My Autumn will be spent touring around England and you will be able to hear me sing in York, Stowe, Warrington, Stoke On Trent, Todmorden, Bamford, and Leeds.
Next up I will be performing the role of Pandora in ‘The Fire of Olympus’ in York with Radius Opera. We will be appearing at the Joseph Rowntree Theatre on the 12th of October at 7:30 pm. ( Tickets Here )
Then the following weekend I will be appearing as Juliet alongside William Branston as Romeo in Arcadian Opera’s production of Gounod’s Romeo & Juliet at the Roxburgh Theatre, Stowe. ( Tickets Here ) Performances are at 7:30 pm 19th October and 3:00 pm 20th October.
Following Romeo & Juliet, I will be performing with pianist George Todica in a lunchtime recital at the Bold Street Methodist Church, 4 Palmyra Square N, Warrington on 26th October.
One of the highlights for me will be performing the role of Pandora in Stoke on Trent at 7:30 pm on Wednesday 30th October at the Repertory Theatre as my Grand Parents and their friends will be in the audience to watch. ( Tickets Here )
My last performance in the role of Pandora for Radius Opera will be at 7:30 pm on Saturday 9th November at the Todmorden Hippodrome, Todmorden. ( Tickets Here ) Although there will be a screening of the film of the opera that Tim Benjamin produced and directed that was so much fun to be a part of. The premiere will be at the Leeds International Film Festival at 7:30 pm on 16th November 2019 ( Tickets Here )
I have another lunchtime recital with pianist George Todica at the Bamford Chapel and Norden United Reformed Church at 1:00 pm on the 12th of November.
One of the great things about working as an opera singer is that I get to collaborate and work alongside so many amazingly creative and artistic people, who like me are passionate about what they do.
Whilst working on The Fire Of Olympus with Radius Opera this year I have had the opportunity to work under the baton of Ellie Slorach, a wonderful conductor who brought the opera’s music to life.
During a break in rehearsals, I asked Ellie if she wouldn’t mind answering a few questions so that I could share a little of her insight into the world as a conductor. I hope you enjoy what she had to say.
1 How did
begin training as a Conductor?
I began training aged 18 at University of Manchester because
they had a student conducting program and I auditioned for that and managed to
conduct all of the student music society ensembles in my time there, which was
amazing as the best way to learn is just to do it, with people in front of you,
much better than standing in front of a mirror or alone in your practice room. Then I went on to do my Masters at the Royal
Northern College of Music.
2 So how did you know you wanted to specialise in conducting before you started University?
I didn’t really know I thought it looked fun and I’d done a tiny bit at school with primary aged children, I’d led the rhythm sticks group rehearsals and warm-ups for chamber choirs, it was on my mind to do it as I really enjoyed it. I am naturally a leader so I thought that was a good aspect of it. When I got to University it had a great conducting program so when I auditioned for that at the end of my first year I didn’t look back.
I used to play the piano, the oboe and I sang, playing and
singing in ensembles – Mark Herron and Justin Doyle were my conducting tutors
at the time and they were the heads of choir and orchestra at the time and very
3 Who were
your musical influences?
My teachers at University I mentioned and definitely my teachers from where I studied at High School Anne Boult (Piano) and Jenni Phillips (Oboe) they were real influences on me at the time. I guess the big music world right now, we were really lucky at the RNCM to have Sir Mark Elder who came in to do masterclasses, he is very inspiring.
4 I saw on-line you were involved with New
Adventures can you explain your role in that company?
My role is for the production of Romeo and Juliet, a new production, I was the young associate conductor so I shadow the main conductor on tour to see how he worked with dancers and had little bits and bobs for myself, such as rehearsals, rehearsals with the cover Romeo and Juliet dancers in the different touring locations.
5 Now you are
working with Radius Opera on the Fire of Olympus what would you say are the
major challenges or differences between conducting for contemporary dance and
conducting for opera singers?
