BY SEAN ROSS
Winner of the Director’s Choice Award for opera in the 2014 Boston International Contempo Festival, Tchaikovsky, Angel of Music is not just another work languishing for want of performance upon the stage. It is the fruit born of a life-long love affair with its subject.
Indeed, my special partiality for the music of Tchaikovsky was born long before my opera itself. As a young child, the music of Tchaikovsky struck a special chord within me. In my earliest years, my parents owned but one cassette tape in the classical genre. Purchased by my mother whilst pregnant with me, it featured a selection of pieces drawn from the much-loved ballet music of Tchaikovsky.
I truly believe my opera was conceived with me, in my mother’s womb, and that it was therefore my destiny to write it. I’d even go so far as to say it was written on the very blueprint of my soul.
Whilst still a music student at the University of Melbourne, the inspiration to honour the life and work of my idol through music struck me like a lightning bolt, as I sat in the intimate surroundings of the Carlton Courthouse, engrossed in a performance of the Geoffrey Williams’ play Maestro. Whilst enjoying the play’s exploration of Tchaikovsky’s romantic life, I experienced an epiphany. I sat there, wondering why no one had ever bothered to write an opera on Tchaikovsky’s life. And it occurred to me that it would provide the perfect material for a great dramatic work; such were the intense highs and lows Tchaikovsky encountered throughout his journey.
The moment that thought registered in my mind, I knew I could do the job, that it would be truly wonderful, and furthermore, that I was meant to write it.
With the fire of creative passion now well and truly ablaze, I hid away in the music library, with almost guilty pleasure, where I pored over all the scores, letters and biographies of Tchaikovsky; learning the art of orchestration virtually by osmosis, and discovering an uncanny affinity with the Russian, as both man and musician.
Listening to Tchaikovsky’s music was like remembering a language I had once spoken, long ago. It resonated with me in a unique way, and I just felt I understood it intimately, in a way I can’t claim to comprehend the music of other composers.
In short, I felt I’d found a musical soulmate.
Having completed the work in 2007, I have since workshopped all three acts of the opera, thanks to the enduring support of 4MBS Classic FM general manager Gary Thorpe, and not forgetting the great generosity of many of Brisbane’s finest young musicians, who’ve kindly volunteered their time to the cause.
Following the workshops and a number of minor revisions to the score, this epic labour of love is now ready to be performed with the full forces for which it was written.
The response of both the musicians and audience members thus far has been overwhelmingly positive. In fact, the recent workshop of Act One caused quite a sensation, so I have every confidence that the opera will be well received by future audiences.
Thanks to the recent endorsement of prominent Melbourne conductor Andrew Wailes, the Royal Melbourne Philharmonic Choir and Orchestra are now committed to eight rehearsals and two concert performances of Act Three (the dramatic heart of the work), to be conducted by yours truly.
Proud to have been born and raised in Melbourne, I am most adamant that the first polished performance of my work take place in my hometown. After all, it was there that the opera was first conceived and created, in its entirety. Being, therefore, a product of my life in that city, it’s a gift that should first be bestowed upon Melbournians.
If nothing else, I owe it to my mother, to see that my dream is fully realised. Sadly, she passed away just a couple of months before the opera was workshopped for the first time, without ever having heard it; a work which is, in large part, a product of her years of unconditional love and support, and whose inspiration proceeded from her fateful decision to favour the music of Tchaikovsky, my beloved angel of music, all those years ago.
I’m deeply flattered that maestro Wailes has chosen to support my opera, for it means I’ll have at my disposal the combined forces of one of the finest musical ensembles in the country; and with the added interest from great singers including Guy Booth, Sally-Anne Russell, and Andrew Jones, it would be such a shame if we weren’t able to raise sufficient funds in time to present the concerts in 2019.
Naturally, I’ve applied for numerous government and family foundation grants to date, in my quest to raise the funds required, but sadly, with very little success. We really are reliant on the generosity of opera and new music lovers of means, if we’re to see this project go ahead next year.
Indeed, it goes without saying, we musicians owe a great deal to such people, for without their continuing support, many musical organisations would simply cease to exist, and new works of this nature would never get off the ground.
The time for action is now.
Having already raised around $30,000, but requiring $110,000 to fully fund the project, at least a further $40,000 must be found this year if we are to witness the first professional premiere of my work in Melbourne.
Indeed, this is the single most crucial step on the journey towards the opera being fully staged.
Help Sean realise his dream by donating to Tchaikovsky, Angel of Music on the Australian Cultural Fund website.
Images supplied. Featured portrait by Melbourne artist Paul McCluskey.
