Applications are now OPEN to perform in/AMD Rosalind, our Easter Term Show 2026! See the application packs below for more information.
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CUOS exists to support student operatic productions in Cambridge and to make your projects a reality. We stage a wide variety of operas each year in venues across the city, with productions taking place at least once a term.
We have three fixed production slots (outlined below), but there’s no limit to the number of shows CUOS can support annually. We’re always happy to consider opera-related propositions, in any format.
Crucially, whatever your idea, we ask that you contact the committee early in your planning — this helps us shape a balanced season and offer our assistance from the outset.
We have three fixed production slots (outlined below), but there’s no limit to the number of shows CUOS can support annually. We’re always happy to consider opera-related propositions, in any format.
Crucially, whatever your idea, we ask that you contact the committee early in your planning — this helps us shape a balanced season and offer our assistance from the outset.
What does it mean to run a CUOS production?
CUOS productions receive a certain degree of support from the society. This comprises:
- Financial Security
- Publicity
- Expertise
Our annual production slots
Michaelmas Show
The Michaelmas Show arguably provides the most scope for creativity of any CUOS slot: applicants are given the freedom to choose their own show and venue. For this reason, this slot has accommodated some of CUOS’ most exciting productions, ranging from infrequently-staged operas by famous composers to shorter, hidden gems.
Recent Michaelmas Shows have included: Purcell’s King Arthur, Handel’s Semele, Phillip Venables and Ted Huffman’s Denis and Katya, Donnacha Dennehy’s The Last Hotel, Rossini’s Il signor Bruschino, Handel’s Radamisto, Holst’s Savitri, Tavener’s Mary of Egypt, Charpentier’s The Descent of Orpheus to the Underworld and Mozart’s The Marriage of Figaro.
Recent Michaelmas Shows have included: Purcell’s King Arthur, Handel’s Semele, Phillip Venables and Ted Huffman’s Denis and Katya, Donnacha Dennehy’s The Last Hotel, Rossini’s Il signor Bruschino, Handel’s Radamisto, Holst’s Savitri, Tavener’s Mary of Egypt, Charpentier’s The Descent of Orpheus to the Underworld and Mozart’s The Marriage of Figaro.
Mainshow
The Mainshow is the flagship production of the CUOS calendar, offering a high-profile opportunity to showcase operatic talent at Cambridge. Staged in West Road Concert Hall during the second half of Lent Term (late February to early March), it provides access to a professional-standard venue with a 499-seat capacity, excellent acoustics, and a sizable orchestra pit.
Mainshows are expected to offer a sense of musical or theatrical scale exceeding that of a typical student production. However, with this brief comes significant responsibility: both artistic and financial. As the most costly production CUOS supports, it is essential that applicants choose a work which is accessible for student performers, financially viable, and attractive to a broad audience. A successful Mainshow should inspire both performers and audiences while remaining practical in scope.
Recent Mainshows have included: Monteverdi’s L’incoronazione di Poppea, Offenbach’s Orpheus in the Underworld, Rossini’s La Cenerentola, Bizet’s Carmen, Donizetti’s L’elisir d’amore, Stravinsky’s The Rake’s Progress, Britten’s A Midsummer Night’s Dream, Tchaikovsky’s Eugene Onegin, Mozart’s Don Giovanni, Janáček’s The Cunning Little Vixen, Strauss’ Die Fledermaus and Mozart’s The Magic Flute.
Mainshows are expected to offer a sense of musical or theatrical scale exceeding that of a typical student production. However, with this brief comes significant responsibility: both artistic and financial. As the most costly production CUOS supports, it is essential that applicants choose a work which is accessible for student performers, financially viable, and attractive to a broad audience. A successful Mainshow should inspire both performers and audiences while remaining practical in scope.
Recent Mainshows have included: Monteverdi’s L’incoronazione di Poppea, Offenbach’s Orpheus in the Underworld, Rossini’s La Cenerentola, Bizet’s Carmen, Donizetti’s L’elisir d’amore, Stravinsky’s The Rake’s Progress, Britten’s A Midsummer Night’s Dream, Tchaikovsky’s Eugene Onegin, Mozart’s Don Giovanni, Janáček’s The Cunning Little Vixen, Strauss’ Die Fledermaus and Mozart’s The Magic Flute.
May Week Show
We also take applications for a May Week Show. These shows are staged some time during or just before May Week (mid June), and often choose less-well known works or alternative venues (though this is by no means compulsory). The May Week Show can provide a terrific distraction from exam stress and provides an exciting cultural event in May Week.
Recent shows have included: Berkeley's A Dinner Engagement, Puccini's Gianni Schicchi, Mozart's Cosi fan tutte, Dove's Tobias and the Angel, Bernstein's Trouble in Tahiti, and Walton's The Bear.
Recent shows have included: Berkeley's A Dinner Engagement, Puccini's Gianni Schicchi, Mozart's Cosi fan tutte, Dove's Tobias and the Angel, Bernstein's Trouble in Tahiti, and Walton's The Bear.
Application requirements
To apply to put on a show with CUOS, you will be required to submit a viable show application. First and foremost, your application should detail the members of your core production team. You’ll need a Director, Musical Director, Producer and Technical Director to pitch.
All members of the team must provide a detailed overview of their relevant experience. This may include involvement on previous shows: for the ADC, CUOS or otherwise. Applicants must be prepared to participate in a remote interview.
Please see the ‘General CUOS Application Guidance 2025-6’ document for more information regarding the responsibilities of each member of the production team.
Your application must also include:
For more information, please refer to the ‘General CUOS Application Guidance 2025-6’ document, alongside the examples of previous Mainshow/Michaelmas Show pitches provided.
All applications and questions should be sent to the President at [email protected].
All members of the team must provide a detailed overview of their relevant experience. This may include involvement on previous shows: for the ADC, CUOS or otherwise. Applicants must be prepared to participate in a remote interview.
Please see the ‘General CUOS Application Guidance 2025-6’ document for more information regarding the responsibilities of each member of the production team.
Your application must also include:
- A synopsis of your chosen opera.
- (Michaelmas/May Week Show only) Venue details: you must secure your own venue, and provide confirmation that it is available on the proposed dates.
- (Michaelmas/May Week Show only) A prospective number of shows.
- Director and Musical Director’s notes, encompassing your reasons for pitching your chosen show, your artistic vision for it, a summary of each sung role and instrumentalist required, and any potential challenges you envisage.
- A detailed and balanced budget based on a pessimistic estimate of ticket sales (typically 55%). This should include a 10% contingency to allow for unforeseen expenses.
- A publicity plan, with notes evaluating why your show may be easy, or difficult, to sell.
- A timeline of events, including prospective dates for key publicity initiatives, auditions, casting and dress/tech rehearsals. Please note that it is now CUOS procedure that publicity must go live no less than five weeks before the show.
For more information, please refer to the ‘General CUOS Application Guidance 2025-6’ document, alongside the examples of previous Mainshow/Michaelmas Show pitches provided.
All applications and questions should be sent to the President at [email protected].
