ABOUT CLASSICAL MUSIC Classical Music is the authoritative voice of the classical music profession, offering a behind-the-scenes approach to a fast changing industry. Each month the magazine offers news, opinion and debate from the past month, interesting articles on upcoming projects and important issues, and interviews with some of the profession’s most important people. Classical Music has a varied offering for subscribers including a number of supplements and free issues of Early Music Today. Classical Music is also now accompanied by classicalmusicmagazine.org, a comprehensive website keeping readers up to date with news as it happens. Why advertise with Classical Music? Not only does it enable you and your organisation to reach the key decision makers and budget holders, but it also gives you vital access to classical music lovers who regularly attend concerts and festivals and buy recordings. 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The Facts Frequency: Monthly Readership: 20,000 Regular advertisers: LSO Live, World Federation of International Music Competitions, SJM Concerts, Corps of Army Music, Royal Air Force, BBC Proms, BBC Philharmonic, Incorporated Society of Musicians, Black Cat Music, Institute of Musical Research, Guildhall School of Music and Drama The Rhinegold Publishing portfolio enjoys an advertiser renewal rate of over 50% MEDIA PACK 2013 MEDIA INFORMATION. VIEW A FREE DIGITAL COPY OF CLASSICAL MUSIC AT WWW.RHINEGOLD.CO.UK/CMDIGITAL – ENTER CODE ADV13 PLEASE NOTE THAT ALL PRICES ARE QUOTED EXCLUDING VAT MEDIA PACK 2013 LET US WORK WITH YOU TO CREATE THE BEST POSSIBLE CAMPAIGN FOR YOU. CALL US NOW ON 020 7333 1733. COMMUNITY MUSIC T his year’s Garsington Opera season, which starts on 7 June, will include its first specially commissioned commu- nity opera. Around 80 children from two primary schools and an infant school in Oxfordshire and Buckinghamshire have been chosen to take part alongside members of Garsington’s youth and adult groups, as well a handful of professional soloists from the opera company. Cast ages range from six to 86. e opera, Road Rage, was conceived through a series of workshops last year, and gives people with little or no experience of per- forming the chance to work with professional singers and a professional production team. ‘It has been a real passion of mine to do a community opera,’ says director Karen Gillingham, who has been part of Garsing- ton’s education team for six years. ‘So to be there right from the beginning of the idea, be part of the appointing team and deciding who the artists are and how the project is going to run, and now actually doing it, with children who are really passionate about it, is incredibly rewarding. ‘My passion is for this inter-generational thing as well. It’s not oſten if you’re 86 that you get to communicate with primary school children on a regular basis unless you’ve got grandchildren. And it’s good for them to be doing something together where they are all equal. We’ve got teachers in the cast as well, so the children will see their teachers performing alongside them. It is a unique opportunity for them and for me.’ e hour-long opera explores the theme of protest, and tells the story of a community di- vided by plans to put a new toll road through an ancient village. A minister, a surveyor and a political advisor battle it out with the villag- ers, observed by talking animals and trees. e piece has been written by the dream pairing of satirist Richard Stilgoe, co-writer of Starlight Expressand Cats, and composer Orlando Gough, who composed the music for Glyndebourne’s community opera Imago earlier this year (see feature, page 28). e re- sult is a funny, fast-paced, action-packed piece with a score that ranges from beatboxing to classical lyricism. ‘It’s been really good fun to do,’ says Gough. ‘We had a very enjoyable time workshopping to find out what local people were thinking and what would interest them as the subject of an opera. Lots of ideas came up, and we chose this one.’ Stilgoe agrees: ‘It has been wonderful fun working with all the people who are going to be in it. Part of the sad result of education is that sometimes you squash children’s imagi- nations. One of the reasons you need to keep doing music education is because it keeps alive that side of the brain where imagination is. Children who do music are much more open to ideas and more fearless about express- ing them.’ Was it challenging writing for such a diverse group of people? ‘e music I write is not that complex, so it’s quite easy for me to write music that can be sung by amateurs and children,’ says Gough. ‘I always try to keep in mind what it’s going be like to rehearse and perform it, and also make it fun to sing. at’s really important.’ e project is largely about breaking down barriers, and making opera more accessible. ‘We all wish it wasn’t called opera, because it is a word that blows people’s fuses,’ says Stil- goe. ‘I don’t know what else you would call it – it’s slightly more challenging musically than doing a community musical, but it is a piece of musical theatre for a community. And I know from experience that people in it will remember it forever.’ Road Rageis on om 19 to 20July www.garsingtonopera.org Since its move to the Wormsley Estate two years ago, Garsington Opera has been keen to engage with the surrounding communities. Now the company is putting on its first large-scale community opera with nearly 200 children and adults taking part. Nicola Lisletalks to some of the people involved Protest song One of the reasons you need to keep doing music education is because it keeps alive that side of the brain where imagination is CM Action packed: Road Ragein rehearsal THE FRENCH CONNECTION Wednesday 10 July 2013, 7.30pm Fauré: Requiem | Poulenc: Gloria Debussy: Prélude à l’après-midi d’un faune Ravel: Daphnis and Chloe, Suite No. 2 London Concert Choir | Canticum | Southbank Sinfonia Mark Forkgenconductor Claire Seatonsoprano | Duncan Rockbaritone Tickets £30, £25, £20, £15, £10 MediaPack2013_CM.indd 1 27/06/2013 15:35:36