When celebrated baritone Donald Maxwell took to the stage at the Buxton International Festival in 1980, it was to perform in Ambroise Thomas’s opera Hamlet. Still in its early days, Maxwell’s performance became a memorable part of the Festival’s growing legacy. Now, 45 years later, Hamlet returns to BIF in 2025, marking the first time the opera has been staged here since that original production.
To celebrate the occasion, Maxwell recently gave a talk to BIF Friends members, sharing vivid memories of performing Hamlet at the Festival and reflecting on what it was like to be part of Buxton’s operatic history at such an early stage.
Following the talk, we caught up with him to delve deeper into his experience – discussing the challenges of the role, the atmosphere of the Festival in those very early days and how that production helped shape his remarkable career:
- Tell us the story of hamlet in 30 seconds
Hamlet the opera is of course different to Hamlet the play! When Malcolm Fraser directed Hamlet all those years ago – 45 years ago, he said “this is something that fascinated composers, but the fundamental problem was large sections of the play are entirely philosophical, and a composer has to make a musical drama around a mental character who’s basic problem is inaction!” That in a sense sums it up because Hamlet reacts to things around him but doesn’t drive the action forward.
- What was your role in the production 45 years ago and what sort of impact on your career did it have?
I was the ghost of Hamlet’s father, and of course I was also first grave digger, so they got 2 for the price of one. This was quite early on in my career, around 5 years in when I came to do Hamlet. It was something new to perform, in a new Festival, new people – the second ever Buxton Festival in 1980. I played in a cabaret at the first Festival in 1979 and since then have had a long association with with Buxton.
- What do you think audiences should look out for at this year’s Hamlet performance and what are you looking forward to yourself?
This is really a 19th century grand opera, on the subject of Hamlet. The music, language and everything about it is really 19th century kind of romantic and there are some great tunes! It’s really rather different as an opera. Back in 1980 it was a big scale piece with big chorus of 35, something you don’t see now that’s for sure.
- Why do you think Hamlet still has appeal to today’s audiences? Why has Shakespeare’s story stacked up over hundreds of years?
I think people are always going to be fascinated by the character of Hamlet. It’s interesting to see how Thomas delivers Hamlet – he’s tried to make him somewhat more vigorous so they give him a drinking song for example…so there is more to the character. It’s important to remember the play and opera are different beasts!
- Why has Buxton’s appeal remained do you think?
The Festival’s founder Malcolm Fraser’s vision was always to bring obscure opera to BIF; if you want to see well known opera you can go elsewhere where as Buxton’s USP is very much those obscure opera pieces and people have continued to come to Buxton and the niche audience has built up over time, particularly because it’s easier to travel these days.
- How have you seen BIF change over the years?
The scope of the Festival is far bigger and much more varied.
- If you could step back into one moment from that production—or share a backstage anecdote—what would it be?
Coming to this theatre (Buxton) which was newly refurbished and looked beautiful which was not too big either, and the fact they had this marvellous chorus. A chorus of 35 – I don’t think this really happened again after that; I have no idea of where they changed! That was a big thing; the scale of it astonishing. Malcolm Fraser who was incredibly talented would like to include an animal if he could, you know, such as two ravens or maybe a Great Dane, there were always surprises in his productions, which sometimes came in at the last moment! In my case they were going to get the ghost of Hamlet’s father played by a puppet – needless to say I never saw the puppet so I played that part visible from the waist up…
- Do you have any advice for the cast of this year’s Hamlet—especially those stepping into the same roles you once played or for any of the younger performers that are starting out in their career?
When I started out I was around 30. Observe people and watch people who have done it for a long time, watch what they do. You can pick up what to do and what does and doesn’t work on stage. If you’re coming to Buxton, make the most of the fact it’s a small and a very friendly festival, it’s a very loyal and enthusiastic audience here.
- Where would like to see BIF in 5 years time when we celebrate our 50th year?
Well I’m hopeful I will still be around for the 50th! Despite the fact that there have been bumps along the way for the Festival particularly in the early days, and in particular the second Festival in 1980 – it’s important to keep maintaining the scale of BIF, the friendliness and the interest in unknown operas but at the same time diversifying the Festival as the world around us changes.
Hamlet is on at Buxton Opera House on 12, 16, 20, 22 July 2025. Priority booking opened on a staggered basic from 18 March; Next Gen and Public Booking opens on 15 April at 10am.
Become a BIF Friend and book today with Priority Booking, from just £36 per year. Click HERE to join.
Public booking opens on 15 April 2025 at 10am.