Can you tell us about your role at OHP this year?

I am the musical director and conductor of the final production of the season, The Yeomen of the Guard, by Gilbert and Sullivan. It’s my job to make sure all the music is in top condition and to lead the singers and orchestra from the pit.

As the Musical Director of Charles Court Opera, you have conducted all of OHP’s recent Gilbert and Sullivan productions; what do you love about G&S?

I think Gilbert and Sullivan can be vastly underrated. It’s easy to forget quite how respected Sullivan was as a serious composer in the Victorian times. He had a wonderful gift for melody and is artful even when he’s doing pastiche, as he often is in the comic operas. And what more can be said about Gilbert? He was one of our finest wordsmiths and influenced so many who came after him. Sure, he can be intractable, but there is an artfulness to the writing that I think is unmatched until you get to Stephen Sondheim’s musicals. The pieces are still relevant (mostly), still funny, and still keep audiences entertained to this day – that is a rare accolade.

What are the differences between conducting an operetta like The Yeomen of the Guard as opposed to more serious operas of the same period?

Gilbert and Sullivan never called their works ‘operettas’ and I think many G&S scholars would take issue with that classification. They were referred to as ‘comic operas’ and of all them The Yeomen of the Guard is probably the closest to what we might class as ‘grand opera.  Obviously the main difference is that there is dialogue – but one might say that of earlier operas too; recitative is essentially ‘dialogue’. An important thing to say here is that a lot of precision is required. Unlike operas by Puccini, the text does more of the ‘heavy lifting’ than the music and it must come first. I spend a lot of time making sure that the ‘grammar’ of the lines comes across so that every joke and Gilbertian turn of phrase can land effectively with the audience.

The Yeomen of the Guard is often described as the darkest Gilbert and Sullivan opera. How is this reflected in the music and does it still feel like a standard, comical G&S piece?

Sullivan was bored with writing the frothy satires that he and Gilbert were known for, and in their correspondence we see Sullivan asking for a work where the comedy arose from genuine human emotions and situations, rather than from magical contrivances or ‘topsy-turvy’ situations. The Yeomen of the Guard was this work, and I think that is why it is seen as ‘darker’ than the other pieces. It also doesn’t have a happy ending!

Musically, Sullivan really rose to this challenge and the opera is grander than the previous pieces, more ‘opera’ less ‘music theatre’. Although I said earlier that the text does most of the heavy lifting, the music is far more present in The Yeomen of the Guard – the set pieces are bigger, especially for the chorus, and the piece more through-composed. Of course, Gilbert’s wit still shines through, but I’d say the work has many funny moments, rather than it being a ‘comedic’ piece. They really did manage to write a piece where the comedy arises from real human situations, and, as such, it is one of their best. 

Do you have a favourite Gilbert and Sullivan work?

It’s so cheesy because everyone says ‘this one’ when asked this question, but on this occasion it really is Yeomen. Followed by Patience.

The rehearsal process is different for our Gilbert and Sullivan shows, where the production period is shorter and more condensed. Can you tell us what happens during this period?

Well, obviously we have to cram in a lot in a relatively short period, but John Savournin and I are well used to working on the Fringe where there isn’t ever enough time. We sometimes split into multiple rooms in order to cover more ground and I’m often running between rehearsals to either conduct or hear what is going on in another room. Obviously there is also choreography to cover – and sometimes quite a lot – so that needs to be happening simultaneously.

The most important thing is that the support given by all the people at Opera Holland Park, from James and his team as well as all the stage managers and technical staff, is second to none, and we wouldn’t be able to do our jobs without that infrastructure in place. And a special shoutout to Richard Harker, the chorus master, whom I’d be lost without, and our fantastic repetiteur, Katie Wong, who are a massive help to me in the short timeframe.

How would you describe your conducting style?

Oof, that’s a hard question. I think that’s very important to remember, especially in opera, that conducting is a function, not a performance. It’s an essential part of the infrastructure and it is important to remember that it isn’t about you; it’s about making sure that everyone around you is getting clear, precise leadership, exactly when and where they need it. It can be easy to forget that when you are leading these big forces that are all staring at you! But that’s the answer I think – I’m aware of how I am a cog in a much larger machine, and I try to make sure that cog enables everything to run smoothly, rather than being a sticking point.

This is the fourth collaboration between Opera Holland Park and Charles Court Opera. What do you think has made this such a successful relationship?

I’ve said it already, but I’ll repeat it here. The support and belief from James and his team is what really has made this such a fruitful collaboration between the companies. Besides, what could be better than having such delightful pieces at the end of a summer opera season? They have very wide appeal to young and old and the works do a great job of selling themselves.

That said, of course John and I have been working on these pieces for many years so we know them inside out. We have a great affection for them and hopefully that is seen by the audiences.

Is there an opera that you haven’t yet conducted, but would like to?

Berg’s Wozzeck – it’s one of the greatest pieces ever written and I’ve been obsessed with every aspect of it for decades. I’d also like to conduct a Ring Cycle one day – I’m the répétiteur for the whole cycle at Longborough this year, which is just before Yeomen, so that’s a step towards it!

What is one piece of advice, musical or otherwise, that you’ve been given that has stayed with you?

Less is more. In almost all aspects of art making. Distil what you do/make into the essentials, especially with so much ‘short-form’ art available on Netflix, Youtube and Instagram. Say what you want to say clearly and economically – it will hit much harder with the audience, even if it feels simplistic to you.