
David Sawer
Skin Deep
Short instrumentation: 2 2 2 2 - 2 2 2 1 - timp, perc(2), hp, pno/cel, str
Duration: 150'
Libretto: Armando Iannucci
Choir: Act 1 & 2:
Clinic staff (12 voices):
4 S, 2 A, 2 T, 2 Bar, 2 B
villagers (24 voices):
6 S, 6 A, 6 T, 6 B
Act 3:
SATB (36 voices)
Roles:
Dr. Hermann Needlemeier
a plastic surgeon: baritone
Lania
his wife: soprano
Donna
his receptionist: mezzo-soprano
Elsa
his daughter: soprano
Robert
her boyfriend: tenor
Luke Pollock
a Hollywood actor: bass-baritone
Susannah Dangerfield
a news reporter: speaking role
The Chorus is devided into two in Act 1 & 2.
In Act 3 the chorus sings as one SATB choir (36 voices) with the following solo parts:
Donnalike: alto
Robertalike 1: bass
Robertalike 2: baritone
Instrumentation details:
1st flute (+picc)
2nd flute (+picc
alto fl)
1st oboe
2nd oboe (+c.a)
1st clarinet
2nd clarinet (+bass cl(Bb))
1st bassoon
2nd bassoon (+cbsn)
1st horn in F
2nd horn in F
1st trumpet
2nd trumpet
1st trombone
2nd trombone
tuba
timpani
1st percussion
2nd percussion
piano (+cel)
harp
violin I
violin II
viola
violoncello
contrabass
David Sawer’s Skin Deep takes us on a journey of physical perfection, to a place where beauty is created: Dr Needlemeier’s Alpine Clinic – Putting right what nature got wrong. We meet his family, patients and even the odd Hollywood celebrity in a tale that charts desire, spans continents and, ultimately, asks the question: What is the real price of perfection?
The satirical libretto is by multiple-British Comedy Award winner Armando Iannucci.
The world première of Skin Deep was given by Opera North in Leeds, and was followed by performances in Copenhagen and Bregenz.
The Times wrote of Sawer’s score: “He commands a light touch, a terse rapidity, a witty scherzando manner that is Stravinskyan in its biting clarity, but aids him in emulating those masters of comic texture Rossini and Offenbach, whom he cites as models for Skin Deep.
Sawer uses tonality in a completely fresh way, while drawing freely on more acerbic, modernist sounds native to him. An atonal operetta would be a strange beast indeed, but Sawer has found a plausible stylistic compromise. … There is a seductiveness, a glamour, to some passages; others are hard-hitting; and the general spareness of the approach (its resemblance to minimalism is skin deep) proves highly effective.”