

Re-composed by Max Richter

Modern composer Max Richter re-imagines and re-interprets Vivaldi’s four violin concertos (known as The Four Seasons), producing an interpretation that is both extremely familiar, but modern at the same time.

Tickets €25

Creative Team

Conductor: David Agler (Four Seasons)
Conductor: Errol Girdlestone (Handel)

https://www.wexfordopera.com/programme/event/chorus-orchestra-concert/

View Event →
Nov
2
3:30 PM15:30

Wexford Festival Opera: La Fanciulla del West - Puccini

Role: Sonora

Sometimes thought of as a connoisseurs’ opera — and rated by the composer himself as his greatest work — La fanciulla del West stands somewhat apart from the main thrust of Puccini’s output. That is not simply because of its non-existent body-count, though of course Puccini usually killed off his sopranos, and here no one dies (doubly odd for a Western); nor because of the feminine ‘softness’ that prevails in most of his operas, in contrast to the unrelentingly masculine atmosphere here. On closer inspection, Fanciulla is actually very central to his thinking, so much so that (for reasons that are not easy to fathom) Puccini dubbed it his ‘second Bohème

For one thing, there’s the exotic location — gold rush California was as far away from Italy as old Peking or Nagasaki. As in Turandot or Madama Butterfly, he makes use of folk tunes evoking the locale (American music of course also featured in Butterfly). And for all the religious trappings of Tosca or Suor AngelicaFanciulla is the opera that shows most clearly Puccini’s Catholic upbringing, for the Christian concept of redemption is strongest here. If there is perhaps nothing overtly Catholic about Minnie herself, or her Bible reading scene, it is interesting that Puccini himself chose the text (from Psalm 51) and gave it more prominence than it has in the Belasco play (the second Belasco he set, after Butterfly) from which the opera is drawn.

Fanciulla is certainly Puccini’s most sophisticated score, and his orchestration (calling for big resources in its full version) shows an awareness of Debussy. It is harmonically advanced, too, and sophisticated in non-musical ways as well. More than any of his other operas, it needs singing-actors—and this despite the great stars, including Emmy Destinn and Enrico Caruso, who created it at its premiere at New York’s Metropolitan Opera in 1910.

Tickets: €30

23 October, 3.30 p.m.
26 October, 3.30 p.m.
30 October, 3.30 p.m.
2 November, 3.30 p.m.


https://www.wexfordopera.com/programme/event/la-fanciulla-del-west/

View Event →
Oct
30
3:30 PM15:30

Wexford Festival Opera: La Fanciulla del West - Puccini

Role: Sonora

Sometimes thought of as a connoisseurs’ opera — and rated by the composer himself as his greatest work — La fanciulla del West stands somewhat apart from the main thrust of Puccini’s output. That is not simply because of its non-existent body-count, though of course Puccini usually killed off his sopranos, and here no one dies (doubly odd for a Western); nor because of the feminine ‘softness’ that prevails in most of his operas, in contrast to the unrelentingly masculine atmosphere here. On closer inspection, Fanciulla is actually very central to his thinking, so much so that (for reasons that are not easy to fathom) Puccini dubbed it his ‘second Bohème

For one thing, there’s the exotic location — gold rush California was as far away from Italy as old Peking or Nagasaki. As in Turandot or Madama Butterfly, he makes use of folk tunes evoking the locale (American music of course also featured in Butterfly). And for all the religious trappings of Tosca or Suor AngelicaFanciulla is the opera that shows most clearly Puccini’s Catholic upbringing, for the Christian concept of redemption is strongest here. If there is perhaps nothing overtly Catholic about Minnie herself, or her Bible reading scene, it is interesting that Puccini himself chose the text (from Psalm 51) and gave it more prominence than it has in the Belasco play (the second Belasco he set, after Butterfly) from which the opera is drawn.

Fanciulla is certainly Puccini’s most sophisticated score, and his orchestration (calling for big resources in its full version) shows an awareness of Debussy. It is harmonically advanced, too, and sophisticated in non-musical ways as well. More than any of his other operas, it needs singing-actors—and this despite the great stars, including Emmy Destinn and Enrico Caruso, who created it at its premiere at New York’s Metropolitan Opera in 1910.

