199:. He subsequently became Artistic Director of the programme and Composer-in-Residence. Wilcox visited Metcalf in Canada that winter to work on the first draft of the libretto and used the library facilities there to learn about Inuit traditions and mythology. Metcalf too found that the setting enabled him to portray their subject in a more genuine manner. "If I wasn't in the North itself, at least I could now be in contact with a way of looking at the world, the culture, the music, and the language of the Inuit that would have been absolutely impossible in Wales."
890:, has foundered in the Arctic. Arthur and three others escape into the ice. One of them, Kellett, kills Collinson, a young officer, after they argue over some valuables. Kellett and the last sailor Billy escape without Arthur who is saved from starvation only when he sees a polar bear taking meat from its hidden store. Arthur dreams of returning home and of the rich life he would afford with the valuables. An apparition warns him that he needs to survive first.
858:. Milnes particularly praises the economy of writing in both the libretto and the score. Hugh Canning wrote of "a new opera which works on its own terms". Both these critics felt that the arctic scenes were the more successful. Paul Griffiths was more reserved about the "pleasant, straightforward fable", finding the vocal lines uninteresting except for the throat-singing but being happier with the orchestral sound.
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impossible as she has become
Westernised and cut off from Nature. The two are recognised by the bearkeeper who has Milak arrested as the wild woman who has been reported to be stealing sheep. The Judge sentences her to hang despite protests from Arthur and the spectators that she had no other option.
934:
During the Winter, Arthur and Milak learn bits of each other's languages. In the Spring, they are discovered by a
British ship which has come to trade with the village. The explorer Sir Charles Keighley decides to take Milak to Britain to help with his research. She agrees because she thinks the ship
915:
by skinning it. She gives Arthur the pelt. She leads him towards her village which has been devastated by disease caught from the
British. On the way she persuades him to leave behind the valuables that have been slowing him down, but she decides to keep the "Great White Bird flying with many wings",
826:
and other extended vocal techniques, establishing distinct sound worlds for the scenes set in the Arctic and those set in
Victorian Britain. Indigenous singers took part in the workshops in Banff and also travelled to Wales to train the WNO cast. Although it is not uncommon for opera to mix different
958:
Milak survives in the country by catching animals such as rabbits and sheep. A molecatcher warns her that she could be hanged for theft. She moves to an industrial town where she becomes a prostitute. She meets Arthur again who tries to persuade her to return to the Arctic but she thinks this is now
774:
is scored for strings, flute, piccolo, oboe, (doubling cor anglais,) 2 clarinets, (doubling E flat clarinets,) bassoon (doubling contra bassoon,) 2 horns, trumpet, trombone, tuba, piano, vibraphone and separate percussionist. The first act is based on an ascending scale running from C through F to C
245:
using just ten singers to be performed in small venues in Wales, it would now use a larger cast including a chorus and be staged in the large venues normally used by the full company. While those who were involved in the project were sure that the final work was stronger than it would have otherwise
954:
in Wales where she is shown to members of the public in a cage. The spectators find her performance frightening. Another member of the fair, a bearkeeper, tries to rape her. Although she escapes him, she is locked in her cage. She persuades the bear to break open the cage and then escape. The crowd
818:
presents the theme of clashing cultures most strongly in two crowd scenes musically distinct from the balance of the score: in the fair and court scenes, the music is vertical, reflecting the clash in values between those present, whereas in most of the opera each layer has its own momentum and the
233:
Wilcox encouraged
Metcalf to make any changes to the libretto that he needed. He himself revisited Banff again to update the text. Even when he was in Britain, he would respond to urgent phone calls to make changes during the workshops. One of the most significant of the changes to the libretto was
202:
From 1988 onwards, Metcalf tried out sections of the developing opera in workshops at Banff. Such support for new compositions were an important facet of the programme there. He also had ready access to experienced colleagues such as Keith
Turnbull, the Assistant Director on the course, and Richard
221:
knowing that
Armstrong would participate in the opera and also coach the other performers. Armstrong's repertoire of unusual sounds were used in the writing for the spirits and animals. The Inuit parts also required techniques new to Western singers. Fides Krucker, who played the part of Milak in
813:
had already considered such themes as the clash of cultures, the alienation of individuals from their surroundings, the attempts of humanity to communicate with Nature and the displacement of individuals from their homelands. These all appear in his third opera.
