One of the most meaningful projects I’ve worked on recently is my opera Fanny and Stella’s Last Day Out, which premiered at the RCM Opera School earlier this year. This piece holds a special place for me as it represents my ongoing commitment to telling queer stories on stage, and it’s been such a rewarding journey from concept to production.
Fanny and Stella's Last Day Out is based on the true story of Ernest Boulton and Frederick Park, two Victorian men who scandalized London in 1870 by living publicly as women. They were arrested and charged with 'buggery' and female impersonation—accusations that put them at the center of a very public and sensational trial. The opera explores a single day in their lives, culminating in that fateful arrest, but also seeks to capture the joy, defiance, and audacity of their existence in a society that refused to understand them.
One of the most exciting aspects of this project was finding a balance between the historical and the contemporary. While the opera is firmly rooted in the Victorian era, the issues Fanny and Stella faced are eerily relevant to the struggles of trans and gender-nonconforming individuals today. By blending a playful, rollicking score with moments of real emotional depth, I wanted to show the complexity of their lives—their laughter, their love, their resistance.
Working with Jessica Walker, who provided the witty and moving libretto, was another highlight. Together, we aimed to create a work that not only honors Fanny and Stella’s bravery but also gives a voice to those who are still fighting for visibility and acceptance today. The production, directed by Bill Banks Jones, brought this to life in a vibrant, dynamic way, and I couldn’t have asked for a better team to help share this story with the world.
For me, this opera is just the beginning of a larger project—an exploration of queer opera that challenges traditional narratives, both musically and dramatically. In Fanny and Stella's Last Day Out, microtonality plays a key role in reflecting the otherness of their experiences, using sound to underscore the way they existed on the fringes of Victorian society. This is a musical language I’ll be continuing to develop in future works, as it feels essential to representing the nuances of queer identities.
Fanny and Stella’s Last Day Out was not only a joy to create but also an important step in bringing more queer stories to the opera stage. I hope it resonates with audiences as much as it did with us during the production.
Watch the Performance
You can watch the full recording of Fanny and Stella’s Last Day Out here:
Access the Score
For those interested in exploring the score, you can view an excerpt here:
Visit the Work Page
Learn more about Fanny and Stella’s Last Day Out, including details about its development and production, by visiting its work page HERE
Reviews
Fanny and Stella’s Last Day Out has received positive reviews, praising both the music and the storytelling:
“Playful and rollicking, with a score that masterfully balances wit and emotional depth.” — Opera Today
“Jasper Dommett’s ability to craft engaging movement through music is showcased brilliantly in this poignant and dynamic work.” — Broadway World
“A fresh and vital work, with a score that juxtaposes tonal and atonal elements to great effect.” — Opera Now/Gramophone
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