Lucy Worsley’s Nights at the Opera
Presenter Lucy Worsley talks to Claire Jackson about her new BBC Two opera series to tie in with the landmark exhibition at the V&A
Your series focuses on particular cities at particular moments and how they inspired specific operas. How important is historical context in understanding opera?
Looking at opera through the lens of time and place is what fascinates me as a historian. Opera is a valuable record of what was happening in a given period, as well as being a wonderful creative art form. I like to bring a historical tinge to musical territory such as when I presented Mozart’s London Odyssey for BBC Four back in 2016.
Are you an opera fan?
I like opera, although I don’t know that much about it. In the documentary, I talk
about the historical context, and Antonio Pappano, the music director at the Royal Opera House, explains the various arias that have been selected to represent each place. We start in Venice in the 17th century with Monteverdi’s L’ incoronazione di Poppea, and we end up in Dresden in the 20th century, exploring Strauss’s Salome.
What was it like working with conductor Antonio Pappano?
Tony is a genius at making people like me who don’t have a strong knowledge of music aware of what’s happening, and explaining the nuts and bolts of the work. It was a pleasure to work with him. I’ve had a glimpse at what it must be like to be one of his singers in a coaching session; I’ve met singers who say ‘he’s changed my life’ – they become his disciples.
Did you learn anything new while making the programme?
I had a lesson with American soprano Angel Blue and she taught me how to die.
Er...?
Specifically, how to die on stage as Mimì in Puccini’s 1896 La bohème, which Angel has done in 36 productions. Firstly, you ask the director not to position you on a couch, because that’s how it’s always done. (Angel told me that she once got to die on a piano, which was the most exciting time.) Then, you lie back, shiver, and you roll your eyes to try to see your boyfriend Rodolfo, who is standing just out of sight. He’s a mod type and you’re in Paris in the late 1840s – people are being creative and starving, sort-of like modern-day hipsters. Mimì’s lifestyle has led to tuberculosis, this terrible disease that was the scourge of artists living in the garrets. Towards the very end, Angel suggests a tremor in the hand. I think it’s amazing that she’s able to sing and do all this, but Angel explained that anybody who is performing an opera at the Met [New York’s Metropolitan Opera] can sing and act in whatever position they are asked! Finally, the dying Mimì takes a great big breath, lets it all out and flutters her eyelashes. It’s very important that you go on being dead until the applause has finished.
Invaluable advice! Did you get to explore some interesting musical locations?
We visited some wonderful opera houses across Europe: Milan’s La Scala, the Palais Garnier in Paris, the Semperoper in Dresden and Venice’s La Fenice.
How did you decide which places to feature in your series?
The locations link to the Royal Opera House and V&A exhibition ‘Opera: Passion, Power & Politics’ (see p40), which is curated by Kate Bailey, who also appears in the programme. Kate took me into the conservation studio at the V&A where she was preparing several outfits to demonstrate how Mozart dressed; he would have actually worn more aristocratic clothes than we might expect for a freelance jobbing musician. He was moving through high society trying to get commissions off people. His opera The Marriage of
Figaro features characters who consort with their master and mistress, the count and countess, which was quite revolutionary at the time. Revolutionary with a small ‘r’ – the French Revolution has not yet happened – but Mozart is introducing characters that were like himself: aspirational.
Who else did you meet?
I also had a singing lesson with soprano Danielle de Niese, who has worked on the role of Monteverdi’s Poppea, from L’ incoronazione
di Poppea, set in bustling mercantile Venice where the protagonists depict real people. Danielle showed me how to create a living person – we performed a sexy duet.
I didn’t know you were a singer.
I am not a very good singer but I have a loud voice.
Who is this programme aimed at?
When making this documentary we wanted viewers to know that it’s OK if you’re not an opera buff. It’s for anyone who has an interest in opera and/or history. There are some lighthearted moments – we recreated Wagner’s Ride of the Valkyries, and I got to play Wagner’s piano. We also researched the scissors that were used in castration of castrati – unfortunately that part wasn’t included in the final edit. You show the instrument to men and they immediately cross their legs... Lucy Worsley’s Nights at the Opera will be broadcast on BBC Two on 14 & 21 October
‘I am not a very good singer but I have a loud voice’