The very excellent Operatic Everyman Adam Goodburn first approached me in 2011 with the draft of an operatic treatment of Time's Long Ruin (renamed Innocence Lost). He'd managed to take the large cast, the broad sweep, the essence of my novel and turn it into an opera. Contracts were signed, and Adam went on to refine the libretto, gain a grant from the government of South Australia and select a composer, the equally excellent Anne Cawrse.
So Anne sets to work and over the next few years produces a score that's fresh, new, and challenging. Then the struggle begins. What was meant to be a 2016 production becomes 2017, 2018, 2019. During this time there's a News Limited attack upon the unperformed opera (Goebbels would have been proud), changes of management at State Opera SA, a semi-staged piano-only performance under the direction of Andy Packer, the process of refinement of the script (cuts!), orchestration and, mostly, an untiring act of faith, of persistence, on Adam's part.
So, now it's time to move into the final stage of the opera's genesis. No full production yet, but it's time to buy a ticket to Anne Cawrse's Innocence Suite, to be performed by the Adelaide Symphony Orchestra in June 2020. And after that ...?
Welcome to Datsunland! This is a second hand car yard of the speeches I've given, the columns I've written, the essays, micro-fiction and micro-thoughts that have passed through my small, shy brain. Also, stuff so strange no newspapers, websites or publishers want them.