Description
The agreement by the estate of the late J R R Tolkien last year to sanction the recording of Paul Corfield Godfrey's "musical chapters from The Lord of the Rings" was hailed by listeners throughout the world as a milestone in the field of Tolkien adaptations.
For many years the Tolkien Estate has refused to allow any musical treatment of the works of the author which employed his own words. Now they have agreed to make a concession in respect of the music of Paul Corfield Godfrey, whose acclaimed cycle of "epic scenes from The Silmarillion" was finally completed in 2023 with the issue of a ten-CD series of recordings from Volante Opera and Prima Facie Records.
Ever since the 1960s the composer had been working on sketches, fragments and episodes of what was originally envisaged as a cycle of musical works based upon The Lord of the Rings. Following on from the success of the recordings of The Silmarillion he was persuaded to go back to these beginnings and fully explore, expand and complete the work which has now evolved as "musical chapters from The Lord of the Rings". This fully operatic setting has now become a companion work on the same scale as The Silmarillion. The adaptation extends to thirty "chapters" designed for performance over six evenings - more than fifteen hours of music.
This recording of the complete work by Volante Opera has now finally been completed and Prima Facie will release a demo set of the complete cycle, in the same manner as their Silmarillion recordings, in a single volume on 5 September 2025. The professional singers, some thirty-five in number, come mainly from Welsh National Opera. Returning artists from The Silmarillion include: Simon Crosby Buttle as Frodo, Julian Boyce as Sam, Philip Lloyd-Evans as Gandalf, Stephen Wells as Aragorn, Michael Clifton-Thompson as Gollum, Helen Jarmany as Eowyn, Huw Llywelyn as Bilbo and Eomer, Emma Mary Llewellyn as Arwen and Goldberry, Laurence Cole as Boromir and Denethor, Martin Lloyd as Treebeard and the Herb Master, Helen Greenaway as Lobelia and Ioreth, Rosie Hay as Gwaihir, Sophie Yelland as the Barrow-Wight and Louise Ratcliffe as Lindir, with George Newton-Fitzgerald and Jasey Hall taking on a plethora of parts. Angharad Morgan is also reprising her role as Galadriel from The War of Wrath. Other new cast members include Rhodri Prys Jones as Legolas, Gareth Long as Gimli, David Fortey as Pippin, Dyfed Wyn Evans as Merry, James Louden as Faramir and Elrond, Gavin Davies as Theoden, Gareth Lloyd as Saruman, Peter Wilman, Owen Webb, Alastair Moore, Francesca Saracino and Steffan Lloyd-Evans in various other solo roles and Howard Kirk as Tom Bombadil and Quickbeam.
Although the text is inevitably abridged, it adheres without any but the most minor alterations to the author's original words, and the original plot development remains unchanged - including such elements as Tom Bombadil and the Barrow-wight, the love story of Eowyn and Faramir and the 'scouring of the Shire'. And some other passages, such as the coronation and wedding of Aragorn, are given expanded musical treatment. The issue includes not only the complete musical score, but also a substantial booklet containing full details of the recording (including the text as set) and a supplementary appendix disc giving more extended versions of some of the more substantial narrative poems. As with the earlier issues of The Silmarillion the cover art has been furnished by Ted Nasmith.
A note from Volante Opera Productions:
We freely admit to you that this recording is not live or a studio recording. We did not have the means to employ a full orchestra and chorus to rehearse and record this work. What we do have is the small recording studio we use at Volante Opera Productions with room for only one person at a time in the booth.
The orchestra for this recording was created using sampled instrument sets - real instrument sounds which are then sequenced in the recording software ready to be played. It is a long, slow process preparing the scores this way but with patience the results are as close to real, without having an actual orchestra in a studio, as we can achieve within our means.
The purpose of this Demo Recording is simply to get the piece heard.
