If you have read The Lord of the Rings, there is a good chance that you skipped over one or more of the 75 songs and poems in J.R.R. Tolkien’s fantasy epic. Yet long before he was the “father of modern fantasy”, Tolkien’s great ambition was to be a poet.
He wrote hundreds of poems throughout his life, running the gamut from playful limericks to lengthy verse epics in Old English alliterative meter (verse that focuses on alliteration, the repetition of consonant sounds in two or more words or syllables). But despite his prolific poetic output, Tolkien remains best-known for his prose. Published by Harper Collins, The Collected Poems of J.R.R. Tolkien – the first tome to bring together all of his poetry – will not alter its author’s reputation as a storyteller first and foremost, but it will offer readers illuminating new insights into this oft-neglected side of his personality.
This new book has been in the works since 2016, when Christopher Tolkien sent editors Wayne G. Hammond and Christina Scull several folders of his father’s unpublished poetry. Hammond and Scull are two of the world’s most respected Tolkien scholars, having written painstaking reference works such as the J.R.R. Tolkien Companion and Guide (2017) and The Lord of the Rings: A Reader’s Companion (2008). They have also edited previous works by Tolkien, including the short poetry collection The Adventures of Tom Bombadil (2014).
Between them, Hammond and Scull have precisely the obsessive eye for detail and encyclopaedic knowledge of Tolkien’s corpus required to pull off such an undertaking. And once you hold this deluxe, three-volume, 1,500-page tome in your hands, you will grasp just how monumental an undertaking it is.
The Collected Poems of J.R.R. Tolkien contains nearly 250 individual works spanning more than five decades, 70 of them previously unpublished.
Hammond and Scull do not present the poems as standalone texts. They meticulously document the manuscript history of each poem from initial fragments to final drafts, tracing their evolution over the course of years or even decades.
This is because Tolkien would frequently return to the same poem throughout his life, revising and reworking it over and over – much as he did with his literary mythology.
The Sea-Bell is a perfect example. In 1934, Tolkien published a poem in The Oxford Magazine entitled Looney. It describes a man’s voyage to an enchanted other-world and his desolation upon returning to ordinary life afterwards.
Almost 30 years later, Looney underwent major redrafting to become The Sea-Bell, which was published in The Adventures of Tom Bombadil in 1962. The poem’s basic narrative arc remained the same, but the imagery was darker, more evocative, more devastating. The protagonist is utterly cut off from his contemporaries, with no words to communicate an experience they cannot understand.
But The Sea-Bell is not merely a revision of its predecessor. Looney was conceived and published as an independent work. In The Adventures of Tom Bombadil, on the other hand, The Sea-Bell is framed as a text written by an unnamed hobbit within Middle-earth, which Tolkien had discovered and translated for modern readers. This conceit invites readers to put the poem in direct conversation with the themes of melancholy and sea-longing which run throughout The Lord of the Rings.
By charting how the poem and its context changed over time, Hammond and Scull show how its meaning changed too.
Many of us live with a nagging sense that industrialised modernity has cut us off from the cosmos, from nature and from our authentic selves. The Romantics and their inheritors believed that art could reconnect us to what is deepest and truest in ourselves and in the world around us – could re-enchant the world.
This is one way to read Tolkien’s entire literary project. He suggests as much in his famous essay On Fairy-Stories (1947).
Eminent Tolkien researcher Verlyn Flieger reads The Sea-Bell as a profound expression of disenchantment, a reflection perhaps of Tolkien’s service in the first world war. But the powers of re-enchantment are at work elsewhere in his work, in the elven-realm of Lothlórien for instance. This dialectic of disconnection and reconnection lies at the heart of Tolkien’s enduring appeal.
As The Collected Poems of J.R.R. Tolkien attests, that same dynamic is at play in his poetry as much as his prose. But be forewarned: this book is not for the faint of heart. Its massive scope, and the academic presentation of the material, are better suited to the Tolkien scholar than the casual reader – certainly not the one who leapfrogs the songs in The Lord of the Rings.
But if you, like me, feel a compulsion to own everything released under the professor’s name, that is hardly going to stop you.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
I learned something important from my daughter’s first-grade teacher that has stayed with me: “Don’t yuk someone else’s yum.” Our moms might have said it differently: “If you can’t say something nice, don’t say anything at all.” It’s simple, but there’s wisdom in it that the online, and particularly social media, world of fandom could use. Just because you don’t love something doesn’t mean someone else can’t find joy in it. Even worse, your ‘yuk’ hot take may stifle content creators’ ability to bring out content you might end up loving.