Tickets: €30

23 October, 3.30 p.m.
26 October, 3.30 p.m.
30 October, 3.30 p.m.
2 November, 3.30 p.m.


https://www.wexfordopera.com/programme/event/la-fanciulla-del-west/

View Event →
Oct
26
3:30 PM15:30

Wexford Festival Opera: La Fanciulla del West - Puccini

Role: Sonora

Sometimes thought of as a connoisseurs’ opera — and rated by the composer himself as his greatest work — La fanciulla del West stands somewhat apart from the main thrust of Puccini’s output. That is not simply because of its non-existent body-count, though of course Puccini usually killed off his sopranos, and here no one dies (doubly odd for a Western); nor because of the feminine ‘softness’ that prevails in most of his operas, in contrast to the unrelentingly masculine atmosphere here. On closer inspection, Fanciulla is actually very central to his thinking, so much so that (for reasons that are not easy to fathom) Puccini dubbed it his ‘second Bohème

For one thing, there’s the exotic location — gold rush California was as far away from Italy as old Peking or Nagasaki. As in Turandot or Madama Butterfly, he makes use of folk tunes evoking the locale (American music of course also featured in Butterfly). And for all the religious trappings of Tosca or Suor AngelicaFanciulla is the opera that shows most clearly Puccini’s Catholic upbringing, for the Christian concept of redemption is strongest here. If there is perhaps nothing overtly Catholic about Minnie herself, or her Bible reading scene, it is interesting that Puccini himself chose the text (from Psalm 51) and gave it more prominence than it has in the Belasco play (the second Belasco he set, after Butterfly) from which the opera is drawn.

Fanciulla is certainly Puccini’s most sophisticated score, and his orchestration (calling for big resources in its full version) shows an awareness of Debussy. It is harmonically advanced, too, and sophisticated in non-musical ways as well. More than any of his other operas, it needs singing-actors—and this despite the great stars, including Emmy Destinn and Enrico Caruso, who created it at its premiere at New York’s Metropolitan Opera in 1910.

Tickets: €30

23 October, 3.30 p.m.
26 October, 3.30 p.m.
30 October, 3.30 p.m.
2 November, 3.30 p.m.


https://www.wexfordopera.com/programme/event/la-fanciulla-del-west/

View Event →
Oct
23
3:30 PM15:30

Wexford Festival Opera: La Fanciulla del West - Puccini

Role: Sonora

Sometimes thought of as a connoisseurs’ opera — and rated by the composer himself as his greatest work — La fanciulla del West stands somewhat apart from the main thrust of Puccini’s output. That is not simply because of its non-existent body-count, though of course Puccini usually killed off his sopranos, and here no one dies (doubly odd for a Western); nor because of the feminine ‘softness’ that prevails in most of his operas, in contrast to the unrelentingly masculine atmosphere here. On closer inspection, Fanciulla is actually very central to his thinking, so much so that (for reasons that are not easy to fathom) Puccini dubbed it his ‘second Bohème

For one thing, there’s the exotic location — gold rush California was as far away from Italy as old Peking or Nagasaki. As in Turandot or Madama Butterfly, he makes use of folk tunes evoking the locale (American music of course also featured in Butterfly). And for all the religious trappings of Tosca or Suor AngelicaFanciulla is the opera that shows most clearly Puccini’s Catholic upbringing, for the Christian concept of redemption is strongest here. If there is perhaps nothing overtly Catholic about Minnie herself, or her Bible reading scene, it is interesting that Puccini himself chose the text (from Psalm 51) and gave it more prominence than it has in the Belasco play (the second Belasco he set, after Butterfly) from which the opera is drawn.

Fanciulla is certainly Puccini’s most sophisticated score, and his orchestration (calling for big resources in its full version) shows an awareness of Debussy. It is harmonically advanced, too, and sophisticated in non-musical ways as well. More than any of his other operas, it needs singing-actors—and this despite the great stars, including Emmy Destinn and Enrico Caruso, who created it at its premiere at New York’s Metropolitan Opera in 1910.

Tickets: €30

23 October, 3.30 p.m.
26 October, 3.30 p.m.
30 October, 3.30 p.m.
2 November, 3.30 p.m.


https://www.wexfordopera.com/programme/event/la-fanciulla-del-west/

View Event →
Aug
9
7:45 PM19:45

Bach - The Great Passion: Runcie - Dartington Festival 2018

Role: Christian Weiss

Robert Howarth musical director
Richard Williams director
Kate Semmens soprano
Andrew Watts countertenor
Tom Randle tenor
Singers from the Advanced Course
Dartington Baroque Orchestra

James Runcie's musical drama reveals how the St Matthew Passion was composed and rehearsed in the build-up to its first performance in Leipzig, on Good Friday 1727. It recreates the struggle and frustration of Bach's gargantuan undertaking, while retaining the intimacy, sympathy and profound beauty at the heart of the music.

