Opera North: The Peter Grimes Blog

Coming to the End

2006-12-11T11:19:00.000Z

The final push of the tour saw Opera North head back up the country to Newcastle-upon-Tyne and the lovely Theatre Royal. It is always a joy to visit this highly individual city. I usually stay in an hotel in the centre, however this time the call of the on the Northumberland coast was too great and I found myself staying in a big house near Seahouses. I was not alone.

The house had been organised by Yvonne Howard (Aunty) and was big enough to fit several of "The Borough": Amy Freston (Niece), Stephen Richardson (Hobson), Giselle Allen (Ellen Orford), Christopher Purves (Balstrode) and Ethna Robinson (Mrs Sedley). Luckily none of us stay in character off stage, and we had a very relaxing time eating fine fare and drinking the odd glass of wine to ease the chill of the coastal wind! We were a stone's throw from Farnborough Castle and had a long walk along the beach here. Wonderful to be together and talk afresh about the sea and Britten and Peter Grimes. It was so beautiful and peaceful, yet the lap of the tide reminded us that we were in the presence of an all-powerful source that could be as dangerous as it is tranquil. This was made even clearer when we visited Holy Island. This was a place I had wanted to visit for a very long time. The time of year made it incredibly bleak. We stood and leant on the wind whilst looking out at the boiling sea. This really was Peter Grimes teritory. A great time was had by all, and the audiences in Newcastle were spellbound by the production.

Heading back to Leeds for the final three performances, I felt as if Peter Grimes was coming home. A kind of calm descended, and strangely I felt rather relieved that we were coming to the end of the run. This is to take nothing away from a fantastic tour, but to be honest I was starting to feel emotionally exhausted. For such a production to work, you have to give 110 percent every performance. With such a complex, on-the-edge man as Grimes, I suppose it was inevitable. We had three performances in Leeds, the last two back-to-back. Again, all three performances at The Grand were packed to the rafters. Jim Holmes conducted the last two shows, and his love for the music and energetic conducting swept us through the stormy music. Phyllida, who had been working abroad, flew back to join for the last night. This was an amazing experience. We had reached the last hurdle. We all received a wonderful ovation, and as the final curtain fell I wept like a child. The culmination of many months of preperation and the extraordinary experience released in tears of joy, relief and gratitude. The whole experience has been massive. I know that it was unique and I am so humbled to have been part of it.

I know Opera North have future plans for Peter Grimes. They are rightly very proud of their new flagship production, that was hailed in several national newspapers as the operatic event of 2006. It has been nominated for a South Bank Award, and I have been asked to attend this event in January with Phyillida and Richard Mantle. I can not quite believe it is all over. It has been a total privilege to share the experiences of the last few months with you. Dreams sometimes really do come true.

This fantastic journey has come to an end.

Jeff

[PS (from Opera North, January 2007): News just in - this production of Peter Grimes will be revived with many of the original cast members, including Jeffrey Lloyd-Roberts, in early 2008!]

Entering the final stages...

2006-12-03T12:00:00.000Z

Last week Opera North could be heard trundling down the M1 on its way to London. The innovatory quality of the company's work is very appreciated by audiences in the capital, and this season's offerings were bound to attract favourable crowds. However, there was a very special buzz around the arrival of Peter Grimes, as Sadler's Wells Theatre, where we were performing, was the hallowed turf where the great opera was first performed in 1945.

During the second World War this theatre, like many others, had been closed, and it was decided that Britten's first big-scale opera would re-open the house. It is hard for us to grasp, but there was a considerable amount of hostility to this at the time from a number of fronts. The modern nature of the music was seen as some as un-singable and un-playable, and the fact that Britten and Pears were conscientious objectors didn't go down well at all in some camps. Their personal relationship was also the source of much gossip.

Thankfully, there were many others who realised that the shadow of the war was not only cold, but seemed to stretch on forever. A new piece by the young English composer was what was needed. However, those expecting a nationalistic back-patting must have been shocked at this unveiling of a closed and somewhat harsh coastal community. The opera was an immediate hit.

We were warned many weeks ago that tickets were nearly sold out for this venue, and when the show received such wonderful reviews, the remaining tickets went overnight. Luckily I had booked several tickets for some family and friends well in advance.

I had performed at Sadler's Wells before, but as I left the tube at Angel and turned onto Rosebury Avenue, my heart leapt. I thought of Britten, Pears and all the folk involved in the premiere walking the same path, and wondered how they must have felt on their opening night. The theatre had been rebuilt since their day, but I felt an amazing sense of history at this place, and that in singing the role of Peter Grimes here I was perhaps becoming part of that history.

There was an incredible nervous energy amongst the cast, heightened perhaps by the fact that Radio 3 was present doing a sound check for a live recording at the second London performnce (to be broadcast in January 2007). As Richard Farnes started the piece, I couldn't quite believe that I was performing on the stage where this music was heard for the very first time.

I looked out into the audience during the first interlude, and tears welled in my eyes. I knew Britten and Pears were there in spirit. Both performances went very well indeed, and the ovation was quite incredible. Even in a theatre of this size, the atmosphere was tangible.

My brother and sister and some very good friends caught the show in London, amongst them my music teacher from my school days: Jonathan Gulliford. I wouldn't be doing any of this if it wasn't for him. He had also taught my siblings and we raised a glass in a little reunion after the show.

We are now entering the last phase of the tour and the final stages of our journey. I am determined that the remaing shows in Newcastle and Leeds be as vibrant and rewarding as the others have been. With only a handful of performances left, I am starting to feel a little strange, to be honest. I will soon have to say a fond farewell to Peter Grimes and let him go. I wonder if there is a help line out there somewhere?

