IDYLLS AND IDEALS
Scottish Opera is showcasing its orchestra in a series of lunchtime concerts alongside its new production of Verdi’s Falstaff. Music director Stuart Stratford speaks to Keith Bruce.
Destined for indoor performances at the Festival Theatre as part of this year’s Edinburgh Festival, Sir David McVicar’s new production of Falstaff is also giving Scottish Opera the focus for its own summer festival at its rehearsal space in Glasgow’s Edington Street. The Citizens Theatre, Scottish Ensemble and Scottish Opera Young Company are also part of a programme that runs to August 1 and sees the revival of concerts by the Orchestra of Scottish Opera, the first two of which are between the first two performances of the opera on July 5 and 6, with the third to follow on July 16.
Effectively these have become sectional showcases, offering all the players in the orchestra a chance to hone and display their skills. Falstaff will feature the biggest orchestra the company has been able to field since the start of the pandemic, while the concerts are three programmes of large-scale chamber music.
Music director Stuart Stratford explains: “It is all happening on the stage with the Falstaff set still there.
“We had to keep the numbers of the orchestra down, so the maximum number of players we can have is 15 with social distancing. That was one of the factors in deciding the programme, and we wanted to use as many players in the orchestra as possible over the three concerts. I think we utilised every player in one concert or another except for harp, timpani and percussion.
“It is all about getting us playing again and showing the depth of talent across the orchestra, not just the principal players. So the strings are split into two groups, one led by our assistant leader Katie Hull in the first concert, playing Elgar’s Serenade for Strings and the Three Idylls by Frank Bridge and then leader Tony Moffat leads the other half of the strings in the concert that he is curating with Bach’s Brandenburg 2, Vivaldi, Purcell and Puccini. It is all about a celebration of the orchestra and the repertoire stemmed from that – pieces that showed off our assets.”
The third concert is a showcase for the winds and brass of the orchestra, with music by Dvorak, Stravinsky, and Enrique Crespo.
“I asked for suggestions from everyone. Many of the players suggested the Petite Symphonie by Gounod. Several people suggested the Dvorak Serenade for Winds. I was really keen to do the Stravinsky Octet as it is one of the few chamber pieces that has a bass trombone in it.
“I was delighted that Katie chose to include the Frank Bridge Three Idylls, which is beautiful and not that well known, and makes a nice pairing with the Elgar String Serenade. The Crespo I didn’t know at all. It is a brass quintet that really fitted the brief and it’s a real firework piece to end the brass and wind concert.”
The profile that the orchestra has enjoyed within the company over the recent difficult times looks from the outside to have been in marked contrast to the relationship Scottish Opera had with its musicians in recent years, when the company ceased to have a full-time chorus and put the players on part-time concerts.
That is an impression confirmed from the inside.
A long-term member of the orchestra told VoxCarnyx: “This last year and a half we’ve felt really connected and part of the company for the first time in about a decade. They’ve worked very hard to include us in their future plans. We know we are an integral part of the opera company but it hasn’t always felt like that. We have felt fully supported by Scottish Opera throughout this whole this period. Our artistic value may not have been fully appreciate in the past, but we have done lots of meaningful work during the pandemic.
“These concerts have been thought about very carefully, how to make it work for the size and the space and the players that they have. It’s such a good way to keep everyone’s playing in good form.”
Stratford is clearly proud of the work that the company has done in difficult times, from the film of Menotti’s The Telephone for last year’s Edinburgh Festival through online staged versions of Mozart, Janacek, Humperdinck, and most recently Donizetti’s L’Elisir d’amore.
“We have tried to keep people going. It is so important not just for their fingers and lips but for people’s mental health as well. We have been able to keep people busy in a meaningful way.”
The Orchestra of Scottish Opera performs as part of the Live at No.40 season on July 5, 6, and 16 at 1pm. Full details and booking information at scottishopera.org.uk
Main Image: Principal oboe Amy Turner with The Orchestra of Scottish Opera. Credit Beth Chalmers.