Arriving in Leipzig, Bach - the newly appointed Kapellmeister - sets out his plan for the staging of the Passion and the story of the persecuted Christ. He intends that it will be directly personal music, written not in Latin but in German, using the words 'We' and 'I' for the choruses and arias. In a radical move for the time, he insists on the individual responsibility of every musician in the unfolding drama. The story, he insists, involves us all, and saves us all from the terror of death.

An exhausted Bach is increasingly impatient during rehearsals, interrupting and bullying his performers; so much so that his wife Anna Magdalena, though pregnant with her second child, is called on to mediate and prevent a walk out. Anna Magdalena can bring harmony to the rehearsals as well as the home, but it's a race against time to be ready for the first performance.

https://www.dartington.org/whats-on/event/?id=306802

View Event →
Jul
28
7:00 PM19:00

Clonter Opera: La Bohème - Puccini

Role: Schaunard

Tickets £34, £60, £65, £70, Students £10, Children (Under 16) £8
Early Bird Ticket (20% Disc) available until 28th April
Doors Open 6pm
Performance Starts 7pm
Interval 70 minute supper interval*

With one of Puccini’s greatest masterpieces, Clonter presents the history of a love affair, from the first tentative encounter to its devastating end. As a young poet and dress-maker fall for each other, romantic idealism is confronted by the reality of poverty, and the lives of a small group of friends are transformed forever. Production set in the mid-20th Century and sung in Italian with English surtitles, and orchestra.

Cast
Rodolfo – Bechara Moufarrej
Mimi –  Miriam Mesak
Marcello – Alexey Gusev
Musetta – Erika Baikoff
Schaunard – Jolyon Loy
Colline – Connor Baiano
Benoit/Alcindoro – Pedro Ometto

Director – Harry Fehr
Designer – Grace Venning
Conductor – Clive Timms
Orchestra – Clonter Sinfonia

https://www.clonter.org/event/la-boheme/

View Event →
Jul
26
7:00 PM19:00

Clonter Opera: La Bohème - Puccini

Role: Schaunard

Tickets £32, £50, £55, £60, Students £10, Children (Under 16) £8
Early Bird Ticket (20% Disc) available until 28th April
Doors Open 6pm
Director’s Talk 6.30pm
Performance Starts 7pm
Interval 70 minute supper interval*

With one of Puccini’s greatest masterpieces, Clonter presents the history of a love affair, from the first tentative encounter to its devastating end. As a young poet and dress-maker fall for each other, romantic idealism is confronted by the reality of poverty, and the lives of a small group of friends are transformed forever. Production set in the mid-20th Century and sung in Italian with English surtitles, and orchestra.

Cast
Rodolfo – Bechara Moufarrej
Mimi –  Miriam Mesak
Marcello – Alexey Gusev
Musetta – Erika Baikoff
Schaunard – Jolyon Loy
Colline – Connor Baiano
Benoit/Alcindoro – Pedro Ometto

Director – Harry Fehr
Designer – Grace Venning
Conductor – Clive Timms
Orchestra – Clonter Sinfonia

https://www.clonter.org/event/la-boheme/

View Event →
Jul
24
7:30 PM19:30

Clonter Opera: La Bohème - Puccini

Clonter Opera: La Bohème - Puccini

Role: Schaunard

Tickets £24, £39, £44, £50, Students £10, Children (Under 16) £8
Early Bird Ticket (20% Disc) available until 28th April
Doors Open 6pm
Performance Starts 7.30pm
Interval 30 minute interval*

With one of Puccini’s greatest masterpieces, Clonter presents the history of a love affair, from the first tentative encounter to its devastating end. As a young poet and dress-maker fall for each other, romantic idealism is confronted by the reality of poverty, and the lives of a small group of friends are transformed forever. Production set in the mid-20th Century and sung in Italian with English surtitles, and orchestra.