Jeff

On the road

2006-11-21T10:14:00.000Z

The Peter Grimes band wagon is well and truly on the road. In fact we are exactly halfway through the tour.

To be honest, it felt a little strange leaving Leeds, which had been my home for nine weeks. However, the Lowry in Salford was calling, and off we all went. The Lowry couldn't be more different from the Grand. A modern building with a big wide auditorium that we were told was full to capacity on both evenings. Again it felt to me as if we were at opening night. The nerves as fresh and vibrant as the premiere. The production had received more extraordinary reviews in the Sunday newspapers, and we were all very aware that expectations were very high. Both performances were very well received, and I was able to meet up with some friends and have a catch-up after the second show.

Our next port of call was Nottingham. We were not met by Robin Hood or his merry men but by a beautiful little theatre, which felt very small coming from the Lowry. The side walls of the set were enclosed to fit into the smaller space of the Theatre Royal, and the shows here had a slightly claustrophobic feel that fitted very well with the concept and the close-knit Borough.

Onwards now to Sadler's Wells London, Newcastle and a final week in Leeds...

There is, of course, a part of our very own Opera North family that I have never mentioned before. These are the stage staff and the crew who run the performances and make sure all the technical elements of the show are in place. Needless to say how important these folk are, and as you would expect, Opera North has assembled the best people in the business. They also have to put up with a large group of nervous performers each night and have learned that some singers need to be held by the hand and some need to be told very firmly what to do. The team consists of Peter Restall, Sophie Higson, Ben Frost and Sally Lyndsay-German. In fact, Sally's last performance was in Manchester, and I just wanted to use this opportunity to mention her and the rest of the team. I have in fact worked with Sally at the Garsington and Grange Park summer opera festivals. The stage management attend all the rehearsals from day one. They take copious amounts of notes and keep detailed records of how the show is progressing. They have the unenviable task of keeping order during the whole proceedings. Great people.

I thought it may be an idea to share with you my experiences in the music of Britten thus far: my musical map that has led to Peter Grimes.

I was very fortunate to have attended a high school that was musically rich. As a keen eleven-year-old, I remember sitting in the Christmas carol service and hearing the girls' choir sing Britten's Ceremony of Carols. The musical language was new to me, and I hadn't heard anything like it before. I was too young to appreciate the subtleties in the music, but I remember the choir members were totally involved, loving every note they sang. Some of Britten's folk song arrangements also became familiar to me during my school days.

As an undergraduate at Lancaster University, I worked on Les Illuminations but was not vocally prepared or mature enough to do them any justice. On This Island was much more appealing, the poetry being more immediate. To my shame, I was probably more interested in meeting my pals in the bar than in studying the finer qualities in Britten's music.

My days at the Royal Northern College of Music introduced me to the operas of Britten and I was totally hooked. I sang the role of Lysander, one of the lovers in A Midsummer Nights Dream. (It was a long time ago, when I had hair!) I also prepared the role of Albert Herring which I was to sing shortly afer graduating from Manchester at The Garsington Festival. I also sang this role under the baton of Stuart Bedford at The Harrogate Festival. Stuart was Britten's right-hand man in his twilight years and conducted the first performances of Death In Venice. He is the leading authority in the music of Britten, so I was greatly privileged. The unequalled Dame Josephine Barstow sang Lady Billows, so it was quite an occasion.

Peter Quint in The Turn of the Screw was next to come my way, and I sang this at with Grange Park Opera and also with Opera Omaha in the USA. This is a very disturbing piece. Working closely with the boys playing Miles was in hindsight very good ground work for the complicated relationships Grimes has with his apprentice.

The breathtaking War Requiem was always on my hit list, and I was asked to perform this in Belgrade a few years back. My fellow perfomers will be known by many of you: Alan Opie (this season's Rigoletto), Lada Biriucov (a past Opera North Madama Butterfly) and the conductor Stephen Barlow.

I am so glad that I had sung these pieces of Britten before coming to the role of Peter Grimes. To have a feel of his demands in other areas of his prolific writings gave me a few more touchstones.

This journey, now in its performance phase, is still as rewarding and fulfilling has it always has been. The audience reaction, and the atmosphere at each show is thrilling and a little overwhelming. I wonder if Opera North knew they were going to unleash such a beast? I am very glad they have.

Jeff

On Stage at Last

2006-11-07T10:22:00.000Z

Opera North's new production of Peter Grimes opened on October 26th. The stage rehearsals went very well indeed, and Roddy Williams, complete with arm in plaster and sling, was back with us for the dress rehearsal. Alas, the cold that we thought had wreaked its havoc and moved on paid one last cruel visit to Giselle Allan, our Ellen Orford, and she was absent for this rehearsal.

With a few hours notice, her understudy Rachel Hynes was told she was on. She did a wonderful job with only a few hours rehearsal on the day. People are always worried that if the dress rehearsal goes too well it may lead to a somewhat iffy first night. However, with Giselle back with us for the premiere, the atmosphere was incredible. We all met as a cast and had a note session with Phyllida and a physical warm-up with Tim Claydon, the assistant director. This gets us in the zone for the performance. I was incredibly nervous, but the support and good will of my colleagues on stage and in the pit kept coming at me like the waves we sing of in the opera. The Grand Theatre was packed to the rafters.It was wonderful to see the place totally sold out, and even more wonderful that in its packed-out glory the newly-improved acoustics seem even better.

