We bring a variety of experience to Retrospect Opera - we combine expertise in performing, teaching and editing music, with research, and have all published on British music in our chosen period. Some of us have business experience too, which comes in handy.
Our vision is very simple - to allow people to hear great British operas that they may only have read about, by recording them, to the highest standards possible.
These are not just high standards of performance, but also high standards of preparation of the performing materials. We obtain copies of the original materials, usually a manuscript score, and typeset it, straightening out inconsistencies and mistakes in the original, and sorting out anything that isn't clear, and if a decision has had to be made, marking it in the score, so that the performers know exactly what the composer wrote, and what's had to be adjusted. The consequence is that you, the audience, can trust that what you hear is what the composer really intended.
Our first opera, Smyth's The Boatswain’s Mate, was released in August 2016, and our second, Burnand and Solomon’s Pickwick, together with George Grossmith’s Cups and Saucers, was released in February 2017. Extracts from Loder’s Raymond and Agnes, were performed in Bath in October 2015, and the complete opera will be recorded in October 2017, with the Royal Ballet Sinfonia, conducted by Richard Bonynge. We’re working on Smyth’s Fête Galante at the moment and expect to record that in Spring 2018, with Odaline de la Martinez conducting members of the Lontano Ensemble.