966:, Arthur has finished his narration. The Captain leaves him in charge of the helm. Arthur tears off his clothes and calls to Milak's spirit in the hope that the ship will be sunk and the Inuit protected from the dangers its crew bring. In a squall, Milak's
747:
was given a "World
Preview Performance", without a chorus, in workshops in Banff on 23 February 1990. This was a co-production with Welsh National Opera with scenery, props and costumes being shared. The first performance by WNO was on 19 May 1990 at the
234:
the decision to translate much of the first act from
English into Inuktitut. Differences in stress patterns between the two languages meant that Metcalf recomposed vocal lines, moving material initially intended to be sung into the orchestral parts.
790:
While the opera is representative of the composer's early musical style, it also advances it. The music is multi-layered and rhythmically complex, much of it using middle colours including woodwind and tuned percussion. In
Metcalf's first opera,
973:
Arthur is found dead and frozen to the wheel. Only the Mate is willing to obey the Captain and remove the body. When he throws the corpse overboard, the squall stops and the ship is suddenly becalmed. There is no reading on the compass.
1343:
The synopsis is derived from that in the programme to the 1990 WNO production edited by Simon Rees pp.4–6, supplemented with the English version of the Inuktitut parts of the text on pp.7–10 and comments by the librettist on
1331:
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176:, the company's then managing director, first brought the composer and librettist together. After Wilcox had initially started work on another idea, Metcalf contacted him about the true story of a 19th-century
910:
The bear returns and the two humans fight it. The spirits of Inuit hunters sing that the bear's time has come and Arthur strikes the killing blow. Milak throat-sings with the dying animal and frees its
752:, two years later than originally planned. This first Welsh performance, with chorus, is often listed as the official première. A second performance in Cardiff later that month was broadcast on
148:
that give the Arctic scenes a distinct character. The opera was composed between 1986 and 1990 when Metcalf was working in Canada. It was first staged in 1990 in a co-production by the
799:
makes only occasional use of solo violin or the upper registers of the piano. Extreme colours and registers serve to increase the contrasts already present in earlier works.
947:
Sir Charles has given the last of his lectures on the Arctic and is thanked by Lady Delisle at her home. Now he has finished with Milak, he tells Arthur to look after her.
907:
abandons her when she notices signs of Arthur's presence. Milak wonders whether it has led her into a trap. Arthur, in turn, thinks she has come to steal from him.
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develops ideas seen in the composer's earlier works. Metcalf's sometime collaborator, the writer Mark Morris, notes that Metcalf's first two operas and his
879:, has been behaving in a disruptive manner, the Captain asks him to explain his conduct. The rest of Act I and most of Act II is told in flashback.
1395:
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again using the five black notes; the second act uses a descending scale, again based on C but this time using all white notes taken from the
246:
been, the many changes resulted in severe delays to the opera's completion and led to repeated postponements of the first performance.
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are frightened by it and a constable shoots it despite the bearkeeper's pleas. Both he and Arthur find themselves without exhibits.
927:
When they return to the village, only Milak's father Utak is still alive. Expecting death, he tears off his clothing and calls his
931:. It kills him as payment for all the help it has given him since childhood, leaving his bones unburied and his spirit to wander.
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as "n absorbing, thought-provoking and very approachable new opera" and as more successful than Metcalf's first opera
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girl, Milak, who rescued a British sailor, Arthur. Like the character in the opera, the true Milak was shown as a
903:, or spirit guide, that takes the form of an owl. She knows of the bear's meat cache and intends to raid it. The
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The North American performances won the 1991 National Opera Association Award and the Best New Opera award from
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843:. The production team, led by Mike Ashman, won praise for its creativity with the limited resources available.
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stands out because both Inuit music and its singing techniques are foreign to the Western musical tradition.