The performance couldn't have gone any better. Everyone was in tremendous form, and this incredible piece, with its huge demands, showed Opera North off at its best. Richard Farnes steered us through the wild storms and the calmer waters with unique skill and love for the music. It was the most exciting, rewarding, and thrilling experience I have had on any stage.

The atmosphere in the theatre was truly electric, and in the moments of silence it seemed to engulf us. It was for me a spiritual experience. In the unaccompanied mad scene at the end of the opera, this very atmosphere governed my every utterance. I had no choice in my timing really. The mood and energy in the theatre on this extraordinary evening is really something I can't put into words. The raw emotion that Phyllida had slowly pulled from us over eight intense weeks reached its natural climax and struck an incredible resonance with the audience. Britten's genius was as strong and mind-blowingly evident as it must have been at its first performance in 1945.

The reaction and appreciation at the end of the evening excited us all, and there were many tears shed in the dressing rooms after the performance.

Tears of joy and tears of relief. We had a good party afterwards.

The reviews for Peter Grimes have left me totally overwhelmed. I am delighted for us all, and we are all geared up for the tour in front of us.

I am a very, very lucky man. My dream is now a reality. I will never ever forget this night.

Jeff

Almost there...

2006-10-22T10:21:00.000+01:00

Our Peter Grimes opens in four days!!! I haven't been too nervous, but sitting down to type this, the last update before the big night, I have suddenly been visited by a large family of butterflies taking refuge in my stomach.

We still have an orchestral run-through and the dress rehearsal before we open. Everyone has upped their game, and the level of concentration is incrdible. Before I continue, I make a plea to all of you reading this to send very positive vibes and energy to Roddy Williams (Ned Keene). Poor Roddy had a nasty accident during the rehearsals on stage, and badly broke his wrist. He has had an operation, and as I write we are all praying he will be back with us for the opening night. As Roddy was carted off to Leeds General Infirmary by Jane Bonner (the company manager), his understudy Paul Gibson stepped forward from the chorus to make sure there was no hiatus in the rehearsal. The wheels of the slick Opera North machine started to turn, and within minutes the costume and wig Paul was to wear, if ever called upon to perform Ned Keene, appeared in the wings. All of this was done in a quiet, professional manner, a credit to the team work and trust between colleagues which is itself the hallmark of Opera North.

The dreaded cold, that had never been invited, hung around the Grand Theatre and, when I wasn't looking, paid me a silent visit. This was very frustrating. However, better at this point, allowing me time to recover before we open.

Apart from old Roddy, the rehearsals in the theatre went very well indeed. The improved acoustics are so very welcomed by us singers. It is a joy to sing in the theatre. The whole atmosphere of what we are trying to achieve has been transformed by the lighting of Paule Constable. The designer, Anthony Ward, is at hand and, with Stephen Rodwell, is making last minute alterations to certain costumes and in some cases making totally new costumes. Phyllida Lloyd, who had control of the piano stage rehearsals, gave way to Richard Farnes for his orchestral rehersals. At this point the music police are scattered about the theatre. Anthony Kraus (chorus master) is back stage conducting the off stage chorus and band. Annette Saunders (repetiteur) sits in the front row of the stalls, taking notes from Richard which are then relayed to us and worked on during the rehersal. Fiona McSherry, who has been working mostly with the understudies, is present, and Jim Holmes, the chief constable of the music police, sits in the front row of the dress circle. The musical preparation is being polished daily. We are nearly as ready as we ever will be to share our work with you.

Those of you who have shared my experiences over the last six months through this blog know how much this piece means to me. I am as humbled and excited by this fantastic work from Benjamin Britten as I was when I first heard it.

I am treading in the footprints of giants. Heppner, Langridge, Vickars and the great Pears himself. It would be folly to try and copy these fantastic men, as that would be a cheap impersonation. The work I began eighteen months ago, picking the brains of the country's leading coaches, has given me a freedom and a wide palette of colours from which to paint my own picture of this complex character.

My work at Opera North began in the mid 1990s under the eye of Christine Chibnall, the director of planning and casting director. I am indebted to her for her faith and guiding presence. At a meeting with her a decade ago, I remember her asking what my dream role was. Peter Grimes was my immediate reply. She said that if I developed as she thought I would and should then she could see me singing Grimes for Opera North in about ten years' time.

Those years have passed, and my dream is about to come true.

Jeff

PS. For those who were curious, I've added photos from my Sing-along-a-Sound of Music adventure to my earlier blog post!

Moving, a Sitzprobe and our own 3 Tenors

2006-10-17T10:11:00.000+01:00

We have a new home! The Peter Grimes production has moved lock stock and barrel into the Grand Theatre, thus beginning the final part of our rehearsal journey. I always adore this part of the process. There is nothing quite like the atmosphere in a theatre when everyone gets on stage. We all see each other in full costume for the first time. Some colleagues are unrecognisable under wigs and heavy make-up. We now inhabit our set properly for the first time as well, and get used to the lights, props and added space the theatre gives us.

The period before this move was very busy. Time was spent in the rehearsal room working on the big chorus scenes in far more detail. We also had our sitzprobe. This is a wonderful rehersal, where we all get together with the orchestra for the first time and deliver, in effect, a concert performance. However, as stated, it is a proper musical rehearsal, and there are several starts and stops to work on any changes needed. A shift in dynamics or tempo, or working on the overall ensemble. It was a fantastic occasion, although two of the cast were hit by the dreaded cold that has been doing the rounds, Alan Oke (Bob Boles)and Claire Booth (Niece) were both unwell. This gave their covers, Pete Bodnam and Joanne Dexter, a chance to take centre stage. They were both excellent.

