Vivien Conacher on preparing the role

Vivien Conacher, one of the stars of SPO's forthcoming production of Così fan Tutte, explains how she is preparing for the key role of Dorabella:

I’m thrilled to be playing the role of Dorabella with St Paul’s Opera. She’s a fantastic multi-dimensional character and I can’t wait to shape my interpretation as our rehearsals progress. Dorabella also has a lot of on-stage time in the opera, with a lot of music to sing, so preparation will be key.

The first step in learning any major role is to get hold of the score. I went for a Barenreiter – it’s easy to read and is probably the most trusted publisher for Mozart scores. Although Barenreiter editions can be a little more expensive than other scores, I’m singing Dorabella again in 2019 (and hopefully more times beyond that) so I like to think it’s a worthy investment.

Once I own a score, I really do treat it as my workbook for the opera. Some singers are more precious about keeping their music in pristine condition, but I like to make my markings straight into the score as I learn the role. To start with, I marked all the cuts that we would be observing for this production. Most companies will do a little bit of editing to streamline Così – it can be a very long night otherwise! As everyone’s version will have slightly different cuts, I always mark these quite lightly in pencil, so I can scrub them out for future productions.

Next comes the trusty yellow highlighter for all of Dorabella’s text – this is where I really get a clear overview of how many scenes of recitative, solo arias, and ensemble items I need to learn (and let’s be honest, Dorabella sings A LOT). Over a couple of days, I also write in my own translations for the Italian text in pencil, so that I know exactly what each word and each overall phrase needs to communicate. The final stage in preparing my score, is to mark each separate scene with a coloured tab, which makes them quicker to find mid-rehearsal.

“I’m thrilled to be playing the role of Dorabella with St Paul’s Opera. She’s a fantastic multi-dimensional character”

The next step for me is to sit with the score – and a pot of tea – to listen to a recording of the whole opera. This is to get a musical overview of the way the opera works. As the music isn’t committed to memory yet, there isn’t much danger of imitating the performances of other singers. But this can be a problem if you listen to recordings too much through the rest of the production process. I chose to listen to Anne Sophie von Otter’s Dorabella as she has such a lightness of touch with her Mozart singing, but there are numerous other mezzos who I enjoy hearing in this role, too.

You’re probably thinking as you’re reading this that this whole preparation process sounds quite time-consuming, and you’d be right. At this point, I haven’t even sung a note of the music. But for me, this initial work with the score is really important – it helps me to make an overall game plan about learning the role, and instead of a huge, heavy score that seems insurmountable, I now have little highlighted sections behind coloured page tabs to attack one by one.

The next big step in my role preparation is, of course, the music. I try to work in small sections, tackling the recitative by speaking it over and over to get the text into my muscle memory as close to spoken Italian as possible. I also make various marks in pencil as I go – reminders about rolled ‘R’s or double letters which are so important in Italian pronunciation. Also, breath markings, dynamics, and where the character might speed up or slow down based on her thought process or mood. I also have to make choices about feminine endings / appoggiaturas as well as potential decorations to some moments in the score – all of these are dramatic decisions based on the intention of the particular phrase. Different singers might make different choices with these, usually in collaboration with the conductor or musical director, which means everyone’s version of Dorabella will differ musically in certain details.

“I also make various marks in pencil as I go – reminders about rolled ‘R’s or double letters which are so important in Italian pronunciation. Also, breath markings, dynamics, and where the character might speed up or slow down based on her thought process or mood”

Once I have a good general understanding of my music, I book a few coaching sessions with a close friend who is a fantastic pianist, to really drill everything musically. In the early stages of learning a new role, it’s important for me that I work with someone who is happy to “note-bash” any sections I’m finding tricky, and who I feel comfortable making mistakes in front of. Working with a musically-precise and non-judgmental friend works well for me!

All the roles in Così fan tutte are quite sizable – there is a lot of time on stage for each character, with a huge amount of music and text to memorise. The sections that are the biggest challenge to memorise are the big ensembles – particularly the finale in Act 1 which is a beast! There are so many rapid phrases, character singing over the top of each other, close harmonies, and the rhythms have to be so precise or there is a danger that everything will fall apart. In the early stages of my preparation, I’m already feeling the fear about these ensemble scenes, but I think this will be familiar for anyone who has tackled a role in Così…

Once we arrive in the rehearsal room for our first staging session at St Paul’s Church in Clapham, the preparation we have done in our own time will become useful in informing the show as a whole.

