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ROUND TEN GRANT APPLICATIONS
Phantasia
ENSEMBLE INFO
Ensemble Contact:
Chris Hirst
Email:
Ensemble Connect URL
UK Registered Charity No:
N/A
PROJECT DESCRIPTION
The project I am applying for is 4 performances of an innovative interactive experience based around the life of Handel. I have looked for ways to make concerts more visually engaging and entertaining for some time, which led to the creation of this project. I truly believe that this is a great way of presenting baroque music that I have never seen done before, interweaving live music, acting and storytelling. Important scenes in Handel’s life are acted out by the main character, who also sings several arias and songs. The three instrumentalists also play smaller characters (Handel’s mother and father, Mattheson, Keiser, a bailiff) who feature in certain scenes, then return to playing. All of the scenes are tied together by a narrator who is Handel’s mother. Not a play with incidental music, but a concert with acting and narration that provides context to the music. The script for the first half is attached as a sample.
Having the instrumentalists also play parts means that we can feature six characters to maintain interest and for Handel to interact with. All performers would be in costume with simple scenery and props. There are several humorous scenes, including the swordfight with Mattheson, grovelling to the King, and an overture competition with Keiser. There are also points of audience interaction where they are involved in the action in specific scenes, even one person in the audience becoming King for 5 minutes! The work showcases the full range of emotions (which are also reflected in the carefully chosen music) from deep sadness at the loss of his father, joy at receiving his first opera commission, to wistful reflection at the end of his life. The music performed includes many of Handel’s “greatest hits” that general audiences will recognise and relate to, including the Water Music, Fireworks Music, opera overtures and arias and The Messiah.
The regular members of Phantasia (baroque violin/recorder, theorbo, baroque bassoon) are joined by the well-known singer Mike Christie for this project. Mike is part of the famous vocal group G4 who regularly tour to packed audiences. His part in this will help greatly with promotion, one of Mike’s aims is to make classical music more accessible to wider audiences which is precisely what this project does. Mike is not a baroque specialist, but his light voice suits Handel very well, and he and I have worked together already.
A key aim of Phantasia is to bring high quality period instrument performances to lesser served areas, and we intend to bring this Handel project to four areas identified by the AC as priority areas: The Isle of Wight (possibly part of the new Fairest Isle early music festival), rural Wiltshire and Dorset, and Somerset. I have venues already organised. We are hoping that this initial run could act as a springboard for future performances in other areas of the country, as it is such a unique concept and featuring a well-known artist, we are confident it will interest promoters.
SUPPORTING INFORMATION
Phantasia received funding from the CF for a small tour in 2024. This was very successful and gave us the experience needed to promote performances and ensure good audiences. Phantasia director Chris Hirst and Mike Christie have strong online presences which will help a lot with publicity as described below.
One of the things that we are keen to emphasise is that Phantasia is based in the communities that we are talking about, contributing to the cultural life in these areas year round and are far more invested in these places than a group based in London who comes in to do a concert then leaves again. The early music scene in particular is very London centric, and professional groups in other areas often need the support even more so. They contribute just as much to the musical and cultural life of the country as London groups do!
We intend to use our own funds to cover the costs of costumes and make our own simple scenery and get props from charity shops etc. We have further kept the costs down by only putting down minimal fees for only two rehearsals, there will need to be more than that with the complexity of the production. Transport will always involve one car travelling either from or to the Isle of Wight on the ferry, but we have sought the most economical option. In contrast to a play or bigger concert, this production is very portable which is why we can easily take it to more rural areas, which would never otherwise get to see something like this.
The music has required some editing, as many of Handel’s crowd favourites are orchestral and we have to make them work in a chamber context. I have primarily used contemporary arrangements from the 18th century when possible, for example the Fireworks Music was published in an edition for treble instrument and continuo the same year that it was first performed, in 1749. Quite a few of Handel’s arias are scored for unison 1st violins and continuo, so they adapt easily to solo violin and continuo with no alterations. I have chosen pieces like this when possible to avoid heavy editing and arrangement of Handel’s work. We are of course wanting to present the music in a historically informed way, so that despite the very different presentation compared to a traditional concert, the historical aspect is not diluted in any way – on the contrary it is greatly enhanced by bringing the context in which it was written to life on the stage.
In conclusion, this project has a great deal going for it – fantastic music with a wide appeal, an innovative and highly engaging fusion of music, acting and storytelling so the audiences can see Handel’s story played out in front of them rather than reading about it in programme notes, great potential for promotion and ongoing performances with Mike Christie’s involvement and Chris’s online following, a focus on regional enrichment from people who are invested in those communities, and bringing early music to new audiences who may not attend a traditional concert.
PROJECT COSTS
Number of performers:
Instrumentalists:
Vocalists:
Other:
3
1
Project Income (£):
Ticketing/Fees:
Public Funding:
Other trusts/foundations - confirmed
Other trusts/foundations - pending
Other
Income - Total sources
800
800
Project Expenses (£):
Artists' fees
Artists' travel/accommodation
Venue - Rehearsal/Concert:
Recording/Filming:
Marketing/Publicity:
Management/Contingency:
4000
600
800
0
0
0
Total Project Costs:
5400
Amount (£) of Grant Requested:
4600
Detailed Budget (Download):
IMPACT OF GRANT
New projects are always more work to get off the ground and usually are limited by financial issues. As a group based on the Isle of Wight, the ferry costs are a barrier and funding makes a massive difference as to whether projects are viable or not. Rather than a one-off set of 4 performances, we are hoping that if awarded a grant, this first run will enable us to take this project elsewhere without the funding as an already established show, which would have a huge impact on Phantasia.
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