Il Trittico

Saturday 2nd March 2013

Giacomo Puccini’s Il Trittico

Puccini’s trio of operas inspired by the work of Dante

Birmingham Conservatoire

Michael Seal – Conductor

Director – Michael Barry


Il Tabarro –

Michele’s barge on the Seine in Paris


Michele – Wesley Biggs

Luigi – Bo Zhang

Tinca – Christopher Griksaitis

Talpa – Hedd Owen Griffiths

Giorgetta – Amelia Burns

Frugola – Urzsula Bock

Song Vendor – Edward Harrisson

Lover – Tamara Peters

Lover – Robert Tilson

Stevedores – Charles Allison, James Rowland, Harvey Seale, Andrew Wilson, Joe Zainul

Midinettes – Kendal Bradshaw, Sarah Gallop, Heather Heighway, Alexandra Soiza


Sour Angelica –

A convent


Suor Angelica – Elizabeth Ryder

Principezza – Ellie Edmonds

Abbess – Lucy Stabler

Monitor – Eleanor Hodkinson

Mistress of Novices – Victoria Adams

Genovieffa – Louise Martyn

Osmina – Jessica Friend

Dolcina – Rachel Crisp

Nursing Sister – Rosie Walker

1st Tourière – Yi Ling Chaing

2nd Tourière – Sarah Burke

Other nuns, lay sisters, novices, etc

Naomi Berry, Esther Beard, Davina Brownrigg, Helen Cooper, Antonia Gentile, Ellen Hunter, Rachel Jonas King, Alexandra Soiza, Daniella Varadi, Kirsty Williamson

Suor Angelica’s Child – Oscar Cawthorne

Virgin Mary – Chloe Keenan


Gianni Schicchi –

The Palazzo of Buoso Donati in Florence


Gianni Schicchi – Matthew Durkan

Lauretta – Sophie Pullen

Zita – Claire Barnett-Jones

Rinuccio – Gyula Rab

Gherardo – Brock Roberts

Nella – Sarah Richards

Gherardino – Antonia Gentile

Betto – Tom Ping

Simone – Samuel Oram

Marco – Tom Considine

La Ciesca – Victoria Aindow

Spinelocchio – William Gee

Notario – George Stuart

Pinellino – Daniel Wyman

Guccio – Harvey Seale

Buoso – Andrew Wilson


Gianni Schicchi – Samuel Oram

Simone – William Gee

Marco – Andrew Wilson




Review by Richard Bratby, Birmingham Post:

Click here for full review

…     “But the revelation tonight was Suor Angelica – usually viewed as the  problem piece of the three. With Elizabeth Ryder in the title role, it was  overwhelming. Her Senza mamma  was piercing in its controlled intensity, and her stand-off with the coolly  sadistic Principezza (powerfully characterised by Ellie Edmonds) became the  dramatic climax of the evening – lifted to a shattering level by the conducting  of Michael Seal.

Alert and urgent, masterfully paced, and with a  near-perfect balance between singers and orchestra, it was hard to believe that  this was Seal’s first ever full-length opera. An on-form student orchestra  responded with some really sumptuous playing.”