"Rule Britannia a low opera in grand shite style" (Presented by New Works Calgary in 2002, remounted as an installation and performance piece for YYZ Artists' Outlet Gallery, Toronto, in 2009) is an interdisciplinary performance about the past as well as the human potential to act, or simply knowing that we just don’t have it in us. This “Low Opera” questions current and historical issues while interpreting social codes and philosophies. It is about the personal quest for greatness as well as the poetic beauty of falling from grace. RULE BRITANNIA: a low opera in grand shite style is summed up in the musical movement titles, borrowed from three consecutive lines from the second book of John Milton’s epic poem Paradise Lost 1667. This opera might even humbly be seen as a contemporary interpretation of this great literary work.

For RULE BRITANNIA: a low opera in grand shite style, the scoring is for two pianos (facing away from each other) and was inspired by British piano music. The Overture is based on the traditional "God Save the Queen", Of Providence - Handel, Foreknowledge - John Field, Will - Arnold Bax, Fixed Fate - Handel, Free Will - Benjamin Britten, Foreknowledge Absolute - Cyril Scott, and In Wandering Maze Lost just a common rendering of "God Save the Queen". Carl Ayling's libretto periodically borrows from current and historical text. The movement Free Will combines numerous quotes by Sir Winston Churchill, Will incorporates classic lines from the British punk band Sex Pistols, and Of Providence has the line "The cut worm forgives the plough" by William Blake. Mezzo Soprano Patrice Jegou improvises vocally within certain guidelines and styles that were pre-planned, videotaped and edited for a visual display in two video monitors, one on top of each piano. Her edited performance developed different costumed characters and presents an operatic visual presentation that plays homage to the grand “Shite Style” of yesteryear.

Musically, this type of inter-disciplinary work elaborates on Doren’s investigation in re-thinking Western classical music, performed and produced using multi-media elements, uncommon to classical concert music, to challenge the roles of the musician and composer. Doren’s process for composing involves the use of sampling and manipulating source material via computer technology, then transcribing the new digital versions for an acoustic instrument performance, forming a complexity of untraditional harmonies and rhythms.

Written, directed and music composition: Kenneth Doren
Mezzo Soprano: Patrice Jegou
Libretto: Carl Ayling
Music transcription: Matt Firmston
Technical support (2009): Martin Eckart

Pianists (2002 version): Marcel Bergmann and Elizabeth Bergmann
Pianists (2009 version): Joseph Ferretti, Elaine Lau,
                                    Fiona Jane Wood, Stephanie Chua

1- Overture
2- Of Providence
3- Foreknowledge
4- Will
5- And Fate
6- Fixed Fate
7- Free Will
8- Foreknowledge Absolute
9- And Found No End & In Wandering Maze Lost