Richard Farnes conducted as if inside the music itself, and we were all totally inspired. The orchestra is relishing the opportunity to play this fabulous score Britten has given them. Each player seems to take the spotlight in turn, with many little solos that are played with passion and wonderful clarity. The players were very generous to us all. I feel, to be honest, that I rediscovered the piece in a way that I didn't think was possible at this stage in the proceedings. When singing with an orchestra of this caliber, you feel as if you are being carried on a magic carpet. It was such a wonderful day. About 22 of us went out to have supper together that night, cast and covers together, and that was great as well.

Of course, I must not forget to tell you of another incredibly wonderful moment for Opera North this week. Some time ago I organised a trip for about 20 of us to go to the Sing-along-a-Sound of Music at the City Varieties. This was meant to be some light relief before the busy stage rehersals. We got in the spirit and dressed up, little knowing that we would be adding bounty to the prestigious Opera North Trophy Cabinet.

Ben Kerslake (from the tenor section of the chorus) and I won joint first prize as the best Nuns. Arwel Price, also from the tenors, won first prize in the single category as the infamous nodding woman from the song competition near the end of the film. It was our own unique twist on the Three Tenors.

They say that time and tide wait for no man, and neither, it appears, do the Leeds Christmas Lights. They appeared about two weeks ago out of thin air (I can only assume it was Santa's little helpers) and hang tantalizingly above us awaiting their celebrity switch-on. I look forward to seeing them in their full splendour when we all return to Leeds for a week in December. There is much to do before then, and my next update will be the last before our show opens. Keep your fingers crossed for us!!

Jeff

Opera families

2006-10-09T13:06:00.000+01:00

Autumn, which seems to have been flirting with us from the Pennines, has stretched its cooling fingers into West Yorkshire. I'm very glad. I love it when the seasons change. It also makes life in the rehearsal place more comfortable. Some of the work we are doing is quite physical. 60+ people in a space getting worked up can get a bit stuffy some times, even in the large, spanking-new studios of Opera North.

The cast of Rigoletto are now in the theatre and seem delighted with the improvements. Their studio was above ours, and up until last week, the lack of a Green Room meant that the Verdi and Britten casts didn't have a chance to mingle in the break periods. I'm sure that will be different now that the the theatre is open and we have a space to relax together in-between rehearsals.

The workplace environment often becomes like an extended family. This is definitely the case with opera companies, especially those that tour. The music is obviously a touchstone for us all, but it is great when the combination of people is such that you seek each other's company outside working hours. Opera singers, perhaps more than most, don't need much of an excuse to get a pint or a glass of wine in their hands. We do, however, have to be careful about when this happens. The stage rehearsal period is a no-go area for socialising. This is when everyone's focus shifts up another gear in anticipation for the dress rehearsal and opening night.

Over the last two weeks, we have met as a cast once a week and had a wonderful time. It is beneficial as a bonding experience as a newly formed family, but also to enjoy the calm before the storm of the above-mentioned stage period. It was my good friend Giselle Allen's (Ellen Orford's) birthday this past week, and a very good time was had by all. I sat opposite Richard Angas (Mr Swallow) at dinner. A total gentleman, and dare I say a veteran of the British opera scene. We tend not to talk shop much at these get-togethers, but after a few glasses of red wine I couldn't help but pick his brains regarding his experiences with the music of Britten. It was fascinating. Richard shared the stage with Peter Pears several times and spoke highly of him as an artist and of his very kind nature, not to mention his renowned musicality. Britten, who could be quite prickly at times, was more intense and meticulous in the musical preparation. Having Richard in the cast adds an incredible sense of gravitas to the proceedings.

Stephen Richardson (Hobson), with whom I have sung several Strauss Operas at Garsington, shared the red wine and also his experiences as a very keen fisherman in his spare time. He is giving us tips that Phyllida is weaving into the production to make everything as real as possible.

We have two weeks left in the rehearsal room before we hit the stage ourselves. A sense of excitement and expectation is growing amongst us. We are still discovering new things every day, and nothing ever stands still. Boundaries are being pushed, and emotional journeys are taking on extra dimentions. As a family, we will soon be put under the spotlight, warts and all. I wonder what you will make of us?

Jeff

Storms and passion

2006-09-25T12:58:00.000+01:00

Leaving the rehearsal studio following a session on the Storm Interlude from Peter Grimes, I was nearly knocked sideways on Harrison Street by the tail end of Hurricane Gordon! Britten's tempestuous interlude seemed to have evoked the weather outside. This only a number of days after a tornado hitting Leeds. I actually spent today, a very sunny Sunday the 24th of September, in a T-shirt having lunch on the riverside near my flat. George Bush take note! I'm sure the people of West Yorkshire would agree with me that climate change is alive and well and very evident in this part of the world.

Anyway, before I topple off my soap box, I can tell you that we have had another very productive and enjoyable week. The acoustics in the recently refurbished Grand Theatre were given a workout at the beginning of the week. Some of the singers appearing this season joined the excellent Orchestra of Opera North and used some of operas best-loved moments to get the feel of the new atmosphere in the theatre. First reports indicate that you are in for quite a treat when you visit The Grand this autumn. Things have improved greatly on the acoustic front.

