Opera Scotland

Rheingold 1967Scottish Opera

Read more about the opera Rhinegold

Following the previous year's successful Walküre, Scottish Opera moved on to the second instalment of its Ring by moving back to the generally less popular prologue evening.

The staging by Peter Ebert, in Michael Knight's designs, was beginning to take shape, and the need to change scene quickly was much aided by Charles Bristow's lighting.  This provided great contrast between the gloom under water or under ground and the bright, airy mountain tops.  The timber rostra could be combined or turned to make a varied succession of shapes and levels.  Gibson and the SNO were also much improved compared with the Walküre run.

Most of the singers were familiar from earlier seasons and Sadler's Wells visits.  Richard Holm, an American with a prominent career in Germany, would not be seen here again.  Victor Godfrey had spent the early part of his career based at Covent Garden, but was also now working in Germany.  He re-appeared in Scotland from time to time.  Josephte Clément, another Canadian, would spend several seasons with the company.

Australian soprano Elizabeth Fretwell, having worked in Britain for fifteen years, was about to return home, where she would perform for several seasons at the keenly-awaited Sydney Opera House.

Anna Reynolds, who spent most of her career in Italy and Germany, was now taking up the major Wagner roles which she would sing in Scotland and Bayreuth, though, strangely, not in London.

The opening night was attended by the West German ambassador.

 

Scottish Opera's Sixth Season - 1967

The spring 1967 season of Scottish Opera opened with the excellent new production of Così fan tutte, which was joined by the company's first stagings of Das Rheingold and La bohème.  There were also revivals of Otello and Albert Herring.

The 1967 season of mainstage performances involved Perth (Theatre), Glasgow (King's Theatre), Aberdeen (His Majesty's Theatre), and Edinburgh (King's Theatre).  For the first time the company was invited to appear at the Edinburgh Festival, with a major contribution to the Stravinsky theme.

The productions were Cosi fan tutte (9 performances), Albert Herring (4), Das Rheingold (5),  La bohème (7), Otello (5), Rake’s Progress (4) and Soldier’s Tale (6).

The complete schedule for the season was:

Perth, w/c Mon 10 Apr:  Wed 12 Cosi fan tutte;  Fri 14 Albert Herring;  Sat 15 Così fan tutte.

Glasgow, w/c Mon 1 May:  Sat 6 Rheingold.

Glasgow, w/c Mon 8 May:  Wed 10 Così fan tutte;  Thu 11 La bohème;  Fri 12 Rheingold;  Sat 13 La bohème.

Glasgow, w/c Mon 15 May:  Tue 16 Così fan tutte;  Wed 17 Otello;  Thu 18 m Così fan tutte;  Thu 18 e La bohème;  Fri 19 Albert Herring;  Sat 20 Otello.

Aberdeen, w/c Mon 22 May:  Tue 23 Rheingold;  Wed 24 Albert Herring;  Thu 25 Così fan tutte;  Fri 26 Otello;  Sat 27 La bohème.

Edinburgh, w/c Mon 29 May:  Tue 30 Otello,  Wed 31 Così fan tutte;  Thu 1 Jun La bohème;  Fri 2 Das Rheingold;  Sat 3 Otello.

Edinburgh, w/c Mon 5 Jun:  Tue 6 Albert Herring;  Wed 7 Das Rheingold;  Thu 8 m Così fan tutte; Thu 8 e La bohème;  Fri 9 Così fan tutte;  Sat 10 La bohème.

Edinburgh Festival - King's: 22, 26, 31 Aug; 8 Sep Rake’s Progress.

Edinburgh Festival - Assembly Hall: 4, 5, 6, 7, 8, 9 Sep Soldier’s Tale.

As Scottish Opera gathered strength, by its fifth year the season had therefore grown to an impressive forty performances within Scotland; three Perth; five Aberdeen; eleven Edinburgh (plus ten at the Edinburgh Festival); and eleven Glasgow.