Tell us more about your experiences working with the Royal Academy Opera students, as the Academy's Opera Role Coach and as a conductor.
Next year it will be ten years since I’ve joined the Vocal Faculty as an Opera Role Coach, and two since I conducted the Martinů Opera double bill. In this time, I’ve had the pleasure of working with many very talented and interesting young artists and follow their progress after they’ve graduated. One of the things that motivates me most is finding the right key to each singer or an orchestra and developing the most effective language. My aim is to enable them to thrive while knowing they are safe and fully supported in the process.
I also love the conducting opportunities working with the instrumentalists, majority of whom have never played in an opera before. It’s a specific and an important skill, which will hopefully open another set of doors for them in the future.
What are you most looking forward to when approaching rehearsals for Britten's The Rape of Lucretia?
There’s a magical moment when we all get together for the first time and discover who we are and how we will endeavour to conjure this sound and visual world. At the beginning there’s the score and composer’s and librettist’s vision. Who are the people gifting their voices, instrumental skills, talents and vision to create the living reality from the silent notes and words? How will WE tell this story and make it resonate with our listeners? At the end, the score is closed again, the story’s finished. What will stay with the people we shared it with? I am excited to discover the answers!
What is special about the music in this opera?
There is an organic symbiosis between the music, the narration and the emotion contained in each phrase and word. The psychology and motivation of each character is perfectly captured by Britten with precision, but also compassion. His sense of drama keeps you engaged and often at the edge of your seat. The crystalline purity and raging passion of this music resonates with us on a visceral level. Everything is in the score and not a single note is superfluous. It’s a work of pure genius.
Why should audiences come along to see this production?
It will be an evening of discovery; seeing and hearing our talented young singers and players from many different countries and backgrounds embody the characters and perform this beautiful score. With fantastic Paul Carr directing and our brilliant teams on board it’s promising to be an impactful show.
The story is ancient, but it resonates strongly with the reality as we live it now. Sometimes it is hard to make sense of the word as it seems to spin out of control. This opera gives us the opportunity to ask the questions, perhaps find the answers and remind us of our shared humanity.
How would you describe the opera in three words?
Passionate, intense, cathartic