The young lad who will take the part of John the apprentice has now been choosen. We have worked closely together this week. It is important for me to build up a good relationship with Aaron, who is playing John. If there is a good vibe between us off-stage, we can take more risks on stage. There is a big scene between Peter and John in Act Three of the opera, as challenging for me as it is for young Aaron. It is a very emotional scene and is a huge turning point in the piece. I have read Britten's Children by John Bridcut as part of my research for this project. It is a very good read indeed. Britten felt himself to be a child at heart all through his life. His much talked-about relationships with the children who were part of his life are put under the spotlight in this book. What is evident to me is that Britten loved the energy and lack of cynicism in children. These qualities rush into our rehearsal room with the children who will be sharing the stage with us. It is very refreshing.

Our work is taking on more detail and more emotional content. Phyllida's calm, practical, yet intense way of working is bringing out things in all of us that we didn't know were there. I started to feel that Grimes was coming home with me again. I exorcised him by visiting my singing teacher and going to see the Orchestra of Opera North in concert at Huddersfield Town Hall. This is a fabulous venue and I have sung there myself several times over the years. It was an all-Tchaikovsky programme played with incredible passion and detail. It was very cathartic. My heart started to flutter a little as I thought of these wonderful players being in the orchestral pit for the opera. How exciting!!!

Jeff

Celebration, Costumes and the Hot Seat

2006-09-19T13:32:00.000+01:00

Opera North is always a happy place. This week, the company had reason to really be in a joyous mood, as Music Director Richard Farnes's wife Juliet has given birth to a bouncing baby boy. Everybody of course is thrilled. I know we are all looking forward to wetting the baby's head at some point on the forthcoming tour.

The musical side of the Grimes rehearsals was left this week in the very capable hands of Jim Holmes, who as you know will be conducting some of the performances. We have had another fantastic week. The ground work begun by the core group and soloists has now been enhanced in many of the scenes by the full chorus. It is still taking my breath away to hear them in full throttle.

In a lot of these big chorus scenes, Grimes is at odds with the borough. It really is quite something to be faced by 50+ people all singing at you or against you. As previously mentioned, their support and encouragement to me is paramount to my growing into the role, and it is
very appreciated. Phyllida has been working in greater depth at the finer detail in the text, thus adding flesh to relationships between the different characters and the larger community. We all had to take the HOT SEAT in character and answer questions from the cast and core group. This was really fascinating and gave an insight into how our characters think and act on a wider level.

The look of the production is also coming more into focus. We have all had costume fittings with the designer Anthony Ward. They were in fact the second round of fittings. These take place under the eagle eye of Stephen Rodwell and his team from the costume department. I have been involved in many productions here at Opera North over the last ten years, and Stephen knows instinctively what cut and colour suits my rather ample frame. He is always practical about what will work, and his dry sense of humour can often dilute what could possibly be a tense moment. He shoots from the hip, that is for sure! The work that the people in the wardrobe and wig departments do is quite staggering. Most things are made from scratch for every new production.

I have written already about the high level of concentration and commitment in the rehearsal room. We are encouraged to be natural and not operatic in the way we move and relate to each other. Some of these relationships are very raw and go through an incredible journey throughout the piece. When running a scene in front of each other for the first time, those of us watching are frequently in tears. The genius of Britten is more evident and humbling every day.

Jeff.

PS. I have added photos to my earlier entry, Coaching.

The first week of rehearsals

2006-09-11T13:12:00.000+01:00

It is Saturday afternoon, and we have just finished our first full week of production rehearsals. It has been challenging, moving and extremely rewarding. I am sure that I speak for all of the cast when I say that these are some of the most intense opera rehearsals we have ever atteneded. Not intense in an angst-ridden way. No. It is hard to explain, but I think that the mindset of everyone involved is such that the level of commitment and character development is already at a point that usually happens much later in the rehearsal period. There are many reasons for this, I'm sure. The chemistry of the singers chosen to be in this piece. The extremely high musical standards demanded of us at all times, and of course the method Phyllida uses to rehearse.

My quandary in these updates is that I want to share everything with you, but I don't want to give away what you will see at the performance when you see Peter Grimes. I can tell you that the cast of soloists this week has been working very closely with a 'core' group of the chorus. I think there are about ten of them. We have constructed many improvisations based on scenes from the opera. Some of these improvisations have been scenes of what could have happened leading to the events we witness in the prologue of the piece as well. This has helped us develop our characters incredibly. We have been reading scenes through as if we were rehearsing a straight play. This is quite difficult for us folk who usually have musical rhythm to dictate our timing and pitch our intonation. It has been revelatory, and often we find a subtlety to relationships that is not always obvious from the musical score. Wonderful!!!

We have also worked with four boys, as the search is on to find a young lad to play John, the apprentice of Peter Grimes. Every child was excellent, a credit to their Yorkshire theatrical routes. I know that whoever is chosen will be excellent, having worked with all of them this week. The three not chosen will be in the piece as well, along with several girls, to add authenticity to the community.

It is still early days, but now that I am in situation with all the other characters in the piece, I am discovering new things about Peter Grimes every day. To be honest, my problem has been to shut him off at the end of the day. Earlier in the week I became quite paranoid and, walking up Briggate Street to the Grand Theatre, became convinced that people were talking about me and laughing at me. I do of course realise that the good people of Leeds were not doing this, but I was carrying Peter with me. Yesterday I was having a coffee in Borders, and there were two actors from Emmerdale there. They were nothing like they are on screen and very relaxed and being themselves. Peter must be left in his hut, or at sea or even at the mercy of the borough, but not allowed back to my little flat down on the river. For all I know, he may not like Emmerdale, and then where would I be?

