Could you introduce your role with OHP this year?
I’m delighted to be coming back to Opera Holland Park this year with Scottish Opera. I will be conducting The Merry Widow in a fabulous new version by John Savournin. The company will also be presenting Trial by Jury and an exciting world premiere by Toby Hession and Emma Jenkins called A Matter of Misconduct!
At the meet and greet for The Merry Widow in Glasgow, you said Opera Holland Park was where it all started. Is that really how it feels to you?
Absolutely, James Clutton took a chance on me and gave me what I consider was one of my first opportunities to musically direct and conduct. The piece was Eugene Onegin. What was so special was the collaborative approach with the casting, which is something that has stayed with me in my new role in Scotland.
How would you describe your conducting style?
I should leave others to comment on this! I do hope I always bring a sense of character and always attempt storytelling with my arms…
You have had a prolific career with Scottish Opera, but this is your first time conducting The Merry Widow. What excites you about this piece?
The Merry Widow has some of the finest melodies ever written. They are infectious and really do stay with me long after a rehearsal, and indeed I truly believe the audience will leave a performance actively humming and singing the numbers!
Opera Holland Park is a unique venue with an open-air setting. Does this environment influence your approach to conducting?
There is always a huge sense of occasion at Opera Holland Park. The audience listens attentively and are always engaged. I think there is something very democratic about the nature of the shared space there.
You’re conducting the Orchestra of Scottish Opera for The Merry Widow. Can you speak more on what it is like working with them?
They are always so sensitive about the balance – something which they are very proud of. We often talk about their virtuosity of real pianissimo!
You’ve had a longstanding relationship with Scottish Opera as their Music Director since 2015. How has your work with Scottish Opera influenced your approach to working on productions with other companies, such as Opera Holland Park?
I suppose my approach to working with other companies other than Scottish Opera would be very similar. Serve the piece. Serve the music. Get the very best out of the singers and the orchestra.
What is an opera myth that you would like to see debunked?
The myth that opera is difficult to understand. Opera is one of the most visceral art forms. Music and words together with brilliant storytelling have always been a winning combination. When all three align, something intangible and overwhelming happens.
What is a piece of advice, musical or otherwise, that has stayed with you?
Treat every new work as if it were a classic, and every classic piece as if it were brand new.
Interview by Holly Bancroft
