Director Stephen Barlow’s acclaimed 2008 production of Tosca returns to our stage for the centenary of Puccini’s death. In this spotlight interview, the director looks back at staging over ten productions at Opera Holland Park, and he reveals the challenges and excitements of reviving a much-loved production.
Can you tell us about your role at Opera Holland Park?
As Director I am effectively the storyteller in chief, responsible for knitting all the creative elements together (musical, dramatic, visual) to tell the story of the piece in a coherent and imaginative way.
How do you prepare before the rehearsal process begins?
I always start by listening to the piece without looking at the score or reading the libretto. The sound world of each story is really important to me and I take note of my instincts and first impressions. Then I repeat the process but each time adding either score or libretto. And then I do the reverse – read the libretto in isolation and the score in isolation. I enjoy reading scores as if they are books and deciphering all the clues that the composer has put in them such as dynamic markings, key signatures and changes, tempi etc. I also do a lot of internet research into the period of each story – historical, visual and if necessary political. I refer to this as ‘rabbit holing’! You are never quite sure where it will lead but it’s always fun exploring in and around the subject matter. Once again, I am like a detective searching for clues.
Last year you directed the world premiere of Jonathan Dove’s Itch. How does working on a new commission compare to working on something as well known as Tosca?
There is surprisingly little difference. Each story has to be investigated, whether new or old. With a new work I guess there’s an added pressure or responsibility because you are effectively auditioning it for the public.
This production of Tosca was last performed in 2008. What are the challenges and excitements of working on a revival, especially a revival of a production that was last performed sixteen years ago?
Sixteen years is a long time, in fact it must be something of a record between a first production and a first revival – most revivals of operas happen within three to five years. When I was speaking to Amanda Echalaz about it last year we both agreed that we wanted to approach this as a re-visit rather than a simple revival. There will be changes, not least because the stage layout at OHP is now very different to what it was in 2008, and that is good because it means we can’t do a simple transfer of the original. Additionally, I have to be mindful of ‘if it ain’t broke…’ and therefore strike a balance between the old and the new in this re-visited production.
What kind of atmosphere do you like to have in a rehearsal room?
Fun, fun, fun! Shakespeare referred to actors as players and the concept of play is very important to me in a rehearsal process. I want the performers to feel relaxed, supported and know that they can contribute ideas freely without being self-conscious or criticised, as do I. The best work comes from a relaxed, creative environment. In essence, we are a group of grown up kids playing a sophisticated game of make believe. I often feel I’m still a kid pretending to be an adult!
Having staged over ten productions with us, do you have a favourite OHP memory?
So many but three in particular – the opening night of Tosca, my debut at OHP, was very special. Inevitably, when you’re performing in an outdoor venue you have to contend with the vagaries of the weather so it was really wonderful when at one performance of Flight there was a crash of thunder just after the Controller announced that flights were delayed due to a storm and the heavens opened soon after! And obviously last year’s world premiere of Itch was not just an OHP highlight but a career highlight for me.
From deciding to put on a production to opening night, what is your favourite part of the production process?
The received wisdom on this is the only two good bits are the job offer and opening night and everything else in between is just hard work! I admit to getting really excited when I see the set model for the first time. It’s that kid thing again – I’ve always loved models of anything and still build things with my lego set at home!
What are you looking forward to this season?
Warm sunny evenings!
What is one piece of advice, musical or otherwise, that you’ve been given that has stayed with you?
Just listen to the music. With your ears and your soul.
Find out more about Tosca.
