Book contents
- Michael Field in Context
- Michael Field in Context
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Acknowledgements
- Note on the Text
- Chronology
- Part I Works and Days
- Part II Forms and Genres
- Part III In the Name of Time
- Part IV ‘Be contemporaneous’
- Part V Afterlives and Future Fields
- Chapter 27 Michael Field and Post-Victorian Decadence
- Chapter 28 Michael Field and Modernism
- Chapter 29 Queer Studies
- Chapter 30 Ecology
- Chapter 31 Illness, Disability, and Crip Studies
- Chapter 32 Transgender and Non-Binary Identities
- Chapter 33 Race and Empire
- Chapter 34 Michael Field in the Digital Age
- Chapter 35 Performing Michael Field
- Further Reading
- Index
Chapter 35 - Performing Michael Field
Interview with Sophie Goldrick and Tom Floyd, Shadow Opera
from Part V - Afterlives and Future Fields
Published online by Cambridge University Press: 03 October 2025
By
Edited by
Book contents
- Michael Field in Context
- Michael Field in Context
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Acknowledgements
- Note on the Text
- Chronology
- Part I Works and Days
- Part II Forms and Genres
- Part III In the Name of Time
- Part IV ‘Be contemporaneous’
- Part V Afterlives and Future Fields
- Chapter 27 Michael Field and Post-Victorian Decadence
- Chapter 28 Michael Field and Modernism
- Chapter 29 Queer Studies
- Chapter 30 Ecology
- Chapter 31 Illness, Disability, and Crip Studies
- Chapter 32 Transgender and Non-Binary Identities
- Chapter 33 Race and Empire
- Chapter 34 Michael Field in the Digital Age
- Chapter 35 Performing Michael Field
- Further Reading
- Index
Summary
In this chapter, Sarah Parker interviews Tom Floyd and Sophie Goldrick of Shadow Opera about the process of creating Veritable Michael, an opera and podcast inspired by Michael Field’s life and work. Tom Floyd is the Artistic Director of Shadow Opera and Sophie Goldrick is the Producer and mezzo-soprano, who sings the part of Katharine Bradley in the show. In this interview, they respond to questions about how they originally conceived the piece, why opera is a suitable form for telling Katharine Bradley and Edith Cooper’s story, how the collaborative creative process worked, and how audiences have reacted to the performance and the podcast.
Information
- Type
- Chapter
- Information
- Michael Field in Context , pp. 333 - 339Publisher: Cambridge University PressPrint publication year: 2025
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