Unexpected pleasures in this world dominated by Verdi, Mozart and Puccini
Helping boost spirits during current self isolation lockdown, we spotlight people’s lifestyle passions. Here retired education expert Mike Tilling talks about his love of opera.
Yes, I know, opera is not everyone’s salver of caviar.
And there you have it. Instead of reaching for an honest cliché like ‘my cup of tea’ I am drawn into an alternative that suggests elitism and exclusivity.
That is the reputation that opera has. Even in modern times, when all opera companies are trying to secure their futures by reaching out to a younger audience, performers still look out from the stage and see an ocean of grey hair breaking against the orchestra pit.
When you ask people why they do not like opera, they will usually come up with something like “It’s not for the likes of me” or “Suppose I do something stupid and applaud in the wrong place?” or “Don’t you have to wear a dinner jacket?”
It’s true that opera does have its rituals, but the solidly northern audience at Opera North cares little for tradition in that rigid, classbased sense.
For any performance, you will find a turnout dressed in a range of styles similar to the crowd in the Turk’s Head round the corner.
The company could fill the house every night by playing it safe with Mozart, Verdi and Puccini. But it does not.
These composers have their share in each season, but there is something dangerous in Opera North’s choice of repertoire.
‘Dangerous’ because what would happen if no one came to a new and/or experimental opera by a modern composer?
Opera is notoriously expensive to stage and Opera North depends on Arts Council subsidies, though only a fraction of what the Royal Opera House gets.
However, without subsidies, how could we get access to new works? I have seen Mark Simpson’s Pleasure and did not care for it, even with the likes of Lesley Garret in a starring role, but I was impressed by the risk taking involved.
On the other hand, some relatively unknown pieces like Leonard Bernstein’s Trouble in Tahiti introduced me to the wonderful aria There is a Garden: check it out on YouTube.
There are unexpected thrills to be had. I still recall the shock of seeing Anne Sophie Duprels in Puccini’s Suor Angelica.
She played the eponymous heroine who, hearing that her illegitimate son has died, poisons herself in the hope of joining him in heaven.
Just before she dies, she realises that she has committed a sin in killing herself and sings the aria Senza Mama. If you go to Youtube for this one, make sure there is a box of hankies nearby.
Nevertheless forgiven, as she walked into the light at the back of the stage, she dropped her nun’s habit and exited the-stage totally naked. It was unforgettable.
I could go on: the moment the audience rose as one to applaud Wagner’s Götterdämmerung – have you noticed how reluctant northern audiences are to get to their feet? - missing the opportunity to meet Phyllida Lloyd, who was directing an opera that year, but had also just won Awards for the Iron Lady and Mama Mia – I was too tongue tied to get a word out; being blasted out of my front row seat by the eight Valkyries.
There have been many collaborations. Singers from Opera North have taken major and minor roles in productions such as Showboat – with the Royal Shakespeare Company. It also runs an award-winning schools’ programme called In Harmony where children learn an instrument and then play with the orchestra.