Insight evenings are really ace. They are a really good way to learn more about an opera you've booked to see. I must admit, when I first learned of their existence, I was sceptical as to whether they were for me. I have an aversion to formal learning these days, and often feel myself coming over all teenagery as soon as I'm cooped up in an overheated lecture theatre ballet studio. But I've been to a few now at the ROH, and have always come away feeling I have been entertained and educated. What really strikes me is the relaxed informal atmosphere, the evening punctuated by much laughter.
They follow a fairly set formula although no two are alike. Lecture by an academic expert, a round-table of key personnel, singers, sometimes the conductor or the director, and a short demonstration of one musical motif.
Last night the lecturer was Sarah Lenton. She gave an excellent talk about the history behind the composition of Simon Boccanegra, or, rather, about its 1881 revision by Verdi. Actors read excerpts from letters of Verdi himself, Giuseppina Mrs Verdi and other important characters such as Boito and Ricordi. This was assisted by a slide show, including photographs. She rounded off the lecture by drawing some parallels with Shakespeare. To some extent I could see the point she was trying to make, but perhaps the less I say about my incapacity to embrace Shakespeare, the better. Nevertheless, my knowledge advanced.
The round-table is always a popular item. It can be a good opportunity to see the singers etc in a more informal setting, to hear about their understanding of their characters and how the production is developing in rehearsal. They don't announce in advance who is due to appear, obviously it depends who is available - for example, Tony Pappano, who'll be conducting Simon Boccanegra was otherwise engaged conducting the opening night of Manon.
A programme was handed out beforehand. I took a quick look and saw that the panel was due to consist of Elijah Moshinsky, the director, and singers Marina Poplavskaya, Ferruccio Furlanetto and Joseph Calleja (aka @MalteseTenor).
Okay, I have to admit it, I was a tad disappointed. I had hoped that possibly Plácido Doming might also be there, although of course I knew I had no right to expect him. I would be a very sad person to book these evenings solely on the off-chance that a favourite singer would appear. And in any case, look at that roll-call of names - talk about star-studded!
Once we were all settled in the Clore Studio Upstairs, the chap who was hosting/moderating explained that there would be a change in the usual running order, but he was sure that we would understand. He asked us to welcome the panel, listing them by name as I listed above. And then he said "And...Plácido Domingo..."
As you can imagine, several people in the room erupted with expressions of delight. I didn't, actually. I think I didn't quite believe my ears. And even when I saw him, I had to pinch myself that I wasn't dreaming! It took me a couple of minutes to really appreciate that he was there, sitting directly in front of me (I was in the third row but with clear uninterrupted view to the front).
The evening started at 7.30 pm and he left just after eight. Had to be somewhere, I assume.
I thought he was looking good. I've seen some photos recently when he didn't look so good, but there, in the flesh, in front of me, he looked rugged and relaxed. He seemed on good form, being expansive in his answers.
He started by saying that it was good to be back in London after two years - that he had intended to be here in March, "sorry". He explained that he had intended to sing Simon as a farewell role at the end of his career, and that he doesn't pretend to be a baritone - he is a tenor and sung Siegmund (on Sunday) in Los Angeles. And he made it perfectly clear he has no plans to retire just yet.
Much of the discussion was about What makes a good Verdi singer? and very much about the motivation behind the characters in the opera. Plácido was fulsome in his praise for his fellow cast members and for Tony Pappano, and Joseph Calleja was full of praise for Plácido, remarking that, as a tenor, when he was in Operalia, he never dreamed that he would perform alongside Plácido.
The discussion continued after Plácido left, and there were a few questions from the audience. One woman said that, after listening to a recording of Simon Boccanegra she found it impossible to sleep, and how did the singers switch off. Marina Poplavskaya said it was much the same for the singers, which is why they like to have the next day off. She then clarified "We drrrrink" (bear in mind she has a noticeable Russian accent), "and we go to bed at 7 and wake up at 1, unless we're Plácido, who'll be in New York by 3". To considerable laughter!
I have to say that, overall, it wasn't the most interesting Insight Evening I've been to. For me, the highlight was seeing Plácido. Even so, I don't think he said much I haven't heard or read him say before. He did explain that, as a tenor, the first thing he does in the morning is make sure his voice is sounding light, but because he's singing this role, he has to make sure he has the darker colours in the voice - and he demonstrated what he meant, by singing, briefly. So that was nice.
But it's just a prelude to the performances, which I'm looking forward to, although I haven't managed to score tickets for every performance - for example, I have decided to take the attitude that attending the Friends' Rehearsal on Saturday would merely be slumming it!