(Let’s address the elephant in the room: Yes, I know this is my hot take—but hey, mine’s aimed at you, the fan, not the content creators.)
After what seems like a lifetime at TheOneRing.net (Has it really been 25 years?!), I’ve seen every possible reaction to new Tolkien content. From diehard fans reveling in every second of a new adaptation to those who can’t wait to point out what went “wrong.” It’s predictable and, frankly, exhausting. Every time something new comes out, it’s like clockwork: a flurry of love, a tidal wave of hate, and everyone shouting into the social void.
The truth is, not every story needs to be made for you, and that’s okay. I promise. 🤗
Critique? Sure, it has its place. But what’s happened is we’ve confused having an opinion with needing to broadcast it. Tolkien’s world is vast. It can hold different visions and interpretations from both filmmakers and fans. We don’t need to take sides in an imaginary battle over what’s “right.”
But why even bring this up? Because the casual social user, or even the casual internet participant, sees that ‘yuk’ always rises to the top. Algorithms are designed to push controversy and conflict into our feeds, knowing that our human condition tends to lean toward drama over harmony. Negative opinions and arguments get engagement, and platforms thrive on that. But here’s the problem: content creators use those negative metrics to gauge the success or failure of their work. And often, they make decisions—like canceling a show—based on the loudest, angriest voices, even when there’s a quiet following that genuinely enjoys it. Yes, these entities might be large corporations with teams of data scientists, but don’t assume that they are fully exploring the data to avoid simplistic conclusions.
Don’t yuk someone else’s yum – Annonymous
And there’s another side to this. Fans who do love something often hesitate to share their enthusiasm. Why? Because they don’t want to deal with the trolls. The loudest voices—the bullies of fandom—are quick to tear down anything that doesn’t meet their personal standards. And just like in politics, where the conversation is dominated by those with the loudest, harshest opinions, fandom is too often steered by negativity. The result? Studios and creators miss out on hearing from those who love the content, because those voices are drowned out.
Take the trailer for Star Wars: Skeleton Crew as an example. When it dropped, my fellow over-40 male demographic flooded my feed with waves of negativity. But here’s the thing: I’m secretly loving the idea of mixing Star Wars with The Goonies and Stranger Things. I want creators to take those kinds of risks with our beloved franchises. And if it turns out to be something I don’t enjoy, I’ll just quietly move on; no need to let folks know I wasn’t into it.
The beauty of all fictional universes and our beloved Middle-earth is that they can mean different things to different people. If someone’s finding joy in a version of the story that isn’t your cup of tea, do you really need to jump in and let them know? Let them have their moment. There’s a quiet strength in stepping back and allowing others to enjoy what they enjoy.
At the end of the day, fandom is supposed to bring people together, not force everyone into corners based on whether they loved or hated the latest installment. Maybe, just maybe, we don’t need to weigh in on every adaptation. If you’re not feeling it, maybe scroll past, or better yet, log off and reread The Silmarillion. The stories aren’t going anywhere. There will always be space for your favorites and your least favorites in Tolkien’s world.
The next time you’re tempted to post your hot take, think back to my daughter’s first-grade lesson. It’s okay to stay quiet and let someone else have their yum.
In fact, it might be the best thing you can do—not just for them, but for the creators who need to hear the whole story, and for fandoms to enjoy a new risk here and there.
So, remember: Too much yuk, and the content you love might never get made.
The views expressed in this article are those of just me, but maybe a few other TORn staffers agree. 🤷🏻♂️
P.S. If you’ve got thoughtful critiques or just want to discuss all things Tolkien in a more welcoming, troll-free zone, there are safer places for that. Check out TheOneRing.net’s Discord or message boards, where you can share your thoughts without drowning in negativity. Let’s keep the conversation lively, but respectful—Middle-earth deserves nothing less. Feel free to email me as well
P.P.S.Hey Amazon – I couldn’t end this article without sharing some of my yum. I am LOVING Season 2 of ‘Rings of Power!’ Don’t let anyone yuk my yum! 😋
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Last week Rings of Power returned to our tv screens, when the first three episodes were released on Thursday 29th of August. Once again it has attracted its share of responses from those who love the show and those who don’t. Perhaps the most surprising result of ROP’s return has been the reaction to one, quick, scene showing an Orc holding a baby.