Cast
Rodolfo – Bechara Moufarrej
Mimi –  Miriam Mesak
Marcello – Alexey Gusev
Musetta – Erika Baikoff
Schaunard – Jolyon Loy
Colline – Connor Baiano
Benoit/Alcindoro – Pedro Ometto

Director – Harry Fehr
Designer – Grace Venning
Conductor – Clive Timms
Orchestra – Clonter Sinfonia

https://www.clonter.org/event/la-boheme/

View Event →
Jul
22
3:00 PM15:00

Clonter Opera: La Bohème - Puccini

Role: Schaunard

Tickets£19, £29, £34, £39, Students £10, Children (Under 16) £8
Early Bird Ticket (20% Disc) available until 28th April
Doors Open 2pm
Performance Starts 3pm
Interval 30 minute interval;
post-performance tea, avaialble to pre-order, or bring your own picnic

With one of Puccini’s greatest masterpieces, Clonter presents the history of a love affair, from the first tentative encounter to its devastating end. As a young poet and dress-maker fall for each other, romantic idealism is confronted by the reality of poverty, and the lives of a small group of friends are transformed forever. Production set in the mid-20th Century and sung in Italian with English surtitles, and orchestra.

Cast
Rodolfo – Bechara Moufarrej
Mimi –  Miriam Mesak
Marcello – Alexey Gusev
Musetta – Erika Baikoff
Schaunard – Jolyon Loy
Colline – Connor Baiano
Benoit/Alcindoro – Pedro Ometto

Director – Harry Fehr
Designer – Grace Venning
Conductor – Clive Timms
Orchestra – Clonter Sinfonia

https://www.clonter.org/event/la-boheme/

View Event →
Jul
20
7:00 PM19:00

Clonter Opera: La Bohème - Puccini

Role: Schaunard

Tickets £32, £50, £55, £60, Students £10, Children (Under 16) £8
Early Bird Ticket (20% Disc) available until 28th April
Doors Open 6pm
Director’s Talk 6.30pm
Performance Starts 7pm
Interval 70 minute supper interval*

With one of Puccini’s greatest masterpieces, Clonter presents the history of a love affair, from the first tentative encounter to its devastating end. As a young poet and dress-maker fall for each other, romantic idealism is confronted by the reality of poverty, and the lives of a small group of friends are transformed forever. Production set in the mid-20th Century and sung in Italian with English surtitles, and orchestra.

Cast
Rodolfo – Bechara Moufarrej
Mimi –  Miriam Mesak
Marcello – Alexey Gusev
Musetta – Erika Baikoff
Schaunard – Jolyon Loy
Colline – Connor Baiano
Benoit/Alcindoro – Pedro Ometto

Director – Harry Fehr
Designer – Grace Venning
Conductor – Clive Timms
Orchestra – Clonter Sinfonia

https://www.clonter.org/event/la-boheme/

View Event →
Jul
18
7:00 PM19:00

Clonter Opera: La Bohème - Puccini (Dress Rehearsal)

Role: Schaunard

Opera Novice Night: Wed 18th July
Never been to an opera? Why not come to our Opera Novice Night for the La Boheme public dress rehearsal, which includes a pre-performance talk, given by the director.
Tickets £15, Students £10, Children (Under 16) £5

Doors Open & Costume Workshop 5.30pm
Director’s Talk 6.30pm
Performance Starts 7pm
Interval 30 minutes; The audience is welcome to bring a pre-performance picnic
BOOK THROUGH BOX OFFICE ONLY

With one of Puccini’s greatest masterpieces, Clonter presents the history of a love affair, from the first tentative encounter to its devastating end. As a young poet and dress-maker fall for each other, romantic idealism is confronted by the reality of poverty, and the lives of a small group of friends are transformed forever. Production set in the mid-20th Century and sung in Italian with English surtitles, and orchestra.

Cast
Rodolfo – Bechara Moufarrej
Mimi –  Miriam Mesak
Marcello – Alexey Gusev
Musetta – Erika Baikoff
Schaunard – Jolyon Loy
Colline – Connor Baiano
Benoit/Alcindoro – Pedro Ometto

Director – Harry Fehr
Designer – Grace Venning
Conductor – Clive Timms
Orchestra – Clonter Sinfonia

https://www.clonter.org/event/la-boheme/

View Event →
Jun
21
4:00 PM16:00

Aldeburgh Festival: Britten, Bernstein, Finzi, Walton

Bass Soloist
Aldeburgh Voices

Ben Parry conductor
Eo Nomine soloists

Walton Magnificat and Nunc Dimittis (‘Chichester Service’) 6′
Britten Rejoice in the Lamb 16′
Finzi Lo, the Full, Final Sacrifice 14′
Bernstein Chichester Psalms 22′

(ends approx. 5.30pm)

‘Bless God in the dance, dance, dance!’ Rejoice in the Lamb is like nothing else in all choral music: a deliriously playful prayer, offered up by a visionary poet in music of irresistible originality and wit. And if Bernstein’s exultant psalms and music by Walton and Finzi that precedes it all share a similar spirit, that is because they were all commissioned by the same inspirational clergyman, the Revd. Walter Hussey. Poetry by Auden – another Hussey commission – frames a vibrant choral showcase for Snape Maltings’ choir.

https://snapemaltings.co.uk/whats-on/aldeburgh-voices/

View Event →
Apr
14
7:30 PM19:30

Les Indes Galantes: Rameau - Benslow Music

Benslow Baroque Opera presents scenes from Les Indes Galantes by Jean-Philippe Rameau.

