Presented by: Tauranga Opera Forum
The next TOF opera is the Rossini opera La Donna del Largo on Thursday 14th October 2021 at Tauranga Boys’ College. Doors open at 6 pm.
Please check your names on the Covid list at the door.
Please use the antiseptic “hand wash” at the door.
Unfortunately, due to Covid, there will be no drinks nor canapés.
The tickets price has been reduced to $10.00. Refunds will be available for members who have already purchased their tickets.
Social distancing of at least two metres in the theatre will be very easy. We should all wear masks in the foyer, but it is up to the individuals whether they wear them in the theatre.
Tickets for this opera have been on sale since Monday 16th August.
You can get them from;
- House of Travel, Willow Street Tauranga
- Bureta Pharmacy Bureta Tauranga or
- ONLINE at 38-9019-0116100-00 with
- the Particulars – your name
- the Code – La Donna
- the Reference – your phone number
Our chosen production of LA DONNA DEL LAGO is from THE MET 2015
With Joyce DiDonato, Juan Diego Florez, Daniella Barcelona and John Osborn Oren Gradus
Screening for 165 minutes.
COVID permitting our schedule of operas continues with;
- Turandot on Thursday 11th November,
- La Cambiale di Matrimonio on Thursday 2nd December.
La Donna del Lago
There has been much spoken about Scotland; its multiple beauties, land of the mountain and the flood with its beautiful locks, a legendary monster, the resolute spider of Robert the Bruce and built onto all that the Burn’s Suppers very much heralding the immortal memory of Wee Robbie.
In AD 122, the Romans Hadrian’s Wall had been the northwest frontier of the Roman empire for nearly 300 years. It was built by the Roman army on the orders of the emperor Hadrian following his visit to Britain and finding the Scots a wild bunch of savage tribesmen.
Now, according to new research, their hell-raising, the untamed character was not brought to heel on the battlefield by the sword and bayonet, but by the rule of law, good manners and civil behaviour. That was brought north by the ideas of the Enlightenment and trade (But, I think, The Clearances too must be acknowledged here.).
According to Lynn Abrams, professor of gender history at the University of Glasgow, between 1760 and 1840, a previously “lawless, violent and intoxicated” culture was pushed out and replaced by one of “civility and restraint”. During that period, the courts superseded fights to the death when it came to settling scores and satisfying honour.
“Until the late 18th century, what we tend to see in rural parts of the Highlands what you might call ‘clan violence’, with groups of young men engaging in what looks like revenge attacks of other groups of young men. These usually happened at social events, weddings, funerals, and sometimes in what looked like chance encounters in the middle of nowhere, though often they weren’t by accident. Traditionally, this was described as a ‘somewhat acceptable’ way of avenging honour.”
Our opera is set in a time before this when maybe the Highlanders were more “lawless, violent and intoxicated.”
A principal in the opera is James V, who was King of Scotland from 9th September 1513 until he died in 1542, which followed the Scottish defeat at the Battle of Solway Moss. His only surviving legitimate child, Mary, Queen of Scots, succeeded him when she was six days old.