When James Clutton, Opera Holland Park's CEO and Director of Opera, read Simon Mayo's book Itch on holiday in 2018, he knew he had to turn it into an opera. Three years on from its commission in 2020, we take a look back at the success of the world premiere of Itch and how it was brought from page to stage earlier in the summer.
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In 2020, James Clutton commissioned Jonathan Dove and Alasdair Middleton to write Itch, based on the novels Itch and Itch Rocks by Simon Mayo. Although based on Young Adult novels, this was to be an opera for everyone – for those who had never set foot in an opera house to opera officianados.
An introduction to Itch
Before any of the music had been heard by the public, Jonathan Dove sat down with us to explain his process and the composition journey he went on to create this new work.
A tiny taste
We released the first teaser trailer at the beginning of May 2023, hinting at what was to come…
The first performances
The return of our Prelude concert in May 2023 was also the first time any of the music from Itch was performed in public. James Laing and Adam Temple Smith performed their arias at the event, thus beginning the buzz of this thrilling new work. Watch both performances below:
James Laing Performs ‘I comb the beaches’ from Itch Adam Temple-Smith performs ‘Castle of the Elements’ from Itch
The trailer
As excitement was building and opening night drew closer, the official trailer was released, bringing our audiences the first sight of Frankie Bradshaw’s ‘stylish designs’ (The Observer)
What did people have to say?
“An exhilarating ride” – The Observer ★★★★★
“Itch is a powerfully relevant and timely illustration of the folly of asset-stripping the planet. Having said that, I urge you to grab a ticket as fast as you can. Itch is an exciting new element in the opera world, and one to treasure” – Culture Whisper ★★★★★
“Expertly scored, a delightful fusion of science and opera” – The Times ★★★★
“A zippy, clever new opera for all” – The Telegraph ★★★★
“A rollicking story and a science lesson, a diatribe against commercial strong-arm tactics, and an ethical conundrum on the realities of producing green power. That is not bad for an accessible new opera”- Financial Times ★★★★
