Productions Of Ian Caddy
created in the original style

Monteverdi: Il Ballo delle ingrate
Guildhall School of Music & Drama, London; with David Roblou conductor

Blow: Venus and Adonis
Shakespeare's Globe, London; with Philip Picket conductor
Guildhall School of Music & Drama, London; with David Roblou conductor

Purcell: Dido & Aeneas
Roman Odeum, Patras Festival; with Early English Opera Society, David Roblou, conductor
Guildhall School of Music & Drama, London; with David Roblou conductor
Spitalfields Festival, London: Guildhall School of Music & Drama, London; with David Roblou conductor
South Hill Park UK: Midsummer Opera; with David Roblou conductor

Eccles: The Judgment of Paris
Trinity College of Music, London; with Nicholas Kok conductor, designed by students of the Theatre Design Dept. of the Slade School of Fine Art

Daniel Purcell: Island Princess
Lufthansa Festival, London; with Combattimento, David Roblou conductor

Handel: Alceste
Guildhall School of Music & Drama, London; with David Roblou conductor

Divertimento: Handel and his London Contemporaries;
Guildhall School of Music & Drama, London; with David Roblou conductor

Mozart: The Magic Flute
Cleveland Youth Opera UK; with Keith Bentley conductor, William Brereton designer

Film, TV and CD
Ian Caddy has also directed baroque stage scenes for the film and Channel 4TV:

Honour, Profit & Pleasure - Handel; with James Bowman, Jean Rigby, Nicholas Kraemer conductor.
For Yorkshire TV: Scenes from Handel's Acis & Galatea; with Peter Seymour conductor
For Hyperion Records: Gay: The Beggar's Opera, Ian Caddy directed the 'staging' and coached the dialogue, with Jeremy Barlow conductor.

Ian Caddy was the director's adviser for Handel: Imeneo; with the Handel Opera Society's production at Sadlers Wells Theatre, London.

Masterclasses on Baroque Gesture
Karlsruhe: Internationale Händel-Akademie; with Dr Reinhold Kubik and Margit Legler
Vienna: Schauspielkunst für Sünger 1995, 1996; with Dr Reinhold Kubik and Margit Legler
London: Early Music Centre, A Practical Course on the Technique of Baroque Acting; with Ruth-Eva Ronen
King's College London & Royal Academy of Music, Baroque Drama & Handel Opera; with Dr Reinhold Kubik and Margit Legler
Royal College of Music; Baroque Gesture
Cardiff: Royal Welsh College of Music & Drama, Gestures in Acting
Towards his masterclasses, Ian Caddy has undertaken extensive work on Peri: Euridice; Handel: Arianna in Creta, Ariodante, Tamerlano, and Serse; Mozart: Idomeneo, Die Zauberflöte and Così fan tutte.

Ian Caddy: 'Die szenische Darstellung von Händels Arianna', in "Gattungskonventionen der Händel-Oper Bericht über die Symposien 1990 und 1991" published by the Internationale Händel-Akademie Karlsruhe.

Appreciation and illustrated account of a scene from Handel's Arianna in Creta, incorporating Ian Caddy's production gestures, included in: Reinhold Kubik und Reinhard Strohm: 'Erläuterungen während der Demonstration'. ibid.

Medieval Liturgical Drama
Ian Caddy has extended his research and has created productions of Medieval Liturgical Drama, including The Play of Herod, for Pro Cantione Antiqua and the Erice Festival, Sicily, again aiming at presentations which would have been expected by the original exponents.

Greek Comedy
Ian Caddy worked with Dr Richard Williams on his international project to re-construct Greek Comedy, especially Menander - incorporating masks, costumes, declamation and gesture. It was appreciated that comedy of any period breaks the rules, but the rules need to be known.

Ian Caddy - Staging Director and Exponent of 20th century music
Not only in ancient music: his utilisation of modified baroque gestures in surrealist operas was surprising in its appropriateness: Milhaud: Trois opéras minutes (1927), and Poulenc: Les Mamelles de Tirésias (1947).

Ian Caddy employed a select vocabulary of gestures when he sang Vaughan Williams: Five Mystical Songs in the National Concert Hall, Dublin, with Our Lady's Choral Society, Proinnsías Ó Duinn conductor. The Irish Times wrote of his impassioned tone and a subtle command of physical and musical gesture, and added that it was truly impressive.

Following on from this, he sang Walton: Belshazzars Feast in The Point, Dublin, with the Culwick Choral Society, Colin Block conductor; with yet bolder gestures, to an equally amazed and enthusiastic audience.

Prof. Dene Barnett
Ian Caddy was introduced to Baroque Acting by the world authority, the late Prof. Dene Barnett, when he sang in performances at Covent Garden, Versailles, and Herodius Atticus Theatre in Athens, coached and directed by Dene Barnett. This series of performances was presented by English Bach Festival. In correspondance and occasional meetings, thereafter, Prof. Barnett continued to be Caddy's baroque mentor.

Dene Barnett was Professor in the School of Humanities of Flinders University, South Australia. From there, each summer for a decade, he visited the National Libraries of Europe, discovering a multitude of sources which lead to his great work, 'The Art of Gesture'.

The notes to Dene Barnett's bibliography of 'The Art of Gesture', in themselves demonstrate the huge amount of work which he had undertaken in reading, alone. Furthermore, it informs one that 18th century acting technique was a truly trans-European style.

<< DirectorPerformer >>