Musical Director: Oliver-John Ruthven
Stage Director: Ricardo Barros

Entrée I - Le turc généreux (The Generous Turk) 
Emilie - Susanna Macrae
Valère - Hugh Benson
Osman - Jolyon Loy

Entrée II - Les incas du Pérou (The Incas of Peru)
Phani - Camilla Jeppeson
Don Carlos - Tim Coleman
Huascar - Jolyon Loy

http://www.benslowmusic.org/?PageID=1908

View Event →
Apr
7
to Apr 8

Dido & Aeneas: Purcell / Acis & Galatea: Handel - Ensemble Orquesta

  • Sir John McIntosh Arts Centre (map)
  • Google Calendar ICS

Role: Aeneas / Polyphemus

In 2018 Ensemble OrQuesta will again take their opera academy to the John McIntosh Arts Centre in London. This year's first production will be a double bill of probably the two most performed operas from the English Baroque repertoire: Dido & Aeneas and Acis & Galatea. 

Performances on 7 & 8 April

Tickets: http://www.ensembleorquesta.com/tickets

View Event →
Mar
31
7:00 PM19:00

Theodora: Handel - Britten-Pears Young Artist Programme

Role: Valens

In the first course of 2018, renowned British Handelians Sarah Connolly and Christian Curnyn prepare this dramatic oratorio in masterclasses before presenting a concert performance as part of Snape Maltings' Easter Weekend programme.

https://snapemaltings.co.uk/music/britten-pears-young-artist-programme/handel-theodora-2017/

View Event →
Nov
17
7:30 PM19:30

The Storm: Coenen-Rowe - Helios Collective

Role: Bobinot
Composer - Lewis Coenen-Rowe
Librettist - Text created by Lewis Coenen-Rowe from the Kate Chopin short story.
Director - Adam Lenson
Assistant Director - Gareth Mattey
Conductor - Noah Mosley

Following on from the successes of its previous opera masterclasses Helios Collective is pleased to announce that Formations Masterclasses 2017 will feature a new and more extensive programme of opera masterclasses, proudly hosted this year in conjunction with English National Opera.

  • The opera programme for Formations Masterclasses 2017 will run from 6–17 November 2017.
  • All of the masterclasses and final performances will take place at ENO’s Lillian Baylis House in Hampstead, London, and will be open to the public throughout.

View Event →
Nov
16
7:30 PM19:30

The Storm: Coenen-Rowe - Helios Collective

Role: Bobinot
Composer - Lewis Coenen-Rowe
Librettist - Text created by Lewis Coenen-Rowe from the Kate Chopin short story.
Director - Adam Lenson
Assistant Director - Gareth Mattey
Conductor - Noah Mosley

Following on from the successes of its previous opera masterclasses Helios Collective is pleased to announce that Formations Masterclasses 2017 will feature a new and more extensive programme of opera masterclasses, proudly hosted this year in conjunction with English National Opera.

  • The opera programme for Formations Masterclasses 2017 will run from 6–17 November 2017.
  • All of the masterclasses and final performances will take place at ENO’s Lillian Baylis House in Hampstead, London, and will be open to the public throughout.

View Event →
Nov
5
7:30 PM19:30

Belshazzar's Feast: Walton - Philharmonia Chorus 60th Anniversary

Conductor Edward Gardner and the Philharmonia Orchestra perform music by three great British composers: Elgar, Walton and Phibbs.

Performers:
Philharmonia Orchestra
Edward Gardner conductor
Mark van de Wiel clarinet
Roland Wood baritone
Philharmonia Chorus 

Repertoire:
Elgar: Overture, In the South (Alassio)
Joseph Phibbs: Clarinet Concerto(London premiere)
Interval
Walton: Belshazzar's Feast

Website: https://www.southbankcentre.co.uk/whats-on/104053-philharmonia-orchestra-walton-belshazzars-feast-2017

 

View Event →