Jeff

Images of Aldeburgh

2006-09-11T13:01:00.000+01:00

Images from the Aldeburgh fishing community, where Peter Grimes is set:

Fishing nets:

A fisherman's hut, much like the one Peter Grimes might have lived in:

And Maggi Hambling's sculpture "The Scallop" on the beach at Aldeburgh, dedicated to Benjamin Britten and with the haunting text from Peter Grimes: "I hear those voices that will not be drowned":

I took these photos during my recent trip to Aldeburgh. I have also added other photos from Aldeburgh to my earlier entry, Spain and Aldeburgh, where you can see pictures of Britten and Pears's Red House and the beautiful Piper Window.

Jeff

Rehearsals begin

2006-09-04T10:42:00.000+01:00

I am finally in Leeds for the Peter Grimes rehearsals! In fact, we have just finished the first week, which has been full of music calls. I arrived last week, and had another day with Jim Holmes (see our interview on the Opera North website, with more pictures) and two days with my singing teacher Barbara Robotham at her home in St Anne's on the Fylde coast. These sessions with Barbara were the cement that sealed all the work I have done with Jim, Lionel Friend and Phillip Thomas. The relationship between singing teacher and student is of vital importance. It has to be based on honesty and trust above all else.

I first met Barbara at Lancaster University back in 1986, and went on to study with her at The Royal Northern College of Music as a Post Grad. She is highly regarded as one of the best singing teachers in Europe and has been my rock throughout my career. She is also my mentor and friend. It has been of the uttermost importance to me as a singer to have a constant but developing technique. To study with somebody who knows my voice better than I do, and is able to keep me on the rails. She travels to see me in opera performances through out the country, and often comes to dress rehearsals and takes many notes, which is wonderful. What is even more important and poignant in the case of Peter Grimes is that for several years she studied with Peter Pears. Britten used to play for some of her lessons, which she recalls with much fondness and respect. She is passing on to me the technical expertise Pears passed to her, and that is so inspiring! I will visit her throughout the rehearsal period to supplement and complement the work here in Leeds.

Giselle Allan, Jeff and Richard Farnes
Opera North has gathered a first-rate cast for this show. Wonderful actors as well as singers, and the most fantastic colleagues. We were all a little nervous at the first music call together, but this was quite comforting.

It is of course a great privilege to have Richard Farnes conduct Grimes. His energy and obvious love for the piece were evident from the word 'go'. His eye for detail and outstanding musicianship are linked with an incredibly clear conducting technique vital for a score like this.

Phyllida Lloyd was also present this week, along with her assistant and the movement director. The climax of the week was a joint call with the unique Opera North chorus. I have known these people for many years now, and their support at this call was so lovely and appreciated. They are augmented for this season by a group of extra choristers. I am also lucky to know several of these very well indeed. Two members of this group, Dyfed Wyn Evans and his wife Caroline Jackson, were at college with me in Manchester. It is wonderful to be surrounded by such a support network. The chorus in Peter Grimes is in many ways the main character of the piece. It goes without saying that they sound amazing!!!

We begin production rehearsal next week. I hope the preparation over the last year bears fruit. The real journey for me is just about to begin.

Jeff and Giselle Allan

Jeff.

Spain and Aldeburgh

2006-08-22T15:18:00.000+01:00

I have had the most fantastic few weeks! Having not had a holiday at all last year, I was determined to relax in the sun for a bit before travelling to Leeds for the Autumn. I headed for Spain with some friends and had two self-indulgent weeks and loved every minute of it. A lot of my time was spent on the beach. My frequent dips in the sea to cool off had extra meaning, as I questioned what draws us to to sea and the coast. Some days the water was flat and calm, and the next the waves were high and dangerous. The sea, wherever you are in world, has no respect for anything or anybody, yet there seems to be a primordial urge in us all to become part of it somehow. I am convinced that Grimes doesn't just regard the sea as his livelihood. It is also his solace. He respects it, as he does the stars, and it must appeal to his inner poet. The storms and currents that frighten the borough and prevent his fellow fishermen from launching their boats have the opposite effect on him. He seems to relish the turbulence.

The terror alert meant that I had to stay in Spain an extra day, as all flights to the UK were cancelled from Barcelona Airport. On my return I had a few days off (to recover from my holiday), and then had a coaching on the Britten with Lionel Friend. Lionel is a first rate coach and conductor, for many years was on the music staff at ENO, and is a specialist in the music of Wagner and Britten. (I have sung Quint in Brittens The Turn of the Screw under Lionel's baton and will write more of my experience with Britten's music thus far in a later blog.) Taking into account that I had drunk far too much sangria in the previous couple of weeks, this was a very inspiring session.

Lionel worked closely for many years with Reginald Goodall, who conducted the first performances of Peter Grimes at Sadler's Wells. He recounted a lovely story. Many years after its premiere, Reggie still had the first draft of Grimes in Britten's hand that he had worked from in preparation for the first performances. He discussed with Lionel what he should do with this precious score, and both decided that it had to be handed back to the powers that be in Aldeburgh at the Britten Estate. Lionel and I then poured over a facsimile of this score which can be found in The Making of Peter Grimes: Essays and Studies, edited by Paul Banks. Lionel pointed out that there are a lot of coffee stains, marks and even the odd trace of Goodall's blood from paper cuts scattered through out the score, very visible in the facsimile. This made me smile, and realise that every great masterpiece is delivered from human hands, and that even Goodall's incredible conducting hands were as prone to the odd slip as we all are. I just wonder what the immaculately neat Britten thought about it at the time?

