About Retrospect Opera
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.

David Chandler is a professor of English at Doshisha University in Kyoto. His background is in English Romanticism (M. Phil and D. Phil, Oxon), but he has wide-ranging research interests in English and Italian opera. He has edited books on the Italian composers Alfredo Catalani and Italo Montemezzi and published many articles and reviews on British musical theatre, including pioneering accounts of Edward Cympson (1838-1905), Alan Doggett (1936-78) and nineteenth-century musical adaptations of Charles Dickens's novels. David has recently written a series of commissioned essays, including one on Romantic opera for a book titled Into the Eurozone, and another about Andrew Lloyd Webber for The Oxford Handbook of the British Musical.

Both Valerie Langfield and David Chandler are contributors to the volume of essays on Musicians of Bath and Beyond: Edward Loder and his Family, edited by Professor Nicholas Temperley, and published by Boydell and Brewer.

Click here to e-mail David Chandler

Valerie Langfield is a freelance musician and author, based in south Manchester, UK. She has substantial experience of editing British operas for performance and recording: for Opera Ireland, Balfe’s Falstaff; for Opera South, the Royal Dublin Society, and the  Victorian Lyric Opera Company (Maryland), Balfe's Bohemian Girl; for the European Opera Centre, arias from Wallace's Amber Witch; for Victorian Opera North-west, The Maid of Artois (Balfe), Robin Hood (Macfarren), and a collection of Victorian opera overtures;  for Lucerne Opera, Smyth's The Boatswain’s Mate; and arias for several other companies. She is a Trustee of the Carl Rosa Archive Trust.

Valerie is a noted authority on the life and music of the English song-composer Roger Quilter, and is a contributor to the New Grove DictionaryMGG and the Oxford Dictionary of National Biography.

She has edited Dora Bright’s Piano Concerto and Variations for Piano and Orchestra with a view to a future recording, has contributed a chapter on the songs of Cyril Scott for a forthcoming Companion to Scott’s life and music, and she is at present editing the diaries of the Cambridge musicologist Edward Dent, and a collection of letters from Dent to Jack Gordon, staff producer at Sadler’s Wells in the 1930s.

Click here to e-mail Valerie Langfield.

Following studies at Chetham's School of Music, Andy H. King completed Bachelor's and Master’s degrees in Music, specialising in vocal studies, conducting and musicology. After a brief period as Assistant Orchestral Librarian with the BBC Philharmonic in Manchester, Andy joined the Promotion Department of Boosey & Hawkes in London, before being appointed Chorus Manager with the City of Birmingham Symphony Orchestra (CBSO).

Departing the CBSO to return to academia in 2017, Andy is currently working on a PhD thesis exploring the life and songs of Sir Granville Bantock at The University of Birmingham, supervised by Dr Paul Rodmell.

Active as critic and writer on English music, Andy regularly contributes concert, opera and recording reviews to Bachtrack, Oxford University Press’s Early Music, and The British Music Society. He has written programme notes for BBC Radio 3, the BBC Proms, the Bach Choir, and other independent concert promoters. For Oxford Music Online (Grove), Andy recently updated the article on Granville Bantock. As well as being an experienced concert organiser, Andy has held positions in marketing (Oldham Coliseum Theatre), and as a freelance music copyist and editor.

As well as being a founding Trustee of Retrospect Opera, Andy is also a Trustee of The Sir George Dyson Trust.

Click here to e-mail Andy H. King. 

Christopher Wiley is a senior lecturer in Music at the University of Surrey, Guildford, UK. His research interests encompass classical music, musical theatre, popular music, film and television music, and music and gender. He is an acknowledged expert on Ethel Smyth, with outputs including a major journal article for The Musical Quarterly on Smyth and opera. Other journals in which he has published include Music& Letters and Comparative Criticism, and he has written book chapters on subjects as diverse as Haydn, Michael Jackson, and Buffy the Vampire Slayer.

Chris’s PhD dissertation (University of London, 2008) critically examines musical biography through comparative studies of texts on several Great Composers, with a focus on those published in nineteenth- and early twentieth-century Britain. He is currently preparing a monograph on the earliest volumes of the ‘Master Musicians’ series (1899–1906). He is a regular pre-event speaker for Glyndebourne Opera, and he has published many reviews of performances of musical theatre and opera for Musical Theatre Review.

Click here  to e-mail Christopher Wiley.