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Opera for less than the price of couple of pints
Dying love: Anita Hartig as the terminally ill Mimi in a freezing cold Paris in WNO's La bohème. Picture: Catherine Ashmore
WELSH National Opera is keen for more young
people to be moved by the power of classical music. The Under 30s'
ticket scheme offers hugely discounted tickets to main house operas and
concerts across its touring venues. Many staff at WNO fall into that age
bracket and tell Diane Parkes how
opera has already transformed their lives. Musician Sarah Thornett first picked up
the violin at the age of four and went on to study music at the
University of Birmingham - and yet she didn't discover opera until
earlier this year. The 24-year-old from Bournville in Birmingham,
who now plays first violin with Welsh National Opera, says she just did
not realise what she was missing. “The first opera I
actually watched was when I was on trial with WNO,” says Sarah who
joined the Cardiff-based company in March. “I watched the dress
rehearsal for Madam Butterfly.
“I was under the impression that I hated opera –
I just thought it was about sitting for hours and hours listening to
people wailing. I just thought there was something very pretentious
around opera.” But for Sarah, who also took a Masters in music
at Royal Northern College of Music in Manchester, that first performance
was a revelation. “I thought I didn't like opera but actually that
was because I had never seen it. When I went to the dress rehearsal it
was really amazing. I thought I might be bored but the whole thing just
flew by. It was so emotional that I was crying before anything bad had
even happened. And now a whole new world has opened up to her. “I recommend opera now to lots of people. When
WNO were in Birmingham in the summer I got some tickets for some people
there who had never seen an opera – and they loved it too.” For Sarah, it is all about giving opera a chance. “I have had people say to me they wouldn't
understand it because it is all in a foreign language but there are
surtitles so that isn't really a problem. When you go you just become
totally involved in it.” Sarah is now looking to tick off a few more
operas. “It isn't easy to see the operas when you are
actually playing in them. You hear them and can see a bit from the pit
but you don't have the time to watch them because you are playing. But I
would really like to see La bohème. It is the classic love story
that everyone knows. I was in a concert performance of it with City of
Birmingham Symphony Chorus and Andris Nelsons at Birmingham Symphony
Hall and I could hear it all and knew something heart-wrenching was
going on but I would really love to see the full production. “And WNO are doing Tosca this autumn which I am really looking forward to. It is a really exciting time for me and I am looking forward to each new season and learning all of the new operas that we will be doing. Serena Farnocchia (Anne Boleyn) in WNO's Anna Bolena. Picture: Robert Workman Most of the orchestra know a lot of these works
inside-out but for me, most of it is still so new. It is nice to still
be learning.” Sarah believes education is also the key to
encouraging other young people to give opera a go. “I am a real fan of going into schools and
community groups and demonstrating what goes on in an opera. A part of
it is giving opera street cred. Some young people may feel they can't
say ‘I'm going to go and watch an opera' because it wouldn't be a cool
thing to do. But if they all get introduced to opera, and understand it,
they will feel differently about it. “People just need to be exposed to it. Even
though I started playing the violin at four I thought I hated classical
music until I was about 14 when I learned more about it. Then I said I
hated all contemporary music until I was about 18 and learned more about
it. And then it was the same with opera. “If we take it into schools and other places
where people are active they will be exposed to it. The sooner someone
has heard the music and seen everything that is going on onstage then
they will like it.” WNO assistant stage manager Karly Hill, aged 26,
admits to being another company member who initially missed the
attraction of opera. “I had always been involved in theatre and did
lots of am-dram stuff and did musical theatre in college,” she says.
“After college I did normal jobs, working in call centres, but still
went to see a lot of theatre, musicals and ballet – but never opera
though. I can't really say why not – I think I had a preconceived idea
of opera being for older people. “Then I applied for a technical theatre
apprenticeship with the Wales Millennium Centre and Welsh National Opera
and did that for a year. That was my first real opera experience and I
got to see it from every aspect.” And it was here that Karly, of Barry in South Wales, discovered a new love. “I saw La traviata in my first season. I
cried at that at the end of the studio run – before we had even got into
the theatre! Turandot was the first time I heard the whole chorus
sing and we had extra chorus for that so it was amazing. Then I loved
La bohème. Being into musicals I already knew Rent, which
is based on that story, so I found I wasn't watching the surtitles I was
just watching what was going on. And that show really looked like a
musical because it had projection. “The whole opera experience with a big orchestra can be so much greater than musical theatre where they only have a small number of musicians. The sound of opera is so amazing. I have been with WNO for a year and a half but I still get butterflies from hearing that sound. It is live and the singing is for real, they are not using mics or miming because they are doing ridiculous dancing routines. It is a totally live experience.” Judith Howarth (Mary Stuart) and Rebecca Afonwy-Jones (Anna Kennedy) in WNO's Maria Stuarda. Picture: Robert Workman Like Sarah, Karly believes education has a role
to play in encouraging young people into opera. “The thing is young people are often not taught
about opera. I think I assumed it would be big fat people singing really
loud!” she says. “You go on school trips to see theatre and ballet but
you don't go on school trips to see opera. Actually I am not sure why
because really opera and musical theatre are not that far apart. Now I
know more about it, I would just as easily go to an opera as musical
theatre. “I would say to anyone to give it a go. Some
people are worried about language barriers but since I have been here we
have done lots of opera in English and those that aren't in English have
surtitles. You shouldn't let any of that get in the way. I think things
that would have put me off until I gave it a go I then realised don't
matter. When you watch an opera you don't worry about the language.” And she is spreading that enthusiasm with people
still to discover opera. “Last summer I did the Real Princess tour
which was opera for under-fives,” she says. “We did The Real Princess
and it was small, one set, with three musicians and two singers.