While Tolkien never fully resolved the origin of the Orcs, owing to his own theological beliefs that nothing is entirely evil, he did provide ideas on their origins. Their creation story changes from Orcs being created from stone, and being soulless, to them being corrupted elves or men, containing souls. However, in every iteration he always speaks of them being “bred”.
The very first idea of the Orcs, as mentioned in The Book of Lost Tales, had them created by Melko,
“all that race were bred by Melko of the subterranean heats and slime.”
This text also speaks of members of the Noldoli (Noldor elves) being twisted by Melko and combined with the Orcs, until they believed themselves to be one kindred.
This idea was later expanded upon in Morgoth’s Ring, with the Orcs being corrupted Eldar, captured by Melkor after their first awakening. These Eldar were taken to Utumno and
“broken… and by slow arts of cruelty and wickedness were corrupted and enslaved. Thus did Melkor breed the hideous race of the Orkor in envy and mockery of the Eldar”.
Similarly, Morgoth’s Ring also discusses the creation of the larger Uruk-hai, stating that the Men who were under Morgoths rule would be made to mate with Orcs to produce the larger more cunning Uruks. It also states that this was rediscovered by Saruman who inter-bred Orcs and Men, to create Men-orcs, who were large and cunning, and Orc-men, who were treacherous and vile. Which is quite different to how their creation was depicted in the Peter Jackson films.
It is quite horrifying to us to envisage such inter-breeding, but Tolkien did, repeatedly. The showing of an Orc baby is merely acknowledging Tolkien’s own words that Orcs breed, they mate and produce young.
There have been arguments online that this is trying to make us more sympathetic towards the Orcs, as the existence of Orc babies implies that Orcs have gentle feelings. Why? Because they breed? There are humans who have children who don’t have any gentle or “maternal” feelings towards them. Yet they raise these children, not well, but they do raise them. While not all children raised by parents like this will go on to emulate their parents behaviour, sadly, many of them will, which leads to this learned parenting behaviour becoming the norm. When the brutish nature of Orcs is considered, it is quite likely that their children are raised in a similar manner. Provide food, shelter, and clothing, and not much else. Those that survive would go on to continue their brutish and vile natures, which increases with each successive generation, until we arrive at the Orcs of the Third Age in Lord of the Rings.
The fact that Orcs produce young in no way implies that the Orcs are not horrific. None of their acts of atrocity are played down. All that it shows is this is how more Orcs are created, they breed. They don’t just spring fully formed out of a sac in the ground.
If you have a Tolkien/Middle-earth inspired poem you’d like to share, then send it to poetry@theonering.net. One poem per person may be submitted each month. Please make sure to proofread your work before sending it in. TheOneRing.net is not responsible for poems posting with spelling or grammatical errors.
Look for TheOneRing.net’s annual Baggins Birthday Bash at Griffith Park just 4 weeks from today.
You can find the event at https://www.facebook.com/events/8264139026978984/ and RSVP in the discussion section with what food, beverage or picnic supplies you plan to bring. If you don’t do FB, you can RSVP to Garfeimao@TheOneRing.net with that info. Please read the About info, and open it to reveal More because there is a lot of info in there, including driving directions, the fact we are in the Mineral Wells portion of the park, and start time (11:30am).
If you are looking for ideas of what to bring, you can see from the above image, portable chairs, pop up tents, blankets, sunscreen, hats, sunglasses are all standard. Cosplay, full on or just geeky shirts, we welcome it all and often have a very robust contest.
And then there are the food items, this is a Potluck, so bring at least enough of something you and your traveling companions can eat. We always end up with too much, but that’s not a terrible thing. One you, we had lots of drinks and no cups, so supplies like cups, plates and eating utensils is also a really good idea. And some ice chests to keep those beverages cool. And finally, desserts. We moved off bringing an official birthday cake, to turning that into a competition of Cake and Cupcake makers to design their own Middle-earth themed tasty desserts, so put your creative thinking caps on.
