DEFINITION OF A BOOR
Boors are worse than boring; they’re offensive and repulsive. To be a boor is to be an obnoxious, unsophisticated oaf.

ABOUT THE OPERA
A young widow sits alone in the drawing room of a country manor. Around her the space, once full of splendour, has gone into decline. In the centre of the room is an ornate, golden frame with a portrait of her deceased husband. Since his passing, she has been resigned to a small existence, with only the company of her more-than-slightly exasperated manservant. But life has a curve-ball lying in wait for her. The sudden appearance of a stranger, The Boor, jolts her out of her haze. He demands payment for a debt left by her husband, and refuses to leave until it is settled. The two engage in a tumultuous battle of wit and courage, culminating in an unlikely duel. Their passionate engagement ultimately sparks something new and… unexpected.

Dominick Argento’s comedic opera, The Boor, is based on the one act play by Anton Chekhov, “The Bear”. Dynamic and fast-moving, Argento’s score expertly reflects the character arcs and pace of the sharp comedy brought out in Jon Olon-Scrymgeours libretto. A compact, three-hander show that captures the hearts of audiences, this tale is a reminder to all that just when you think it’s all over, a new hope can suddenly change everything.

This production marks the first performance of “The Boor” in Australia, and features some of the most prominent emerging operatic talents of South East Queensland. Directed by Emma Nightingale, conducted by emerging talent Guillaume Lemay-Yates and accompanied by John Woods, this production is bursting at the seams with local talent.