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For 2022, we had intended a return to the pattern of three operas, mixing the venues between Cadogan Hall and the Queen Elizabeth Hall on South Bank where we have more orchestra space for “bigger” works. Unfortunately, the implications of Covid and government restrictions have kept the Queen Elizabeth Hall closed this year until at least August, thus removing our summer event; and the hall is due for only limited opening dates in 2023. We are hoping to hold a spring event there, in 2023, and are working with management to achieve this. Meanwhile, organisers at Cadogan Hall have worked tirelessly and imaginatively throughout the whole pandemic period and we nearly managed a concert there three times, with social distancing, only to be stymied once just 4 days beforehand, by changes in the national rules. The three events listed above – Roberto Devereux, Oberto and Orfeo ed Euridice – are planned to be full attendance seating, as expected to be compliant by then; with particular care to hygiene and safety generally in the venue. With good wishes to you all, and looking forward to performing once again. Sue Benjamins For forthcoming performances see Future Concerts The Chelsea Opera Group holds a unique place in the history of British opera. ....' (&London magazine). Read the full article (pdf)which appeared in the Spring 2014 issue of &London magazine produced by Sunday Publishing for UK property partnership Strutt and Parker. ‘Chelsea Opera Group’s three concert performances a year are among London’s most joyful operatic events.’ Richard Nicholson at Classical Source "As for Elizabeth Woods, it is hard to provide a technical commentary to her nigh-on-perfect performance." (Mariana Romani reviewing Simon Boccanegra at MusicalCriticism.com). See Elizabeth Woods in Come in quest`ora bruna. "Opera simply does not come much better than this: the Chelsea Opera Group’s concert performance of Verdi’s Macbeth was an unqualified triumph." (Evan Dickerson at Seen and Heard) ‘A great work superbly done. The conductor was Richard Bonynge...There was fine playing and choral singing.’ Tim Ashley in The Guardian reviewing COG’s performance of Donizetti’s Belisario.♫ |
