Duet with words from our pianists...

We just couldn’t leave out hearing from our two pianists for the Gala tomorrow (Thursday), so we listened in on a conversation between Genevieve Ellis, Deputy Chorus Master for the Royal Opera, and Panaretos Kyriatzidis, voice coach at Trinity Laban and Morley colleges and, of course, Musical Director for St Paul’s Opera.  Between them they’ve been discussing their routes into the world of opera, what they love about their jobs, and a few thoughts about how that impacts personally.

Genevieve: My introduction to opera was being immersed into the world of Gilbert & Sullivan back in my school days. Every summer we would put on a full-blown production involving the whole school. Of course, we had this amazingly inspirational teacher, John Skinner, who led the whole thing. In those days I played the oboe in the orchestra, but I also got my first taste as a repetiteur playing for the rehearsals.  Then I had a long break with absolutely no opera at all until I did my post grad at the [Royal] Academy [of Music] and got into accompanying, and I found the opera rehearsals really fun – I loved all the language and drama – so I found myself drawn to training as a repetiteur.

Pan: Oh my experience couldn’t be more different. I arrived in the UK 11 years ago to study at Trinity Laban for a piano Masters and found myself spending a lot of time with singers. Then, after five years, I got an out-of-the-blue call from the Kings Head Theatre [the well-known Islington venue for fringe opera] who told me someone at Trinity had strongly recommended me which led me to where I am today, coaching singers.

Genevieve Ellis

Genevieve: We do very different jobs when you consider we’re both basically pianists but the satisfaction level must be quite similar. I love the rep calls with the chorus when it’s just us and the music – there’s never a better choral sound than when we’re in one room altogether. And then the ‘Sitzprobe’ [full musical rehearsal] also gives that tingle feeling – a fun experience as the music ‘goes’ in. And I love every day being different – rep calls one day, another day a production rehearsal, then onto stage calls.  Loads of variety. How about you, Pan?

Pan: Yep, you’re right, I love my job, but find myself moving between Trinity Laban in Greenwich, to Morley in Lambeth and individual coaching which can literally be anywhere! I love the variety from working one-to-one, then working on opera scenes with a group of students. And soon I’ll be crossing south London to Clapham to start work on St Paul’s Opera’s production of Albert Herring. Pretty crazy, at least that’s what my wife tells me! But I do love the variety, too. And something else I love is being with other people and making music together. It’s just so much fun – maybe why I never went down the soloist’s route? Anyway, I’m intrigued to know about that opera ‘light bulb moment’ – you go first…….

Genevieve: Well that’s the easiest question. Figaro!

Pan: Nooooooo, me too!!! But why? Then I’ll tell you my version.

Genevieve: OK, the first time I heard it I was hooked. I find the libretto astonishing and then Mozart comes along and brings the story to life with all its comedic potential. I never tire of it, it was such a joy learning it and every time I revisit it it’s just pure pleasure. Ok Pan, your turn.

Pan: Actually it wasn’t perhaps a light bulb moment, but Figaro was the first opera I completely picked to pieces and found such amazing detail. I still do, in fact, every time a singer brings a Figaro aria to work on, I find something completely new in the piece, it’s astonishing.  But I must confess Tosca is pretty much up there, too.  When I was working on a small, reduced version a few years back, and I’d been right through the detail of the production, I took myself off to watch a full production and I was so gripped by the whole story. I mean, good opera is good theatre enhanced by gorgeous music. What’s not to like?

Genevieve: Ha, that’s right. But can you share with me some of the demons that hit from time to time?

Pan: From time to time? I wish! Every. Single. Day. I think every single musician is sensitive and suffers from ‘imposter syndrome’, and I guess that’s compounded for me because you could say I didn’t exactly take a traditional route in. I mean, today, rehearsing for the Gala, it was an amazing treat, but at the same time completely nerve-wracking, working with singers of such a high standard. I guess we’re all in it together, but it’s sometimes easy to forget that fact. What about you Genevieve?

Panaretos Kyriatzidis,

Genevieve: I lose count of how many times a day I have doubts, crises of confidence. Of course the Royal Opera House level is so incredibly high, but you just have to take it back to ‘the dots’ with thorough practice to overcome the nerves, and being secure with the nuts and bolts means you have something to offer in this world of excellence.

Pan: So, how about the programme for the Gala? What’s your favourite aria?

Genevieve: Oh I’m really looking forward to David’s [Butt Philip] Rusalka aria – it’s new to me which is both a thrill but somewhat nerve-wracking all at the same time. And I do love the variety in a gala – you know, Puccini sitting alongside Mozart. And these four astonishing voices – a fresh treat, each one. Can’t wait!

Pan: Absolutely! Actually I’m with you with Dvorák, but my choice is the Song to the Moon. I just adore that aria, even though it might be considered by some as a bit of an ‘old chestnut’.  And I have to add in here ‘Mon coeur’, from Samson et Delilah, but that’s because I sing it to my son, poor boy!

So that’s what pianists get up to in their down time…