Vanity Fair revealed earlier this week that Prime Video’s second season of The Lord of the Rings: The Rings of Power would have a very particular magic, with British actor Rory Kinnear taking on the iconic role of Tom Bombadil. We provided some speculation as to how Master Tom might contribute to the continuing Second Age saga here, and we are also feeling pretty good about our speculations last January around Tom’s potential appearance this coming season, which premiers on August 29.
Along with this article, VF and Prime Video also offered some early images of Middle-earth’s Eldest in an apparently dry and barren land of Rhûn. Fan reactions to the photos have been predictably mixed, from “perfect!” to (in kinder iterations) “huh?”. That’s nearly always the case whenever a favorite character gets distilled to a single look, costume, or actor (even with the initial Peter Jackson trilogy). Here at TheOneRing, we love some spirited debate, especially when we all remember to be kind.
We also love to take closer looks at these kinds of announcements, in this case, of the four photos included in the Vanity Fair article. There are some details which caught our attention!
Tom Bombadil in The Rings of Power played by Rory Kinnear
Jolly Tom Sports Some Iconic Costuming
“So where are the yellow boots?” was one of the most widespread expectations, and reactions, to the Vanity Fair reveal. Many of VF’s photos involved strong backlighting and darker shadows, and it was challenging to nail the true hue of Tom’s footwear. We did get one exterior shot, though, which indeed displayed a dusty yellow tinge on those iconic boots: maybe not canary yellow, but certainly in the same spirit as the classic Hildebrandt Brothers illustration from their 1976 calendar.
We also got a blue jacket, though perhaps not as “bright” as Old Forest Tom sings about along the Withywindle. Remember, this is Second Age Tom, and perhaps he’ll acquire more than one coat for his closet. We’re not even sure whether he’s taken up residence yet on the border of the someday-Shire, nor met his lifelong love and likely fashion consultant Goldberry.
Interestingly, there are some costuming details which already hint at Bombadil’s deep connection to nature, including tree-like embroidery on his tunic, and a be-flowered belt, fashioned seemingly in the shape of stars. That resonates with the same stellar theme which drove Season One’s Stranger to travel eastward.
And then there’s Tom’s hat. Besides the fact that it sports a muted suggestion of a dark, and hardly flamboyantly placed feather (is it peacock – a notion which Tolkien abandoned – swan, “blue”, or something else entirely?), Second Age Tom’s hat seems strikingly wizard-like: wide-brimmed and fittingly pointy. Might we be seeing a further Gandalf-like embellishment, should Tom choose to offer his headgear as a gift to a certain visiting Stranger?
We See Some Curious Environmental Embellishments
It’s also worth taking a closer look at the location where we find this budding Council of the Wise. There are a few things that stand out:
The environment is largely bone-dry and desolate. The surrounding hills seem treeless, and even the cactus houseplants are withering. The interior floors are dusty enough to scream thirst. This is the anti-Old Forest, and about the most non-Bombadillian landscape one can imagine. That’s probably why Tom is looking pretty sober in these stills. It’s a situation demanding intervention, not celebration.
And yet, there are still hints of a potential oasis. Just as we saw the Stranger restore a fruit tree to life in Season One, perhaps Tom’s work has already begun here with the flourishing of flowers and a lemon tree in the exterior shot we’ve been given. Or maybe Tom is simply a limoncello fan. And perhaps as a nod to another refuge long in the future, or simply to fans of the Hobbit, we even see that Tom is a beekeeper! Plus his furniture looks like it would match well with the Beorn aesthetic.
It’s clear that Tom’s house in Rhûn has been lived in for a long time. The candles are melted down to near nubs, and the pottery and furnishings seem well-worn. This is not Tom’s first rodeo in Rhûn, even if he’s been wandering as far and wide around Middle-earth as your friendly Harfoots.
Probably most mysterious of all, there appear to be star and/or planetary maps embellishing the ceilings in the Second House of Tom Bombadil. These constellation symbols have been central to numerous story lines in Season One – for the Harfoots, the Stranger, and the Three Mystics seemingly banished in last season’s final episode. Perhaps Tom will shed a bit more light on exactly what these star signs mean.
It’s useful to remember that we’ve only seen these four pictures, and know precious little about the full extent for how and where Tom Bombadil will be integrated into the second season of the Rings of Power. We each bring personal expectations for this story line. For some, Tom has been somewhere between a complete mystery and an annoying speed bump in the larger LotR saga. For others, he looms large on our list of favorite characters, which increases the risk, of course, should he be mishandled. We’ll simply have to wait another 13 or so weeks for a the full Bombadil experience.