Our director Ashley Pearson has fantastic plans for the production, and I immediately feel like we’re in safe hands under her dramatic guidance. Ashley asks us all to go through the score and write down anything that our characters say about themselves, anything the other characters say about them, as well as anything that our characters say about the other characters. This is such a useful process that can be applied to any opera role! By going back to the libretto as our starting point, we can uncover concrete facts about the character and their relationships, as well as any questions that we could explore in our staging rehearsals to shape our own interpretations. Already some interesting choices are being made by the cast and it’s so exciting to see the roles coming to life with such individuality so early in the rehearsal process.

So that brings us to today – a staging rehearsal on a gloriously sunny London day. This afternoon we will be tacking the Act 1 sextet – one of those aforementioned tricky ensemble numbers! Here goes...

Talking Auditions with Ashley Pearson

Ashley holds an MFA in Theatre Directing, and studied in London, New York, Moscow and Amsterdam.

She was Associate Director of Opera Works at the English National Opera and a Staff Director with Olivier award-winning OperaUpClose, where her work includes Carmen, La Traviata and Ulla’s Odyssey.

She is a playwright and librettist and holds a B.A.Sc. in Mathematics. Recent credits – Director: Die Zauberflöte and Orpheus in the Underworld (St. Paul’s Opera), The Chairs (Corbett Theatre); Assistant: Les Mamelles de Tirésias, Une éducation manquée (Royal College of Music), Dispatches (ENO). Most recently, Ashley was an assistant director of Macbeth at the Royal Opera House.

We caught up with SPO director for Così fan Tutte, Ashley Pearson, to talk through the whole process of finding the cast for the production.

Q: How did you approach the auditions process for Così fan Tutte?

A: One of the most crucial elements in the build-up to SPO’s next production – Così fan Tutte on 29 and 30 June – has been the audition process.

 Finding the right cast for an opera is much more than choosing great voices, though that, obviously, is key. Strong acting skills are equally vital as is finding performers who complement each other.

But I’m getting ahead of myself…

St Paul’s Opera is clearly making a name for itself – after we put the word around that we were looking to cast Mozart’s comic opera this summer, we were inundated with interest from talented young singers. As with every other opera company, we had far more female singers than males auditioning… come on you tenors, baritones and basses, where are you?

We have an open-door policy at SPO and we saw almost everyone who responded, so our auditions had to be spread out over a three-week period; we had six sessions in all.

Q: With so much interest, how did you select from all the people who auditioned?

A: The first task when setting up the audition process was working out what we want to hear. We asked singers to prepare something by Mozart and also an additional Italian aria— so we knew they could handle both his style and the language.

In retrospect I would liked to have heard a comic aria as well… many people came with ‘serious’ material which showed one set of skills but proved less helpful for finding performers with comedic chops. While musical director Juliane Gallant concentrated on the voices, I try and direct everybody in the audition to see how – or even if – they take direction.

Each audition lasted about ten minutes after which we sat down with the candidate and had a chat to find out why they were interested in the part and, equally important, for them to discover what kind of a company we are. They also needed to know what they would be getting into as it’s a big time commitment for the performers involved.

Q: Beyond strong singing and acting, what qualities were you looking for in the auditions?

A: One of the things we do really well here is create a company of players who have a genuine chemistry together and that’s where taking accurate audition notes is integral… you need an excellent memory backed up by accurate contemporaneous notes when attempting to match people who auditioned days, and even weeks, apart. It was especially difficult this year as standards were exceptionally high.

At the end of each session, Julianne and I together with producer Tricia Ninian would get together to discuss who we’d just seen. We’d talk about how they sang, how they acted, which parts they were interested in and generally discuss what we thought of them.

Any stand out performer was obviously noted but, in fact, because we had so many great people we started to group them based on how we thought they would interact together. It’s that chemistry again – something that’s so important in this opera: unless the audience can believe the emotional complexities of the four lovers on stage, the whole thing falls apart.

