CUOS exists chiefly to facilitate student operatic productions in Cambridge, and to help make your production a reality! Every year we stage a wide variety of operas in a number of different venues around Cambridge, putting on productions at least once a term. We have three fixed 'slots' (outlined below) for which we take applications at different points in the year.
There is no limit to the number of shows CUOS can put on in one year, and we are always happy to consider supporting opera in Cambridge, whatever the format. Crucially, however, we ask that you discuss your ideas with the committee early on in your thinking: this enables us to structure a balanced year of productions, and offer help and advice from the outset.
There is no limit to the number of shows CUOS can put on in one year, and we are always happy to consider supporting opera in Cambridge, whatever the format. Crucially, however, we ask that you discuss your ideas with the committee early on in your thinking: this enables us to structure a balanced year of productions, and offer help and advice from the outset.
What does it mean to be a CUOS production?
Should your application be successful, you'll receive certain support from CUOS. This comprises:
- Financial security: being a CUOS show means your production is financially underwritten by the Society. Provided you spend within your budget and carry out your agreed publicity plan, CUOS is financially responsible for your show, so you can focus on providing the best possible production without worrying about your personal liability. In exchange for this security, CUOS takes any profit your show might make.
- Publicity: CUOS has a large audience of regular operagoers, and people will come to your show expecting the usual high standards of a CUOS production.
- Expertise: our committee comprises experienced directors, conductors, producers, and designers. We can usually advise on where to source costumes, props, scores and instrumentalists – any problem you're having, it's likely we have had before, and we're happy to help!
The annual 'fixed' slots
Michaelmas show
Our Michaelmas show is the most fluid production, and is very adaptable to your ideas. Past productions have tended to use mid-size venues such as the ADC Theatre, Queens' College's Fitzpatrick Hall, or college chapels such as Trinity and Emmanuel College Chapels, but again, this is by no means prescribed. Applicants should note that the ADC has its own competitive procedure for securing a slot, and thus interested applicants should investigate this early in the Easter term preceding their production.
Recent Michaelmas productions have included: Rossini's Il signor Bruschino, Holst's Savitri, Handel's Radamisto, Charpentier's The Descent of Orpheus into the Underworld, Handel's Jephtha, and Mozart's The Marriage of Figaro.
Recent Michaelmas productions have included: Rossini's Il signor Bruschino, Holst's Savitri, Handel's Radamisto, Charpentier's The Descent of Orpheus into the Underworld, Handel's Jephtha, and Mozart's The Marriage of Figaro.
Mainshow
This is the biggest production in the CUOS calendar. Traditionally held in West Road Concert Hall in second half of Lent Term (late February to early March), this is a chance to use a larger performance space with excellent facilities. The hall has capacity of 499 seats and an orchestra pit. Mainshows tend to aim for some sort of musical or theatrical scale that is something more than you might find in a normal student show.
Recent Mainshows have included: 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, and Mozart's Don Giovanni.
Applications for the Mainshow slot usually open in the Easter term preceding the show, with a decision being made by the end of term, enabling the production team to begin the significant task of organising their project over the summer. Auditions typically then take place in Michaelmas term, with rehearsals beginning by Christmas.
Recent Mainshows have included: 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, and Mozart's Don Giovanni.
Applications for the Mainshow slot usually open in the Easter term preceding the show, with a decision being made by the end of term, enabling the production team to begin the significant task of organising their project over the summer. Auditions typically then take place in Michaelmas term, with rehearsals beginning by Christmas.
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, including a list of the four production members (director, music director, producer, assistant producer/publicity officer) who will run the show. Putting together an application can be time-consuming, but the committee are always happy to discuss any queries you might have.
All applications should include the following information:
All applications and other questions should be sent to the President at [email protected].
All applications should include the following information:
- Chosen opera - outline the key aspects of your show
- Musical aspects:
- Instrumentation
- Summary of roles including voice types, ranges and difficulty
- Dramatic aspects:
- Synopsis
- Ideas for staging in the chosen venue, with consideration of the potential issues behind it, e.g. effect on target audience, thematic problems
- Also outline any challenges presented by your opera, be they dramatic or musical
- Explain why you want to perform the opera: why should we stage it? Why are you the right team to do this?
- Musical aspects:
- Proposed dates, times and venues
- Please confirm that the venue is available for the dates and times you are suggesting
- Production team members
- Include a biography and their experience, why they want to put on the show and any artistic or musical aims for the show
- Publicity plan
- Include notes from the assistant producer/publicity officer on why they think the show will be easy or difficult to sell and how they are going to reach the widest possible audience. See previous applications for examples.
- Timeline of events
- This should outline audition dates, casting, publicity deadlines, deadline for online ticket sales, dress rehearsals and shows. See previous applications for examples.
- Budget
- This must be detailed and as accurate as you can make it, including up-to-date quotes from venues, music publishers etc.
- Your income should be based on a pessimistic sales rate of 40-60%, depending on the capacity of your venue and the appeal of your show
- It should also include a 10% contingency for unforeseen expenditure
- See previous applications for examples
All applications and other questions should be sent to the President at [email protected].
