Scottish Opera Young Company’s most recent production – a double bill of Henry MacPherson’s Maud and Kurt Weill’s Down in the Valley – has just completed a successful tour of Glasgow, Largs and Stirling, and has received praise from critics and audiences alike for what Ear to the Ground! called ‘stellar’ performances.
A retelling of a traditional folk tale, Maud was first performed in 2018 as one of the winners of Scottish Opera’s Opera Sparks competition. Kurt Weill's Down in the Valley – a magical and menacing folk-inspired opera – is a bittersweet coming-of-age tale showing the light and darkness of one claustrophobic community, and was written with young voices in mind.
Conductor Chris Gray and Director Flora Emily Thomson brought these two stories to life with a talented cast – all aged between 17 and 21 and assembled from the finest young singers from Lerwick to Kirkcudbright.
WHAT THE PRESS SAID:
★★★★ ‘Both works were well acted and sung, and the young talent on display augurs well for the future of opera in Scotland… Yet again Scottish Opera’s Young Company has given us an excellent evening’s entertainment, and already I’m looking forward to what they will present next.’ ScotsGay Arts
‘This performance was my first encounter with the SOYC and I am truly blown away by the aura of professionalism, to say nothing of the intensity of well-nigh explosive creativity, that emanates from this young company. Breathtakingly good. Yet another example of excellence emanating from Scottish Opera. Not to mention raw talent. Wow.’ Edinburgh Music Review
‘For all the skill and cleverness evident in every aspect of this challenging double-bill from the youth wing of Scottish Opera, the way in which director Flora Emily Thomson, conductor Chris Gray and this excellent ensemble achieved the transition between Henry McPherson’s contemporary take on Dark Ages myth and a faithful presentation of Kurt Weill’s compact tale of mid-20th century rural American Gothic was quite masterly…the ensemble singing was as impressive as the range of solo voices.’ Vox Carnyx
‘The simple but effective scenery totally transformed the room and from the very first crash of the tam-tam, we were transported to the eerily, magical world that composer, Henry McPherson created. The cast circled amongst the audience, whispering and hissing, creating a creepily immersive sound world…Maud segued seamlessly into Kurt Weill’s ‘Down in the Valley’ creating an interesting double bill which showcased the versatility of the cast, with their ability to convincingly deliver these two distinctly different operas.’ Ear to the Ground!
‘Scottish Opera's Young Company productions are always a chance to glimpse the future, and perhaps identify performers who will go on to make their mark. They're also highly enjoyable events in their own right…If you get the chance to attend one of the Scottish Opera's Young Company productions then I advise you to take it as they are of the highest quality with no corners cut. It's reassuring to see that the care and attention to detail, and invention, which is a hallmark of Scottish Opera runs from the big tentpole productions for which they are famed, to the youth productions and smaller venues. It's also heart-warming to know that the future of Scottish Opera remains bright and brilliant.’ Scots Whay Hae!
WHAT THE AUDIENCE THOUGHT:
‘Vibrant community production with a talented cast showing much promise. Bravo.’
‘An absolute amazing experience to watch young gifted performers.’
‘Terrific to hear such promising young singers and courageous performers.’
‘We were bowled over by the energy, cohesion and beauty of the performance.’
‘Can't wait to see what they do next.’
Kindly supported by Scottish Opera’s New Commissions Circle, Scottish Opera’s Education Angels,
Gordon Fraser Charitable Trust, Rowena Goffin Charitable Trust, Leverhulme Trust, Aileen Forsyth,
and the Rose Fund