I think there are many similarities. For a start you are standing in the pit with the orchestra who can’t see the dancers or singers and you are the messenger. So the music isn’t the only focus of what is going on, it is the whole drama or the whole dance that is going on so the whole of the arts as a collaboration. So I feel that the role is similar in trying my best to accompany what is going on stage and equally, I have my own musical ideas to add to that and the dancers and singers bring their own ideas so I have to respect that too.
The artists also have logistical things such as the singers need to breathe, dancers need to breathe too and sometimes they need longer to take a breath, the logistics are similar but the main difference is that in the opera world the music Director has a say about what the singers are doing and will coach the singers, in the ballet world the music director is not a director and I’m not expected to tell the dancers how to dance. So, in the contemporary and ballet dance world, I’m more accompanying the dancers in a helpful role as a vehicle to help them dance better without coaching them. I can breathe well like a singer and in the opera world, it is more of a coaching role I can feel when a singer needs to take a longer breath. To see if dancers are falling out of turns etc. ballet conductors sit in a studio and watch for weeks and weeks.
6. What is your view on this opera we are doing now,
what challenges did it bring and what do you like about it?
The challenge of a brand new opera is there are no recordings and no-one has ever done it before so the good thing about that is we have some ownership over it as the first people to do it. This Opera is a kind of pastiche of Handel’s operas. So there are stylistic traditions but we’re not quite sure what traditions to keep and what to break. From a musical directors point of view, the music is quite complicated and hard for singers to memorise so I am trying to be as clear as I can with queues and word entries and I have to think about that more than an opera people know such as the Magic Flute.
7. As a conductor how do you bring the story alive through the music?
I’m driven by the drama in Opera, so when the orchestra arrives I have already had the privilege of sitting through the three-week rehearsals so I know what the drama requires from the music. For example where I need to shorten notes because there is a bang on stage or we need to lengthen a note because the singer needs time at that point to express their feelings more slowly and so on. So when the orchestra arrives I have formed my opinion of the drama so I know what needs to be done. The orchestral rehearsals are actually quite practical and become expressive as we build on our understanding of the on-stage action.
8. To finish what is a fun fact about you?
My hobbies aren’t that cool I have very standard hobbies, running and I really enjoy baking. I’ve just started bread making so fresh bread each week is my new thing I love the smell of it. I guess that’s a fun fact to finish on.
This week sees the start of the rehearsals in Manchester for Tim Benjamin’s opera “The Fire Of Olympus” in which I take on the role of Pandora in this modern-day adaptation from Greek Mythology.
The opera has been composed by Tim Benjamin who is also the artistic director of Radius Opera. As the driving force behind this project, I asked if he could spare a little time to answer a few questions and he kindly shared his insight with us.
1. The Fire of Olympus is a new opera, what inspired you to pick this subject?
In 2016 I wrote an oratorio, “Herakles”, for choir, large orchestra, 5 solo singers, and a narrator (spoken)
At the very end, the narrator, who plays the part of “Time”, a kind of mystical storyteller, says: “Perhaps now I shall tell you the story of Prometheus… but no, that can wait for another time.” The oratorio was a big success, especially with the choral society that performed it, and lots of people asked when they were going to get a sequel about Prometheus. And so the idea for this opera, “The Fire of Olympus” came about! While the opera is a very different style of piece, two of my collaborators are the same; Anthony Peter my librettist, and Professor Emma Stafford, of Leeds University, our resident Ancient Greece expert.
2. What musical influences have you used when creating the opera?
The main musical influence is Handel, specifically his
“Italian” operas such as Giulio Cesare and Serse. However, rather
than a pastiche (i.e. trying to make something exactly like a Handel), I have
actively tried to “steal” Handel, to make it my own, in a similar way
that one could accuse Stravinsky of “stealing” Pergolesi, or Britten
of Purcell. So I think the end result sounds initially a bit like Handel, but
on closer inspection, it’s something quite different…
There is also a strong personal, non-musical inspiration from Handel: his opera company in 18th century London, with which he directed many of his operas at the Queen’s Theatre, and practically defined the fashion for musical drama at the time. I would love to achieve something along those lines, in the modern world and context, with my company Radius Opera! So we are filming “The Fire”, in a very artistic way, and hope to use this popular contemporary art form (film) with the style of 18th-century popular opera, to forge something new and with broad appeal.