At the end of the auditions, we wound up with four possible casts… something of a luxury! Necessary, though, because things change. Someone available for the opera at audition time might no longer be available when actually offered the part. And that could impact on someone else we had thought would work well with that particular performer.

That said, we have a fantastic cast who are gelling really well.

Q: You have also cast covers for the opera’s key roles; tell us a little about that?

A: Yes, for the first time at St Paul’s Opera we have a cast of covers, each ready to step in should one of the main cast members drop out for any reason.

In a larger opera house, the first role a young singer will get is often as a cover. Knowing how to play a major role in front of a large audience after very brief rehearsal time, often without any of the cast one will actually perform with, is one of the most significant challenges a young singer can face. That’s why we wanted to have a cover cast who will get first hand experience of this unique way of preparing for a role.

In the week of the opera, the current plan is to have full dress rehearsals with the main cast and chorus on the Monday and Tuesday and a performance by the cover cast and chorus on the Wednesday with viewing restricted to friends and family. Everyone takes a break on the Thursday and then we have the full production over two nights on the Friday and Saturday.

And on the Sunday, we will, no doubt, be thinking about what we should stage in 2019 …

David Butt Philip - Masterclass

David Butt Philip is one of the most exciting young helden tenors Britain has to offer.

He enjoyed a successful Glyndebourne 2017 summer season singing the role of Laertes in the critically acclaimed brand new production of Brett Dean’s Hamlet, and he is now performing the opera’s title role in the Glyndebourne Tour this Autumn.

David is taking time out of his busy schedule to give this Masterclass to five of St Paul’s Opera's talented singers, some just starting out on their operatic career.

As well as helping them develop new skills, the Masterclass will provide the audience with a fascinating insight into the crafting of an operatic aria, not to mention the chance to hear some wonderful music.

Catching him between performances, ahead of the Masterclass, we asked David how he sees the evening unfolding.

St Paul's Opera

What do you see a Masterclass to be about?

David Butt Philip

Primarily it should be about giving the singer something to take away, however small, that will be of use to them in their work. But it's also about providing a small insight for the audience into the nature of the work we do, and the craft behind a performance.

SPO

Tell us about the first Masterclass you attended: who was the "Master" and where were you in your career? What did you take away from the experience?

DBP

I think the first masterclass in which I participated was with Susan Bullock. I was an undergraduate baritone at the Royal Northern College of Music and only beginning to explore operatic repertoire. I sang Billy Budd but she talked primarily about communicating the text, not singing, which was fascinating and refreshing if somewhat surprising to me at that stage.

SPO

How will you approach teaching each singer at our Masterclass? How can you teach something of value in such a short time?

DBP

The easiest things to address in a short time are issues of interpretation and performance, where just a thought can make a significant difference. Teaching genuine vocal technique is much more complex and time-consuming, which is why most people tend to avoid it in a Masterclass setting.

SPO

You’re a tenor but we have three sopranos, one mezzo and one tenor as candidates. How can you help other voice types?

DBP

Simply the basics of singing, such as intonation and breathing, are common to all voices.

SPO

What do you want each candidate to come away with from the Masterclass?

DBP

Anything at all that's useful to them! Every singer and every voice is different, that's the beauty of what we do. So, what is helpful for one may not be to another. But learning from colleagues has been invaluable to me, so all experiences like this help prepare you for the future.

SPO

We’re hoping for an audience with a broad experience of and an interest in music. What might non-singers take away from it? Might it all be too technical?

DBP

I doubt it. It’s unlikely I'll address many delicate technical issues – that's the role of the singer’s regular coach/teacher. I’m sure music lovers will be interested in the way that we, as artists, prepare a piece or role for performance. It’s a chance to peak behind the curtain.

SPO

Many thanks David. We are all really looking forward to the Masterclass at St Paul’s Church, Clapham, on Monday 13th November.

View from the stalls - by Mary Lucille Hindmarch

Mary Lucille is an exiled Geordie but a Londoner by adoption and a semi-detached member of St Paul’s Church, a building and church yard that she loves.

She was brought up in a busy industrial town in S E Northumberland and heard her all her first music on the wireless and the local Presbyterian church, two members of which went on to pursue singing careers with the Royal Opera.

