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The evening's performance will be preceded by a panel discussion, exploring some of the reasoning behind not only the cognitive and relationship issues displayed within the libretti, but also how the music is influenced by these issues. The panel will include:
Ian Ritchie (chairman), curator of Setubal Festival and The Musical Brain
Chris Rawlence, librettist of The Man Who Mistook his Wife for a Hat
Professor Lauren Stewart, professor and co-director of the MSc in Music, Mind and Brain, Goldsmiths University, researcher into the cognitive neuroscience of music
Professor Jonathan Cole, Consultant in clinical neurophysiology and former colleague of Oliver Sacks
An opera double bill presenting Michael Nyman's minimalist The Man Who Mistook His Wife for a Hat (1986) and Kate Whitley's Unknown Position(2011).
Whitley’s Unknown Position was inspired by Erika Eiffel, who famously married the Eiffel Tower in a real life example of object sexuality or objectophila. In the libretto, by Emma Hogan, the woman portrayed falls in love with a chair.
Central to each opera are elegiac moments of musical insight into the unknown territory of how the characters experience life. In Dr P’s beautiful ‘River’ aria, he describes “seeing” a scene which is in fact completely within his mind, and in Unknown Position the stunning love aria subverts the normal, as the love object of the serenade is a chair.
Originally premiered in London at the Institute of Contemporary Art in 1986, this new production of Nyman’s The Man Who Mistook his Wife for a Hat will return to the same venue, 31 years later.
Nyman’s The Man Who Mistook his Wife for a Hat is adapted by librettist Christopher Rawlence from a case study by Oliver Sacks, the renowned neurologist who died last year, concerning events of Dr P, a music professor, who has gradually lost the ability to comprehend or interpret what he sees, a neurological deficit known as ‘visual agnosia’.
Our mission is to turn exceptional musical talent into professional success by equipping outstanding musicians with the tools, skills, experience, and networks they need to build and sustain rewarding and profitable careers.
Through an annual competitive audition process, we select classical soloists and chamber ensembles, as well as jazz, folk, and world musicians. These ‘CMF Artists’ then engage in an innovative two-year programme, which includes artistic and business mentoring, as well as professional development workshops. These workshops cover a range of topics such as managing finances, tax and pensions, legal input on copyright and contracts, plus presentation and interview skills, promotion and publicity strategies, and much more.
We work with the CMF Artists to develop professional promotional tools such as websites, photos, recordings, and videos, as well as providing help with commissioning and other projects to ensure that each musician develops a unique niche and selling point. We present CMF Artists in our own recital series and residencies and arrange performance opportunities at venues and festivals throughout the UK and beyond, as well as securing airtime on BBC Radio 3 and promotion through online, print and social media.
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