3. I think it was an amazing idea to use technology and pre-record large choir choruses, have you seen this done before? Or was it a completely new direction for you?
I have never seen or done this before, although I’ve created one or two large choral pieces. What appealed to me is the kind of person who joins their local choral society, then enjoys a wide variety of choral pieces from African Sanctus to The Messiah, performing alongside professional soloists, and develops a really fun-loving approach to music-making. I wanted to create something with those people, and give them back this new opera. And so we went and did numerous workshops, all over the north of England, and created this Chorus for “The Fire of Olympus”. It was huge fun and I can’t wait for them to hear what we’ve done!
4. What qualities do you think an opera company director needs to bring a project from inception to life?
Well, it’s hard, really really hard. There is basically no public funding for this – the Arts Council fund the big companies, but they have little money and many people competing for a slice of a diminishing pie, so they fund things like creative street festivals where the “bang for your buck” is greatest. It’s an inescapable fact that opera is expensive – perhaps the most expensive art form, particularly difficult at the “indie” level at which I’m working. I would say its only comparison (in respect of cost and difficulty) is film, which is also really hard to do well, and for which it’s also really hard to raise money for. However, with film, there are revenue streams – licensing deals, cinemas, TV – which don’t exist for opera, which really can only count on a theatre audience. And so, if opera is not subsidised somehow, ticket prices have to be high in order to pay for the work; so opera sometimes ends up accessible only to those who will pay the price. I hate that, as opera is truly an art intended for ordinary people to enjoy, much more so than (for example) chamber music or symphonic music.
I’m not sure if that answers your question! But for me, the hardest part has been trying, on one hand, to raise money and on the other hand to persuade people to donate things to us, while with my other hands, I try to create work of originality and high quality. So what does an opera director need to be? I would say an octopus. You need to have many hands…
5. Can you sum up the story, was it daunting to bring Greek mythology into a modern setting?
Zeus is a horrid, overbearing, manipulative man-child,
President of Olympus and all-powerful. Prankster-activists Prometheus and
Epimetheus accidentally steal his Fire, an ancient artefact that is the root of
Zeus’ might. He despatches his minions Hephaestus and Pandora to recover the
Fire, but they plot against him. So we end up with tragedy, comedy, passion,
and politics that I think are really resonant with our present
I did not think it was very daunting, though – the stories from ancient Greece are so fundamental to our culture, they almost can’t help but be familiar, yet teach us something new each time we hear them!
6. Did you remain true to the Greek legends and myths? If not, what changes have you incorporated?
The dystopian modern setting and characterisation are of course new, but apart from that, we have remained true to the myths. We have been assisted by Professor Emma Stafford from Leeds University, who is an expert on ancient Greece, but perhaps, more importantly, is a very keen amateur singer and actor!
7. When I storyboarded my role in preparation for rehearsals, I imagined Pandora as a Miss Sloane, Ivanka Trump, Karen Brady type woman, how do you see her?
She reminds me, a bit, of Claire Underwood in “House of
Cards”, but really she’s a super-ambitious self-made ice queen, who has
risen to the very top and has designs on Zeus’ position.
OK, that is not strictly true to the original Greek myth.
Pandora was “created” by the gods as a punishment for stealing fire –
in order to punish the first man, gods sent the first woman, effectively!! –
but we felt it would be more interesting to interpret this as a powerful career
woman who is flippantly destroyed by the man she helped secure in his position
Nonetheless, she is still sent with her “jar” (the word “box” is a mistranslation!) to punish Epimetheus; and it is true to the Greek that she and Epimetheus end up as an item, confounding the gods’ intentions, and found the race of men from whom we all descend…