You may recall that part of my preparation plans for this piece was to visit Aldeburgh and soak in the atmosphere there, in the Suffolk coastal town where Britten and Pears lived and Britten composed. I spent the most wonderful two days there last week as a guest of Nick and Penny Guest, who via mutual friends had agreed to put me up for this stay. Nick, alas, couldn't be there, but Penny was the most amazing host, and had organised a guided tour of The Red House (Britten and Pears's home) and Snape Maltings (the venue of many premieres of Britten's music). A close friend of Penny's was staying with two of her children, along with Penny's own son and a school friend of his. It seemed rather appropriate, given Britten's love for children, that I should be surrounded by youngsters during this trip.

As I drove up the A12 from London, my expectations for this trip were high. Aldeburgh is the most beautiful place, trapped in a kind of 1950's time warp. I mean this in the best way. The sense of community that I recognise well from my Welsh village roots, and that is so evident in Britten's work, jumped out at me there. Back doors really are left totally unlocked. Moreover, it appears that everyone has a story pertaining to Britten and Pears that they are eager to share. I stayed at Albert House, where Penny proudly relayed that Britten was a frequent visitor in the 50's when he lived at Crag House, which was a 2-minute walk away. I sat and chatted to Penny in the garden as the weather was fantastic. I could just imagine Britten and Pears in the garden enjoying the local gossip over a cup of tea, or something a little stronger, to which they were both quite partial.

We walked to the Red House after lunch, and it became clear to me that this was much more than a research trip. It was a pilgrimage. This may sound a little OTT, but my admiration for Britten and Pears, which has always been enormous, has reached new heights through working on this wonderful piece. The two of them totally changed the course of British music, and to be on their very stomping ground was such a privilege! The tour of the library and the Red House itself was breath taking and incredibly humbling. I had forgotten that Pears was such a collector of fine art, and it was a joy to see a number of paintings from his collection on display. The house is as they left it, as if they had just popped into Aldeburgh town for a pint of milk. They were very neat English gents from the old school, and in fact
Britten planned his days like a school time-table.

Pears's study was fascinating. I was allowed to examine his make-up box, still holding the make-up he wore at his very last performances. So inspiring. I cannot speak highly enough of this experience. Snape Maltings was also wonderful, and there the atmosphere seems to seep out of the walls and engulf you. The little box where Britten used to sit during performances was pointed out. So much of his music was premiered at Snape, where, needless to say, he is still held in a demi-god-like esteem.

During my trip, I swam in the sea at Aldeburgh, which Britten and Pears did daily, and visited some of the landmarks mentioned in the operas. My last port of call was the beautiful church with the famous Piper window in memory to 'Lord Britten', as of course he became. Britten and Pears are buried in the graveyard at the church. The plain headstones marking their resting place are suitably understated, as they had wished. They rest side by side in the shade of a tree. I felt such respect and admiration for these truly great gentlemen. I hope that some of their spirit, so evident in this lovely part of Suffolk, remains with me through the next few months.

Jeff.

PS: More photos will be posted later!

In Leeds

2006-07-25T10:48:00.000+01:00

With the slabs on Briggate nearly cracking in the incredible heat, I headed to the Grand Theatre in Leeds last week for two days of coaching sessions with Jim Holmes, the Head of Music at Opera North. We had the most fantastic time! It had been five months since our last sessions, and I feel very encouraged with the progress. Jim doesn't take any prisoners, but it is so wonderful to work in such an open and honest way. I have another session planned for the end of August.

I have just fixed my trip to Aldeburgh for mid August as well, and look forward to sharing this with you. My very good friend Giselle Allan is singing Ellen Orford in this production. We go back many years, first singing together at Clonter Opera Farm in Cheshire (La Bohème). We spoke yesterday about the challenges of the coming season, but also of what a joyous time it is going to be. As always, it will be the greatest pleasure to share the stage with such an amazing singing actress and consummate musician. Some of you who are regular Opera North patrons may remember us together as Laca and Jenufa several years back? The relationship between Grimes and Ellen is complex, and really displays Britten's ambiguity in character building. This makes it all the more exciting, and we are both excited at trying things many ways in rehearsal and pushing the physicality of the characters.

I am off to Spain for two weeks now. I hope to come back refreshed (and sun tanned), ready for the busy period ahead. Friends and colleagues have told me to forget about Grimes when I am away....I just know that when swimming in the sea, or walking along a beach, to even hearing the gulls cry, he will be there, so I'd better pack an extra towel.

Jeff.

On the road

2006-07-17T10:26:00.000+01:00

The rather manic period of Summer opera festivals is nearly over. As I write, I am in the middle of performances of Bizet's The Fair Maid of Perth at the Buxton Festival. Also, I am honoured to be part of the closing concert at the Cheltenham Festival this summer (Berlioz's Requiem),and that leaves me a few weeks for me to have a holiday before Peter Grimes rehearsals begin!

Being on the road becomes part of a singer's life, whether you like it or not. This is often made easier and less tedious if the journeys are shared. I have been very fortunate indeed over the last month or so to have been working closely with conductor Martin André, and sharing these journeys with him has made the travelling aspect of the work a joy rather than a challenge. Martin is no stranger to Opera North audiences, and our last collaboration together in Leeds was as part of the 8 Little Greats season (Francesca da Rimini). This was, as we all know, a wonderful innovatory period for Opera North, rather envied by the other main opera companies in this country. It was especially poignant for me to work with Martin at this time, as it was as Musical Director of English Touring Opera some eleven years earlier that he had given me my first professional job---a season in the chorus followed by singing Nemorino in Elisir d'amore. I hadn't seen him since.

