Use of Theorbo and Harp within a Baroque opera - EXTENDED EDIT | ETO Stays at Home

Aileen grew up in County Down at the foot of the Mourne Mountains. She started off playing the Celtic harp, and didn’t think she was very good at it. When she moved onto the modern concert harp things started to look up. As a teenager Toby was introduced by his brother to the music of Jimi Hendrix, which led to a love of the guitar. A lack of interest in electronics directed him towards playing classical music, and he became focussed on baroque music and the lute. Aileen and Toby met as students at music college, and struggled through some projects together on strange baroque instruments with unfamiliar tunings and odd numbers of strings. They were bonded over a shared love of Monteverdi, and now ten years later are married and live in a flat full of instruments, a mile and a half from that music college. Both feel privileged to have ended up working alongside fantastic musicians and collaborators, who are a constant source of inspiration. Presented by Aileen Henry and Toby Carr Video edited by Joe Kirk To find out more about how we are supporting artists and keeping opera in our lives during this crisis, and how you can support those commitments, please visit: englishtouringopera.org.uk/support-eto. *** For 40 years, English Touring Opera (ETO) has toured outstanding live productions, with a commitment to rediscovering and reimagining work, and impactful education and community projects to more towns and cities than any other UK opera company. At the heart of our ethos is making exceptional artistic experiences available and accessible to everyone. We reach over 50,000 people per year with five mainstage productions, two specially commissioned operas for children and young people with special educational needs, a series of creative workshops for people with dementia and their carers, and more than 70 workshops for people of all abilities and ages. We produce ambitious programmes of high-quality, innovative opera that introduce, educate and inspire audiences with distinctive new repertoire. In doing so we advance public awareness, engagement and enjoyment of this powerful art form. Every tour starts with a residency at Hackney Empire in London, then travels across the UK from Truro in Cornwall and Perth in Scotland. The quality of our work has been formally recognised with the 2014 Olivier Award for ‘Outstanding Achievement in Opera’ and the ‘Best New Opera Production’ from the 2017 WhatsOnStage Opera Poll. ‘Hats off to ETO. It's a jewel in the country's operatic crown for three reasons: the uncompromising enterprise of its programming, the high calibre of performing and creative talent it engages, and the sheer dogged extent of its nationwide travels. As a truly national opera company, ETO more than lives up to its billing.’ – WhatsOnStage (Spring 2016) A key aspect of ETO’s mission is a dedication to supporting young artists in the early stages of their careers and singers from BAME backgrounds. ETO offers emerging artists wide ranging performance opportunities and provides additional training and guidance. Many distinguished singers had their earliest experiences of professional performance with ETO, including Sarah Connolly, Amanda Echalaz and James Rutherford. Our mainstage work is completed by a programme of imaginative education and community projects. ETO seeks to inspire children and adults of all backgrounds, dispelling the myth that opera is reserved for the privileged. Our education work is wide ranging and includes commissioning operas for schools and children with profound learning disabilities, delivering projects for people with dementia and their carers, and creating large scale operas to engage whole communities. Each year, our award winning education programme reaches over 15,000 children and adults nationwide, offering the chance to create, participate in and see bespoke performances.

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