BY STEPHANIE ESLAKE
Magical things happen at the opera – there’s no question about that. But there’s also no question that the attention is usually drawn to the spectacle on stage – the costumes, the voices, the narrative.
Equally important is what happens underneath the stage. So we decided to shine the spotlight on the musicians working hard from the orchestra you never get to see.
Victorian Opera this month presents Debussy’s only opera Pelleas and Melisande, and has invited Australian National Academy of Music artists along for the ride.
ANAM musician Cassie Slater will lead the flute section for this production. This eventful year has already seen the first-year student place semi-finalist in the ANAM Concerto Competition, after the same place in last year’s Australian Flute Festival Competition. She’s also won the O’Brien Family Prize, Donald Tugby Music Performance Prize, and was named a University of Queensland Dean’s Scholar.
Cassie has taken to the stage as a casual with the Queensland Symphony Orchestra, and performed in the Australian Youth Orchestra’s National Music Camp and its February and July concert seasons. But here’s what happens when she performs below the stage.
Cassandra, congratulations on your pretty huge role as a principal player in this Victorian Opera production. Tell us all about the experience so far.
This is actually my first opera! I feel as though I’m so lucky that my first experience with opera is with such a colourful and evocative work such as Debussy’s Pelleas and Melisande. This was Debussy’s only opera, and highly original for the time in the way that the text interacts with the music. And, of course, Debussy is renowned for great wind parts – so as a flute player, I have been in my element.
I have found that opera requires a very different style of playing than traditional symphonic repertoire, which has been an interesting learning experience.
What have you felt have been some of the biggest responsibilities in preparing for the show?
In preparation for the show, I made sure I was well acquainted with the score and listened to recordings of the opera. I also read an English translation of Maurice Maeterlinck’s play so I could understand the tone and context for our music.
How does leading a section in a pit orchestra differ to your previous orchestral experiences?
Well, you can understand why professional orchestras ask the musicians not to wear perfume! I also make a conscious effort not to eat garlic before playing – my colleagues will thank me later, I’m sure!
In all seriousness, the primary focus is on the singers and supporting them so they have the freedom to portray the characters most effectively. The opera is always changing and evolving depending on what happens on stage, which requires the musicians to be much more flexible and adaptable.
What have you learnt through the process of rehearsing with VO?
It has been a wonderful experience to work with VO, and we’re so fortunate to have the opportunity to collaborate with professional musicians and organisations thanks to ANAM. With the guidance of Richard Mills, we have been fortunate enough to have the time to work in detail to really get inside the music to cultivate a French sound.
How much interaction do you have with the cast of the opera – whether this be verbal interaction or musical?
We haven’t had the chance to spend a lot of time with the cast, but it has been an amazing experience to collaborate with the calibre of performers. I also believe that you develop a special connection through playing together each day, and watching how the roles change and develop over the rehearsals.
#spoilers – I have found my eyes welling up a few times in rehearsal when Goloud kills Pelleas!
How has this experience changed your ideas about the role of musicians who accompany opera?
I have learnt that the musicians have to be very patient and remained focused for a long period of time. It’s very easy to get distracted during the long rehearsals and run-throughs.
I’ve found it’s also a different style of playing – always paying attention to the role that your part plays in the music and on stage.
When it comes to performing, what are you most looking forward to?
It’s going to be very exciting to perform Pelleas and Melisande, and hear how the opera transforms and evolves each night.
I’m also looking forward to playing in what I understand to be an iconic venue, and entertaining a Melbourne audience in what will be a wonderful production.
Any advice for young musicians looking to perform in operas, too?
Being a involved in such a large-scale production is immensely exciting and inspiring. If I could give any advice to young musicians looking to perform in operas, it would to prepare your part really well so you have the capacity to listen and immerse yourself in the music around you.
Also, make sure you eat your Weet-Bix before rehearsal so you can concentrate for the whole opera!
See (or don’t see) Cassie perform in the ANAM Orchestra with Victorian Opera in Pelleas and Melisande this October 11 and 13 in the Palais Theatre. The production is conducted by Richard Mills and also stars performers including Siobhan Stagg, Angus Wood, and Samuel Dundas.
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