Her own ‘career’ as a singer reached its zenith at University when she sang Second Witch (typecast?) in Purcell’s Dido & Aeneas; she was also cast as Juno in Offenbach’s La Belle Helene and a harridan of a wife in Smetana’s The Bartered Bride.

In London, she sang in various choirs, large and small, but came rapidly to the conclusion that her contribution to music was almost certainly greater as a bum on a seat (or pew), an enthusiasm that she enjoys sharing with sceptical friends.

Some of you may remember an ad for Guinness along the lines: I know I don’t like it, that’s why I’ve never tried it.

All too often that’s the response I get if I invite friends to join me to see a Puccini or a Mozart or a Bizet (they’re always too Bizet!). And as for Benjamin Britten… All of which is a very great shame as I reckon that they’re missing out on some of the most thrilling, moving and complete theatre they can ever hope to experience.

The wonderful St Paul’s Opera has performed a range of operas for the past four summers in Rectory Grove in the heart of Clapham, at its oldest parish church. Preaching to the converted? Or is SPO also doing a little missionary work for that troublesome thing opera?

No conversion necessary for this Clapham-dweller, though I would be more than delighted if this initiative by several first rate, locally-based singers and musicians (among them founding principal soprano, Tricia Ninian, and founding director, soprano Jennifer McGregor) led to folk who previously have had no interest in opera, imagining it would not be their ‘thing’, to give it a go.

I am sad that, in this country at least, so many folk who are otherwise delighted to be entertained by all types of music and drama, see opera as worship in some inaccessible temple of high art. Happily here it’s open to any of us in SW4 to enjoy annual imaginative staged opera performances of high quality at very reasonable cost – £25 a ticket.

At risk of sounding like a poor woman’s Alan Bennett (he was so excited by his first opera – ‘Der Rosenkavalier’ at Leeds – that he clutched the gold safety rail so hard he had gilt over his hands when he emerged), I got my first taste of song, music-theatre and opera itself in my local community in the north of England and at home via the ‘wireless’ and TV. Hard to remember how few radio programmes and channels there were then so that we experienced homogenised exposure to arts and entertainment.

But we also had many talented musicians in our midst, singing oratorio (and what are oratorio essentially but opera in plainclothes?) in church or at the Newcastle City Hall and, of course, in the local operatic societies ‘rocking’ Rodgers and Hammerstein, Lerner and Loewe, and Gilbert and Sullivan. St Paul’s Opera, I feel obliged to point out, in no obvious way resembles any local operatic society I’ve come across…

These performances were full of delights which truly demanded suspension of disbelief: surely Mrs E, at almost 58, was a tad, er, mature to be singing Little Buttercup in Pirates? How was it that the nervous, tongue-tied youth from the haberdashers (one of nature’s Albert Herrings?) proved unaccountably a whizz at the G&S patter-songs? If ‘Uncle’ G carried on at the same rate with the Scotch would he become the same colour and girth as his stately double bass?

From this fertile Northumberland ground (not least from our state schools which in the ‘50s and ‘60s sponsored arts education in every manifestation) emerged some impressive professional singers, including sopranos Sheila Armstrong, Janice Cairns and Maria Moll; tenor Andrew Kennedy; and the late, great bass Owen Brannigan, whose funeral procession in 1973 brought the pit villages of south east Northumberland to a standstill.

My own first experience of ‘proper’ opera – possibly improper opera – came one soaking wet evening c. 1966 at the Ashington Technical College when I heard The Marriage of Figaro performed by Opera for All – paid, I imagine, by the Arts Council to take opera to any community that welcomed the chance to hear it. In my fantasy memory Cherubino was sung by Janet Baker, though I have no hard evidence of this.

Thus began a literal enchantment with opera that has taken me to several of the ‘high temples’, including Glyndebourne and Bayreuth; to the Clapham Picture House – hurrah for live streaming; to the modest-sized parish church of St Endelion in Cornwall to hear, of all things, Die Walkurie with the incomparable John Tomlinson, who was deputising – gratis – for Wotan, who had a cold.

And meantime here is our very own St Paul’s Opera which brings together fine singers, who happen to live locally, with fledgling, professional newcomers nestling in the nearby London conservatoires. No running for that last bus home in the midst of a November Northumberland sea fret; no attaching crampons to reach the amphitheatre of the Royal Opera House; no fretting about whether the salad will survive the journey to Sussex on the hottest afternoon of the year.