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Fides Krucker, the original Milak, kept the role in her repertoire, performing extracts, for example, at the
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was greatly influenced by Metcalf's move to Canada later in 1986 to teach on the Music Theatre course at the
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music develops horizontally, representing individual destinies that largely develop autonomously.
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with Hart's unusual voice and extended vocal techniques in mind, so Metcalf was able to compose
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techniques which she used in her performances and on which she advised Metcalf.
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sections translated by Blendina Makkik. Set between the worlds of the Canadian
1330:, Monday, 21 May 1990, Features Section. Accessed via NewsBank Record Number:
1311:, Sunday, 27 May 1990, Features Section. Accessed via NewsBank Record Number:
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Geraint Lewis, "Metcalf, John", Grove Music Online, accessed 2 November 2009.
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756:. The production was toured to six English cities during June and July.
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Hugh Canning "Mozart in a communication breakdown – The Magic Flute",
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Simon Rees (ed.) "Tornrak" programme, Welsh National Opera 1990, p.1.
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Arthur and Milak, "The Wild Savage of the Frozen North", join a
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national music styles when portraying clashes between cultures,
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Milnes, Rodney "Arts: Tornrak : New Theatre, Cardiff",
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Sailors, spirit voices of Inuit hunters, Villagers, Workers
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Michael Wilcox "Writing the libretto" in Simon Rees (ed.)
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John Metcalf: Mapping Wales, Plain Chants, Cello Symphony
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Advertisement for Archeology of the Female Voice recitals
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Mark Morris "The Genesis of Tornrak" in Simon Rees (ed.)
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Paul Griffiths "Moral fable with a big tune – Opera",
1202:"Tornrak" in programme for the WNO production pp.13–15
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details at composer's website. Viewed 1 November 2009.
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Meanwhile, WNO had agreed to a change in the scale of
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1059:, Banff Centre website, Accessed 2 November 2009.
822:The score is remarkable for its incorporation of
1133:Vol.28 Nos. 1&2, Fall/Winter 1987–1988, p.17
1013:programme, Welsh National Opera, 1990, pp.19–25.
172:, for them in 1981, it was not until 1986 that
1044:programme, Welsh National Opera 1990, pp.17–18.
1239:, Banff Centre site, Accessed 2 November 2009.
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1163:, Radio listings. Accessed 1 November 2009.
1288:, Monday, 21 May 1990, p.13. Accessed via
970:arrives, once more in the form of an owl.
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1223:Geraint Lewis (2005) Sleevenotes to
140:and Victorian Britain, it features
1068:Quote from Morris "The Genesis of
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1272:The New Grove Dictionary of Opera
1148:The New Grove Dictionary of Opera
1099:Fall/Winter 1989–1990 p.15, 107.
203:E. Armstrong who had worked with
184:; unlike her, she returned home.
1184:, Autumn Leaf archives, Toronto.
152:, where Metcalf worked, and the
1416:Canada–United Kingdom relations
802:On the non-musical level, too,
156:who had commissioned the work.
21:Inuit religion § Tuurngait
1396:Operas set in the 19th century
1131:Central Opera Service Bulletin
1097:Central Opera Service Bulletin
846:Reviewing the Welsh premiere,
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124:. It has an English-language
1249:Profile of Richard Armstrong
263:Cast in Banff World Preview
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1127:"New Operas and Premieres"
779:with the exception of the
733:Members of the WNO chorus
214:Eight Songs for a Mad King
87:23 February 1990
19:For the Inuit spirit, see
18:
1054:Biography of Metcalf for
146:extended vocal techniques
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1376:Multiple-language operas
1227:Nimbus Records, NI 5746.
