BY STEPHANIE ESLAKE
So you’ve been to see the opera.
Maybe you were a concertgoer, taken aback by the majestic staging and tales of love and tragedy. Maybe you rocked up as a musician or singer yourself, and listened out for the quality of timbre from leading stars and chorus alike.
It doesn’t matter who you are or why you see the opera, because opera is for everyone. But not everyone knows how much work goes into the production of a show – from the rehearsals to the individual training and practice from each singer who is working hard in their part. Working to be the best they can be.
That’s why in 2018, we’re teaming up with the West Australian Opera to shed some light on what happens behind the curtain.
In this interview, we meet Lindy Hume – the director of WAO’s July Carmen season. Lindy returns to WAO after her role as the company’s artistic director in the ’90s, before her experiences right across the country from the Victorian State Opera to Perth International Arts Festival, Sydney Festival, and most recently Opera Queensland.
Here’s what it takes to direct the opera, Lindy reveals to us behind the curtain.
Tell us about your entry into musical direction. When did you realise this would be the life for you?
I was a 16-year-old dancer and was completely broke. I just happened to find myself at an audition for extras for an opera production. The opera was Norma by Bellini, and we were supposed to play virginal attendants to the High Priestess Norma, played by Dame Joan Sutherland!
In the first rehearsal, I was positioned about two metres from her onstage, and little did I know what an amazing sound would come from that woman! When she began to sing, it blew my mind, and opera has been a part of my life ever since.
What’s your favourite memory of bringing a performance to life?
There are so many, including this Carmen, which is very special to me as it’s been such a big part of my life.
I was swept away in the audience on opening night of Handel’s Theodora for Pinchgut Opera at the end of 2016. It was such a powerful experience with the audience and the artists on stage breathing as one, and they just exploded at the end. I was very proud of being involved in that production.
I also love directing comedy, so I was very happy to have American and Swedish audiences respond to my productions of The Barber of Seville in Seattle and Cinderella in Stockholm last year.
What is a day in rehearsal like for you?
My rehearsal day changes every day depending on who is in the room and what kind of scene I’m directing. It’s quite an intense one-on-one experience if I’m directing an aria, or it can be an exercise in logistics and choreography if I’m directing a chorus scene. It’s always a team effort, though, and I’m quite democratic in my directing style and happy to take ideas from any member of the team.
Sometimes, I need to be super prepared when time is critical, but other times I find if I over-prepare, it can stifle creativity in the rehearsals. I enjoy the luxury of acting on my instincts more often now that I’m extremely experienced, but it’s taken years to get here.
What are some of the biggest challenges and tasks involved in directing an opera?
Directing choruses; one has to find endless solutions to chorus scenes to keep them alive. Luckily, it’s also one of my favourite things to do. And ensuring that no matter what century the opera was written in, it has meaning for a contemporary Australian audience.
What are some of the warm-ups that you find are most effective or enjoyable for the cast?
I don’t really have warm-ups for the cast. It does take a while to dive into the very deep part of a scene or emotional state, so we talk a lot about anything that’s tricky or complex so that everyone is on the same page before doing those scenes.
How do you balance your management of such a large number of artists?
Opera is very human-resource expensive, so time management is crucial. I need it all worked out in advance with a very detailed schedule, which outlines literally which hour we’ll be working on which scene. Of course, the schedule all unravels if anyone gets sick! With chorus rehearsals, every quarter-hour is critical.
What happens if a singer comes to you with a problem? How do you help them through?
That depends on the problem. If it’s an acting problem, I’ll schedule more time with them on that scene.
What are some of the skills you’ve developed throughout your directorial career that mightn’t be so obvious?
How to deal with troublesome personalities. I’ve learned simply to work around them, not to give oxygen to any drama, focus on the good energy not the bad. Stay calm no matter what.
What has been the biggest struggle in your career and how did you push through?
I have struggled with depression, occasionally. I find yoga incredibly helpful.
What advice would you give to young directors looking to embark on their careers?
Just do it. Don’t wait for the phone to ring. Create opportunity for yourself.
Lindy Hume will conduct Carmen with the West Australian Opera from 21-28 July. Have you read our interview with Carmen herself, Milijana Nikolic?
We’re excited to team up with WAO throughout the year, so that we can give you an exclusive look into how opera works behind the curtain.
Tune in for our next interview to learn more about life as an opera performer, educator, or director!
Image supplied.