Just a stroll around the corner from home (with any luck accompanied by a sceptical friend newly ripe for total immersion in the operatic font). What’s not to like?

Mary Lucille Hindmarch

Gone off the Bach? Try Offenbach - by Ashley Pearson

Ashley Pearson -SPO Director

In any opera we expect to appreciate the music and Offenbach packs in some stonking good tunes.

In fact, the music of Orpheus in the Underworld has become so ingrained in our popular culture that you have doubtless heard it in commercials, being hummed in coffee shops, or reinterpreted by popular musicians - almost on a daily basis.

But with Orpheus, the music is only the beginning. One of Offenbach’s great masterpieces, Orpheus in the Underworld is one of the most performed and popular operettas in the world, but it wasn't always so. When it first premiered, notable reviewer Jacques Janin called it “an assault on common sense,” the resulting scandal, of course, is responsible for much of its early box-office success.

In a world where status, power and respect are all contingent on reputation, Public Opinion reigns supreme and keeping up appearances becomes the job of a lifetime (or afterlife, as the case may be). Unfortunately for the characters, this job often comes into direct conflict with their desire for excitement. The show is laden with wit, political and sexual satire, and some great characters to boot. Public Opinion seeks to rework the classic Greek story of Orpheus and Euridice to make it a moral tale for the ages. A mortal couple, bored with their marriage and seeking entertainment elsewhere, they end up travelling from earth to Olympus and the Underworld in an ill-advised quest to save face.

Orpheus in the Underworld is one of the most performed and popular operettas in the world, but it wasn't always so. When it first premiered, notable reviewer Jacques Janin called it “an assault on common sense,”

Offenbach brilliantly satirized the establishment of his time, and in our time, what greater establishment is there than corporate commercialism. The Gods of Mount Olympus are constantly on display for the mortals— imagine they exist in a shop window. If Harrods or Selfridges did a “Greek Gods” display this would be it. Everything is perfect, clouds of tissue paper and beautiful shopping bags adorn the set, everyone is a perfect mannequin – dull and bored out of their minds – ambrosia is the ‘food of the moment,’ (think coconut water and chia seeds). But in the Underworld appearance is very different, it’s all about wine, spirits, and a dirty burger.

Offenbach was preoccupied with the sound of language. With an almost Shakespearean wit, he consistently employed onomatopoeia to illustrate character— when Diana sings, we hear the sounds of the Goddess of the hunt; “Ton ton ton tae ton ton.” With Mercury, the fleet-footed “et hop, et hop,” — the nimble steps of the messenger of the gods. There’s also an aria in which Cupid sings in kissing noises, and a duet with some buzzing— but I won’t give that away.

The legendary Can-Can, the most well-known of the music in the opera, is only one in the wave of hummable, catchy and addictive tunes that give Orpheus its enduring charm. But that’s just the beginning and this is truly operetta at its best. It will make you laugh, it will make you think, and most of all, it will leave you with some seriously great music seriously stuck in your head.   

Ashley Pearson

Director

How To Choose An Opera - by Patricia Ninian

Patricia Ninian - SPO Founder, Producer & Principal Singer

In a previous life of food PR, I used to gird my loins on the last day of trading before Christmas, to take calls from clients needing moral support in the wake of discussions with their supermarket customers demanding multiple ideas for the Christmas range for the following year. Hadn’t the poor clients suffered enough sweating blood for the current year?

Thinking back to the dress rehearsal of Die Zauberflöte, St Paul’s Opera’s 2016 production, I was asked by more than one member of the cast what was in store for 2017. Well, one could read that as flattery, but maybe more a case of déjà vu, albeit in a parallel universe.

The truth is, the selection process never starts nor finishes. The ideas are constantly around. It may be a costume that inspires, or a production, a play, a discussion, or knowledge of available voices that would make the perfect ensemble, say for Cosi fan Tutte or Carmen. And, of course, you can also ask your audience what they think!

At St Paul’s Opera we are in a position of privilege – the privilege of youth. With only four years of opera productions under the belt (Giannia Schicchi / Der Schauspieldirektor, Turandot, Don Giovanni and Die Zauberflöte) we have a vast selection of classic operas to choose from. Ah, but that’s putting it too simplistically. And undoubtedly offering too much choice. Here’s what I mean.