Hey dol! Merry dol! This will be a challenge!
For those that may have missed it, here’s the Bombadil-focused content from Prime Video’s press release on May 29. You can find the entire release here.
CULVER CITY, California—May 29, 2024 — Today, Prime Video revealed that Laurence Olivier Award-winning actor Rory Kinnear (James Bond films, The Imitation Game), who, as previously announced, joined the Season Two cast of The Lord of the Rings: The Rings of Power, will portray the fan-favorite J.R.R. Tolkien character Tom Bombadil. The second season of The Lord of the Rings: The Rings of Power will premiere exclusively on Prime Video on August 29, 2024.
This announcement comes after much online speculation, as the timeless, mysterious, and jovial Tom Bombadil has been beloved by Tolkien fans for decades. Given his hand in so many key moments of the larger story, the character’s absence from other on-screen depictions of Middle-earth has often been the topic of robust conversation. The news was revealed through brand-new images from the series, and an interview in Vanity Fair that was released online earlier today.
The series’ showrunners J. D. Payne and Patrick McKay are excited to bring this new element to the story, and are thrilled that the gifted Kinnear is bringing this iconic character to life. “He’s whimsical and magical, and almost verging on silly. But also has the wisdom of the ages and the music of the spheres and deep emotional wells of ancient history and myth, and his conception and function are tied to Norse myths and have deep roots in European fairy tale,” McKay says. “So weirdly, he’s kind of the mostLord of the Rings thing in Lord of the Rings.” Payne adds, “Tom is sort of a curiosity within that structure because while it is darker, Tom Bombadil is singing and saying lines that could be nursery rhymes from children’s poems. So, he sort of defies the tonal shift of the rest of the season and is a real point of light amidst an otherwise sea of darkness.”
Kinnear embraced the opportunity to jump into the famed yellow boots, elaborating that while the description of Tom Bombadil was well-known to readers, he relished the opportunity to portray the voice and mannerisms of the enigmatic being for the first time in a filmed iteration of Tolkien’s work. “There’s this sense of huge experience, huge openness, huge empathy, and having gone through so much that he [Bombadil] knows it’s the small things that are important. That felt actually quite domestic, felt quite reachable in terms of my understanding of who he was.”
Character Description:
Rory Kinnear plays “Tom Bombadil” a figure of unknown origin in Tolkien’s works who projects a timeless wisdom, often propelling characters in a direction to see things more clearly and helping them better understand the wide world around them. In the lore, he claims to be as old as Middle-earth itself, possessing wisdom far beyond the reaches of others. Essential to the spirit of discovery and of the search for meaning, Bombadil is famously clad in yellow boots, blue jacket, and a feathered hat, and prone to enigmatic expressions in singsong verse.
Additionally, Chris Smith, Tolkien Publishing Director at HarperCollins, revealed in Vanity Fair that the book titled The Adventures of Tom Bombadil will be re-released in paperback by HarperCollins on August 20, 2024, just ahead of the streaming series’ return to Prime Video. Smith said, “It’s my hope that, with the introduction of Rory Kinnear’s portrayal of Tom Bombadil in The Rings of Power, audiences are inspired to learn more about this unique character beloved of generations of readers around the world, and will delight in sharing in his many adventures in J.R.R. Tolkien’s Middle-earth.”
Our good friends at Volante Opera have been in touch with very exciting news! You may remember, in 2022 and 2023 we brought you news of their work with composer Paul Corfield Godfrey, to bring to life his operas of stories from The Silmarillion.
Godfrey had for many years been working on operatic excerpts from The Lord of the Rings – and during lockdown, he and the Volante Opera folks had even begun recording excerpts, ‘just in case’; but the Tolkien Estate had not granted permission for those works to be released.
We can now exclusively reveal that Godfrey and Volante Opera Productions have been granted permission to release recordings and scores of these works.
There are thirty ‘chapters’, intended to be performed over six evenings. The text is (of course) abridged, but uses as closely as possible Tolkien’s own words; and fans can even look forward to an appearance by that most elusive of characters in adaptations, Tom Bombadil!