1151:, version dated 25/01/99
1108:WNO programme pp.1&3
920:that reminds her of her
485:Voice of a wolf tornrak
241:. Instead of it being a
1371:English-language operas
475:dancer/movement artist
418:dancer/movement artist
1366:Operas by John Metcalf
1172:WNO programme book p.3
811:The Boundaries of Time
619:extended voice artist
488:extended voice artist
461:extended voice artist
447:extended voice artist
897:, arrives led by her
693:Glenville Hargreaves
625:Richard E. Armstrong
622:Richard E. Armstrong
507:Glenville Hargreaves
499:Sir Charles Keighley
494:Richard E. Armstrong
491:Richard E. Armstrong
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464:Richard E. Armstrong
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450:Richard E. Armstrong
444:A polar bear tornrak
395:Richard E. Armstrong
392:Richard E. Armstrong
388:extended voice artist
321:Christopher Leo King
16:Opera by John Metcalf
1386:Operas set in Canada
1254:6 March 2012 at the
824:Inuit throat singing
761:Royal Ontario Museum
750:New Theatre, Cardiff
730:Members of the cast
611:Susan Vaughan-Jones
270:Cast in WNO premiere
228:Inuit throat singing
209:Peter Maxwell Davies
166:Welsh National Opera
154:Welsh National Opera
142:Inuit throat singing
1426:Works about Nunavut
1406:Operas set in Wales
886:, a sister ship of
740:Performance history
586:Gareth Rhys-Davies
574:Philip Lloyd-Evans
187:The development of
1270:"Ashman, Mike" in
1237:"Festival History"
1401:Arctic in fiction
1161:Broadcast details
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654:John Harris
512:Two sailors
353:John Harris
274:(Conductor:
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193:Banff Centre
188:
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182:circus freak
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150:Banff Centre
122:John Metcalf
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98:Banff Centre
72:
41:John Metcalf
25:
1381:1990 operas
856:The Journey
793:The Journey
781:sharpened F
777:major scale
767:Description
754:BBC Radio 3
698:Prosecutor
659:A landlord
637:Kevin Power
349:Kevin Power
329:First Mate
324:David Owen
293:Ian Comboy
272:19 May 1990
260:Voice type
170:The Journey
160:Composition
1411:Royal Navy
1355:Categories
1332:1008206055
1313:1008107743
978:References
884:Enterprise
882:1845, the
850:described
719:John King
358:Collinson
207:. Just as
144:and other
91:1990-02-23
47:Librettist
1391:Inuktitut
1344:pp.17–18.
1327:The Times
1082:"Tornrak"
964:Endeavour
888:Endeavour
873:Endeavour
835:Reception
701:baritone
688:baritone
662:baritone
633:baritone
593:baritone
569:baritone
556:baritone
527:baritone
515:baritone
502:baritone
374:baritone
361:baritone
332:baritone
298:Helmsman
164:Although
134:Inuktitut
120:composer
62:Inuktitut
1290:NewsBank
1252:Archived
862:Synopsis
763:in 1994
675:soprano
540:soprano
371:Kellett
302:baritone
283:Captain
205:Roy Hart
126:libretto
83:Premiere
69:Based on
64:sections
57:Language
1072:" p.19.
1070:Tornrak
1042:Tornrak
1011:Tornrak
968:tornrak
937:tornrak
935:is her
929:tornrak
922:tornrak
913:tornrak
905:tornrak
900:tornrak
852:Tornrak
829:Tornrak
816:Tornrak
808:cantata
804:Tornrak
797:Tornrak
772:Tornrak
745:Tornrak
727:Chorus
404:soprano
313:Arthur
239:Tornrak
224:Iqaluit
219:Tornrak
197:Alberta
189:Tornrak
109:Tornrak
89: (
73:Hidalla
31:Tornrak
1361:Operas
943:Act II
711:Usher
685:Judge
649:tenor
553:Evans
428:Milak
345:tenor
342:Billy
138:Arctic
867:Act I
714:bass
581:bass
458:Utak
317:tenor
257:Role
250:Roles
178:Inuit
132:with
118:Welsh
114:opera
37:Opera
895:Inuk
287:bass
1129:in
787:).
195:in
128:by
116:by
75:by
39:by
1357::
1207:^
1189:^
1138:^
1027:^
986:^
939:.
924:.
916:a
551:PC
278:)
783:(
93:)
23:.
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