Buxton is the culmination of fruitful year of music making for us. Bach's Christmas Oratorio in Norway, Massenet's Thais for Grange park Opera, as well as an Opera Gala with the Manchester Camerata in Sheffield. Obviously in such a busy period as the last few months, professional discipline is a prerequisite, and your social life goes out of the window.However, I must admit that the Derbyshire hospitality following the Opening night at Buxton was much appreciated, and the healing properties of the local water are keener felt having been distilled!

Maria Callas said that there was no such thing as coincidence, it happened so often we must see it merely life unfolding in front of us. In this case the unfolding has been fortuitous for me. Annette Saunders, the rehearsal pianist on Grimes, has been repetiteur at Buxton, and the glorious Yvonne Howard, also in the Bizet, is singing Auntie in the Britten at Leeds this autumn. We are all looking forward to it so much. Oh yes, and Martin André is also with Opera North this coming season conducting Rigoletto!!!

Next week I have two days of intense music calls with Jim Holmes, Opera North's Head of Music, in Leeds. The heat is being turned up on the Grimes preparation!

Being in Buxton brings back so many memories for me. It was as a student at the Royal Northern College of Music that I spent three summers in the early nineties singing in the chorus at the Festival here. This was really the beginning for me, and to come back to the roots of my career before embarking on the biggest challenge of my career is totally invigorating.Coincidence, or life unfolding? Who knows-------

Jeff

Coaching

2006-06-21T10:16:00.000+01:00

Earlier this year I was invited back to my Alma Mater, The Royal Northern College of Music, to coach some of the Post Graduate students. This was a very enjoyable experience, and I was able to talk to some of them about life out in the big wide world as a young opera singer. I could not stress enough the importance of keeping a very clear diary. I mention this here as the recent meeting I had with Phyllida Lloyd (the director of Peter Grimes) has been in my diary for a number of months. Phyllida is often out of the country, rehearsing a show, or catching up with one of her productions that may have been running a while. This is a busy period for me as well. Thaïs is now well into its run at Grange Park opera, but I have been rehearsing The Fair Maid of Perth for Buxton Opera in between performances. Luckily these rehearsals have been in London, which allowed Phyllida and me a chance to meet last week.

It is not usual practice to meet a director in advance of rehearsals. Usually you audition for the director and conductor 18 months before the show, and then you don't see them until the model showing and meet and greet, when everybody involved in the production gets together on the first day of rehearsals. However, Phyllida and I were very keen to meet in advance. It was great to see photos of the set designs. I now know in my mind's eye what kind of world Grimes will inhabit. I'm afraid that I can't go into detail, as I don't want to spoil the visual impact when you come to a performance. I will say that it is very exciting!

Phyllida and I talked for hours. The importance of being in touch with what Britten was trying to say, and the world he was coming from, is very important to both of us. His relationship with children interests us both. The relationships between Grimes and his apprentices is at the centre of the opera. What does Britten say in the music? If Grimes is innocent or guilty, how does Britten show this in the music? How can we best highlight Grimes's relationship with his workmen and other villagers? In the opera, Grimes is a more rounded character than in the poem The Borough (by Crabbe). How can we show this?

Buxton opera is rehearsing in Lillian Baylis House, the rehearsal home of English National Opera, and also the base of Phillip Thomas, internationally renowned as a coach and accompanist. Phillip has very kindly given up some of his lunch hours to help me work on Grimes. These sessions are inspirational. Dashing from the Bizet rehearsal room into Phillip's room to work on the Britten re-emphasises the individuality of Peter Grimes. I am a very lucky man to be working on such a piece.

Jeff

Beginnings

2006-06-19T11:37:00.000+01:00

Unlike Peter Grimes, who as we know would look in the face of any storm and laugh, I'm afraid that the weather got the better of me last weekend. I had planned to start these updates with some wonderful photographs from a research trip in Cardiff Bay. However, the hideous weather meant that the whole thing had to be aborted. I did catch up with some of my family in South Wales, which was lovely, but it was very frustrating. During the drive back to London, I kept thinking that Grimes would have been out in the storm with his apprentice. It is very important to me to get out on the sea, and talk to 'sea people' in preparation for this role, but this will now happen at a later time.

Although the first performance is five months away, I have been living with Peter Grimes for a good year and a half. He is always with me somehow. This has always been my dream role, and I feel incredibly humbled that I am to create this character for the first time with Opera North. It is very exciting that Peter Grimes will also be part of the season that reopens the wonderful Grand Theatre. I love Leeds, and actually lived in New Farnley for a while in the mid-nineties. I feel this is my operatic home in a way.

However, before this all happens I have a very busy summer ahead. I open in Thaïs at Grange Park opera next week, and then start rehearsing for the Buxton festival with shows there in July, plus some concerts. The score of the Britten is constantly with me, and I have been working on it slowly but surely for many months. Jim Holmes (Opera North's Head of Music) has been helping me with the musical preparation, which is fantastic. We can spend an hour on two or three pages of music, looking at phrasing, dynamics, diction and intention. We try things in several different ways, and both love discussing what we think Britten wanted.

Over the coming months I have many varied things planned. The sea trip of course. A trip to Aldeburgh,and I hope The Red House where Britten and Pears lived. More sessions with Jim, meetings with Phyllida Lloyd, lessons with my singing teacher. All this before the rehearsal period starts. It will be a pleasure to share these experiences with you along the way.

Jeffrey Lloyd-Roberts.