Ben-San Lau on missing the atmosphere of Paris but loving life (and work) in London

Tricia Ninian, SPO founder, gets to know what’s going on in Ben-San Lau’s life – firstly, that he calls himself San.

Photo: Dave Buttle

San has just made a quick dash from the Royal Opera House in Covent Garden after a Turandot rehearsal back to his flat in north London to have a chat about his operatic life.

“I’m playing the celesta in the orchestra and it’s great to be part of the actual performances as well as the rehearsals,” San tells me. His current role is pianist and répétiteur at the Opera House, having recently also been involved in the Rusalka production, working with David Butt Philip (DBP). So, I’m digging around to find out how it was, working on the production with him.

“Oh, I’ve really enjoyed working with DBP and getting to know him a bit – we ended up having a couple of one-to-one working sessions alongside the full cast rehearsals. And what struck me was how much he absolutely loves his job, and also how much he is willing to experiment, which can be quite a vulnerable thing to do. He is very open to suggestions about different ways of tackling a role dramatically and musically, which must be a dream for directors and conductors. No sense of ego… a rare find!” Yep, this matches the DBP we know at SPO!

“Even the Opéra Bastille building (in Paris) is kind of scary, it’s a bit like an enormous, faceless spaceship – quite intimidating, really!”

There seems to be a real humility about San, and almost a surprise at finding himself in the world in which he currently works. But this is no accident, given his path to this status.

“After I’d done my undergraduate degree at Cambridge I then went on to the Guildhall School of Music & Drama – in fact that’s where I first met Ed [Whitehead, our other pianist for the Gala] – specialising in collaborative piano. I was already interested in opera but that’s where I found out that répétiteuring is a job! So then I went to the National Opera Studio – I think that was after DBP was there – and then, onto the young artist programme at the Opéra de Paris.” He recalls this, as if he were listing a just number of his recent holiday locations, instead of some of the finest music establishments of the world, in his humble way.

An interesting move, changing cities and cultures. How did that work out?

“Mmmm, it was my first time setting foot backstage in a big opera house, and my first time living abroad, and in Paris of all places… To be honest, I found the experience somewhat overwhelming. I mean, even the Opéra Bastille building is kind of scary, it’s a bit like an enormous, faceless spaceship – quite intimidating, really!

“The young artist programme at the time was quite different from, say, the Jette Parker at ROH – we felt a little isolated from the main house. But I met lots of lovely people, we got to work with some great coaches and overall I had a really good time. I do miss the atmosphere of Paris sometimes, but London feels like home,” San tells me, almost with relief in his voice.

So now that San is no longer a young artist, I’m keen to find out how he is gainfully employed.

 “Well as I said, I’m working at the Opera House at the moment, but I’ll be back with Glyndebourne in the summer working on Poulenc’s Dialogues des Carmélites and Stravinsky’s The Rake’s Progress. I was there last year working on the Poulenc double bill [La Voix Humaine and Les Mamelles de Tirésias] and I can honestly say it was a delight from beginning to end. Perfect combination of people and music, a really happy process – joyful, even!”

This sounds like the makings of a career highlight, even at this stage of his career. Are there any others?

“Actually, although my Paris experience was a bit of a mixed bag, it was such an exciting time. As young artists we could go and see all the operas and ballets for free which was obviously a massive privilege, often really inspiring. Also, we went on tours to China and Egypt! And I learned a lot about how opera works as an industry, and also a lot about myself… Which is a huge cliché but still important, I think!”

Opéra de Paris and London’s Royal Opera Houses have obvious similarities – grand opera stage, city centre venues, year-round programmes. Whereas Glyndebourne is the quintessence of summer festival opera. How do they compare for San?

“Yes, you’ve got a point there. Similar in many ways - lovely people, super high artistic standards. Probably the scale of the places is the biggest difference, and also the setting. To me ROH feels very exciting and ‘big city’; there are so many productions going on at once, both opera and ballet, so there are tons of people around. Glyndebourne has a more leisurely, family feel and of course it’s in such a beautiful part of the countryside. I enjoy being able to experience both, I’m incredibly lucky in that respect.”

Lucky? That humility comes through again. In this light, I press him to give me a little peak at what he’s hoping for the future.

 “Well, I really do feel fortunate to be where I am now, and I don’t want to take anything for granted… if I can sort of maintain the balance of things I have going on at the moment I’ll be happy. Freelancing can be unpredictable but you do get some nice surprises now and then, like this gala. For now, I’m just getting on with it and enjoying my job!”

Something we can all aspire to, don’t you think?

San in rehearsal for Rusalka at the Royal Opera House. Photo: Camilla Greenwell