It is to encourage children to get into opera from a young age. We went
to schools to try it out and the nursery children were just fascinated
at the people singing. And when we toured it, it was so lovely seeing
grandparents bringing their grandchildren to it. The children go and see
a prince and a princess - they don't see ‘opera'. That is the way to
encourage people – get them involved from a young age.” Principal timpanist Patrick King believes
companies need to be prepared to be different to attract young people
into the auditorium.
“Our repertoire choice is really accessible for
young people,” says the 29-year-old. “We have the traditional
stuff but also stuff from composers from the 21st century.
This season is really interesting as we have The Tudors with Donizetti's
Anna Bolena, Maria Stuarda and Roberto Devereux alongside
Puccini's Tosca. “People think opera is really expensive but with
our offer it is actually cheaper than going to the cinema. It is great
value for money to see live performance. A lot of my friends had never
been to opera before but have tried it because of my encouragement.” Patrick, of Great Yarmouth, says company
initiatives are only part of the story. “It is certainly our job to encourage young
people to try it but I would also love to see more opera on TV. I think
that would encourage more people into coming to see it. Programmes which
explain it maybe – but not just necessarily on BBC4. It would be good to
see snippets on The One Show or any kind of modern culture
show. You look at places like Germany and more often than not you turn
the television on and find a classical concert. We need to make
classical music and culture more mainstream. “Things like Classic FM and The Proms do a great
job at this and companies who do initiatives help to bring young people
through the door. If young people can meet and see young people in the
orchestra then I think that helps. There are a lot of young people who
work for WNO who are passionate about opera and about telling other
people about it.” For the 25-year-old Sophie Rashbrook, opera has
certainly become a real passion. And one that she is able to share time
and again by giving pre-performance talks with WNO. Which makes it rather curious that the Nicholas
John Trainee did not actually discover opera until just a few years ago. Sophie was part way through her studies in French
and Russian at Cambridge University when she undertook a year in St
Petersburg. And it was there she discovered opera. “I didn't really get into opera until my third year of university,” she recalls. “When I did my year abroad in Russia I was playing cello at the Conservatoire at St Petersburg and I had a student card which meant that I could go the Mariinsky Theatre quite cheaply and that is where I got the bug. Mary Elizabeth Wiliams (Tosca) and Claudio Otelli (Scarpia) in WNO's Tosca "I realised opera was the perfect combination of
languages, theatre and music. I realised I either had to work in this
industry or find an oligarch!” Fortunately Sophie, of Chelmsford in Essex, was
able to go for the work option. “My languages were a route in as I assisted on a
few Russian language opera productions. Then I went back to Cambridge
and did a Masters where I did a bit of directing. Then this role came up
at WNO and I was appointed and started in January.” Sophie's traineeship is a three year post with
mentoring from WNO Chief Executive and Artistic Director David Pountney. “My role now is a trainee dramaturg – it
literally means a ‘maker of drama'. At WNO the role involves doing
pre-performance talks for pretty much all of the shows. I really love
that as it is research but it is public facing and opening it up to
people. People have said it can help with understanding the piece. “I also do the surtitles. I have been doing them
for Anna Bolena which is amazing. You can't believe how dramatic
the text is without even hearing the music. And then I also do articles
for the programmes.” Sophie is the first to admit that cut price
tickets were her route into opera. “The reason I went to opera first of
all was because it was cheap,” says Sophie. “My student card made it
affordable. That is a great way to get people in and get them hooked.” Polly Graham, who is currently on a two year
placement with WNO as assistant director sponsored by the Genesis
Foundation, has her family to thank for introducing her to opera. “I got taken to a WNO Madam Butterfly when
I was about nine and I can just remember crying, crying and crying. My
family are really into opera and they would take me to see things and I
always enjoyed it. And we lived in Gloucestershire near to the RSC so I
was spoon-fed the arts from a very young age.” For Polly, knowledge is the key. “I have done education work with ENO and I have
been doing family workshops here with WNO and these are all ways to
break down stigmas about opera. Once you get people into the building
and into watching opera then it is fine. “When I was working on a project in London I took
a group of young people to see Madam Butterfly. Once they were
there they enjoyed it. It's about education and companies have a
responsibility to be pushing to get into schools and different sectors
of the community and presenting what we have got and make people realise
how exciting it is. “WNO do a really good job of that. So for
example, the family workshops we did for The Cunning Little Vixen
in the spring were good fun. All the parents who thought they were going
to have an easy time sitting in the corner did not.” Twenty-eight-year-old Polly, who is mum to
two-year-old Gabriel, adds: “Opera is very exciting. You have got
so many forces working together to express something at a sophisticated
level. That is why it is such a fascinating art form and so engrossing.
It is so exhilarating when you get it right.” *WNO perform Tosca on
Nov 12 and 16, Anna Bolena on Nov 13, Maria Stuarda on Nov 14, Roberto
Devereux on Nov 15 at Birmingham Hippodrome. There are free
pre-performance talks before all The Tudors operas and a free ‘new to
opera' talk before Tosca on Nov 16. Tickets: 0844 338 5000 and
www.birminghamhippodrome.com For more information see
www.wno.org.uk *The Under 30s offer runs throughout WNO's 13|14 season. To qualify for the £5 offer, you must be under 30. There are 50 tickets available at every performance for £5. Seats are located within first three price bands. ID is required for each ticket purchased and is subject to availability. |
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