We could look at the early works – Montiverdi’s L’incoronazione di Poppea, Purcell’s Dido and Aeneas, or one of Handel’s, such as Rodelinda or Giulio Cesare – all very tempting.

Mozart, although already explored by SPO, offers many more delicious titles (and requests are plentiful). How about everyone’s favourite, Le Nozze di Figaro?

The Bel Canto repertoire is extensive and glorious – it’s hard to resist classics such as Rossini’s Il Barbiere di Siviglia, or Bellini’s La Sonnambula, let alone the fun of Donizetti’s cheeky L’elisir d’amore or the florid history of Anna Bolena.

Verdi’s marvels Rigoletto and La Traviata are failsafe crowd pleasers. Puccini moves us into the Versimo opera of gutsy and heart wrenching classics like Madama Butterfly and La Boheme that not-nobody can resist.

Britten is the classic Marmite option. Beautiful but perhaps a tad too challenging – Peter Grimes or The Turn of the Screw anyone?

And how about Jonathan Dove’s Flight? Right on 21st Century classic repertoire.

And we haven’t even started on the audience favourites in the operetta repertoire – too many G & S to mention, Die Fledermaus, The Merry Widow? Aaagghh! …Stop.

“Errrrmmmm… excuse me… what about Richard Strauss… or, er, dare I mention… Wagner…?”

I. SAID. STOP!!

And so it goes. But at some point, choices must be made. So, let’s strip it back a bit. There are hundreds of wonderful operas to choose from. But nothing is ever that simple.

Let’s start with the fact that we all want to put on a production that is as something we can all be proud of. That means it has to delight the audience, challenge the singers and musicians, inspire the Musical Director (MD) and provide dramatic fodder for the director (or in our case, plural). It also means a show must put ‘bums-on-seats’, as we are, after all, a charity event and fledgling artistic business.

So, we have a vast repertoire to choose from, and some commercial considerations to take into account. But there’s even more to consider.

Whatever we choose has to appeal to aspirational singers who see a role that will look good on their CVs along the stepping stone of their career. We have been very successful in attracting emerging talent from London’s top conservatoires, and long may this continue, as it inevitably means that the level of musicianship and artistic quality benefits the overall production.

And we must not forget that the emerging talent reaches beyond the singers. Let’s ask one of our directors, Ashley Pearson, where their inspirational choice lies?

“As a young director in London, it’s rare to have the opportunity to work with a company that provides the range of choice and support that SPO has given me. I often come into a job which already has a show, a cast, a venue, a strict budget, and perhaps even a general concept. I think all directors have a ‘bucket list’ of shows they’d love to work on…”

Alright: all good stuff, and we have our ear securely tuned to these sources of opinion. However, we mustn’t forget our audience who, last year, voted with numerical as well vocal volume with sell out crowds on two nights. A completely random poll didn’t really throw up any clear winners as to 2017’s choice. However, what it did tell us very clearly was a) they thoroughly enjoyed their evening with St Paul’s Opera and b) that they would be returning for more this year.

So there it is. A clear cut directive on how to choose an opera. Yes?

No, of course not! After all, this is art!

So maybe we want to find an opera (or –etta) that isn’t quite the regular repertoire, something that perhaps the members of our audience, who are regular opera-goers, haven’t seen in a while, or something that delights and entertains many of the SPO fans who enjoy an evening of community entertainment (given the popularity of the pre-performance picnicking) as much as classic opera values.

“Hey”, we said, “…how about,” we said, “…the last time it was performed,” we said…

And there it is………Orpheus in the Underworld!

And on the basis that, when you decide your new car’s going to be a red Fiat, that’s suddenly all you see out there on the circuit. Oh well, imitation being the highest form of flattery and all that.

So, while there may be a couple of other productions of Orpheus kicking around out there this year, we can certainly guarantee that ours is going to be an evening to remember. (Are you ready to can-can?)

(Vicar: “Excuse me: I love La Boheme!”

Us: “Yes OK Debs. Maybe next year.”).

Patricia Ninian

SPO Founder, Producer and Principal Singer