The fifteen CD set should be available in 2025. Meanwhile, you can enjoy Volante’s previous recordings of Godfrey’s Silmarillion settings, available to purchase on their website; and here’s a trailer, with aural ‘glimpses’ of what treats we have in store.
Here’s the official press release from Volante Opera:
AT LAST – AN OPERATIC TREATMENT OF THE LORD OF THE RINGS
For many years the Tolkien Estate has refused to allow any musical treatment of the works of the author which employed his own words. Now they have agreed to make a concession in respect of the music of Paul Corfield Godfrey, whose cycle of “epic scenes from The Silmarillion” was finally completed in 2023 with the issue of a ten-CD series of recordings from Volante Opera and Prima Facie Records.
Ever since the 1960s the composer has been working on sketches, fragments and episodes of what was envisaged as a cycle of musical works based upon The Lord of the Rings. Following on from the success of the recordings of The Silmarillion Paul was persuaded to go back to these beginnings and fully explore, expand and complete the work which has now evolved as “musical chapters from The Lord of the Rings”. This fully operatic setting has now become a companion work on the same scale as The Silmarillion. This adaptation takes place over thirty “chapters” designed to be performed over six evenings – over fifteen hours of music.
This work is currently in the process of recording by Volante Opera and it is anticipated that Prima Facie will release a demo recording of the complete cycle, in the same manner as their Silmarillion recordings, in 2025.
Cast
The professional singers, some thirty in number, come mainly from Welsh National Opera. Returning artists from The Silmarillion include: Simon Crosby Buttle as Frodo, Julian Boyce as Sam, Philip Lloyd-Evans as Gandalf, Stephen Wells as Aragorn, Michael Clifton-Thompson as Gollum, Helen Jarmany as Éowyn, Huw Llywelyn as Bilbo, Emma Mary Llewellyn as Arwen, Laurence Cole as Boromir/Denethor, Martin Lloyd as Treebeard/Herb Master, Helen Greenaway as Lobelia/Ioreth, Rosie Hay as Gwaihir, Sophie Yelland as the Barrow-wight, Louise Ratcliffe as Lindir, with George Newton-Fitzgerald and Jasey Hall taking on a plethora of roles. Angharad Morgan will also be reprising her role as Galadriel from The Silmarillion. Our new cast members and their characters will be introduced as the recording process continues.
Those who have enjoyed the composer’s large-scale setting of The Silmarillion will be pleased to discover that the music inhabits the same musical world as before, with many ideas and themes continued and expanded into The Lord of the Rings. The “musical chapters” also incorporate other works by the composer such as his earlier Tolkien songs (already available on CD) which now assume greater significance in the course of the whole structure.
Although the text is inevitably abridged, it adheres without any but the most minor alterations to the author’s original words, and the original plot development remains unchanged – including such elements as Tom Bombadil, the Barrow-wight and the ‘scouring of the Shire’. And some other passages, such as the coronation and wedding of Aragorn, are given expanded musical treatment.
Further tales from Tolkien in music
Also coming early 2025, a complete recording of Paul Corfield Godfrey’s solo piano works played by renowned British concert pianist Duncan Honeybourne. This will include, amongst other works, the epic piano rondo Akallabêth, a solo piano version of the Wedding March from The Fall of Gondolin, and a new work composed specifically for Duncan and this album – ‘The Passing of Arwen’.
For more information about the work please visit: www.paulcorfieldgodfrey.co.uk For more information about the recording by Volante Opera Productions please visit: www.volanteopera.wales Updates about the recording process will be posted to our social media feeds: DISCORD: https://discord.gg/J6bQFHygr7 FACEBOOK: Volante Opera Productions, The Music of Paul Corfield Godfrey INSTAGRAM/THREADS: @volanteopera TWITTER/X: @OperaVolante, @TheCorfield Recordings and scores of Epic Scenes from The Silmarillion and Akallabêth and other Tolkien Works are available from Volante Opera Productions’ website.
Check out Volante’s website for lots more information, including more details on casting/characters, chapter breakdown, and synopsis. So much to look forward to; we can’t wait to hear these pieces in full. Now we hope they may be brought to the stage one day… Meanwhile here’s Godfrey’s ‘Lament for Boromir’ – enjoy!
Texts by J.R.R. Tolkien from The Lord of the Rings and The Adventures of Tom Bombadil by permission of the Estate of the author, HarperCollins Publishers and Middle-earth Enterprises.
