Everything you wanted to know about French 19th-century grand opera but were afraid to ask

Robert le Diable opened last night and I think we can expect a few divisions on the topic.

The singing is phenomenal - and the demands of the leading roles every bit as difficult as Bryan Hymel said. He deserves a raft of gold medals. So does soprano Patrizia Ciofi - stepping in at the last minute to replace Jennifer Rowley - as well as Marina Poplavskaya, John Relyea and a newcomer,  Jean-Francois Borras, making an impressive house debut as Raimbaut: a high French tenor of another kind, with effortless projection, bel canto-ish legato and a bright, appealing stage presence.

The production, by Laurent Pelly, is very, very Pelly: plenty of irony, humour (intentional and maybe not) and wacky designs - sets by Chantal Thomas, costumes by Pelly himself: a stylised storybook complete with Spamalot knights, kooky princess, bright painted horses, sketched mountain scenery and a man-in-a-bear-suit. And those vengeful dead nuns. Doing what such beings do when they're allowed out of their tombs. A few spectacular coups-de-theatre help matters along.

It's a sterling effort by all concerned. But the big question is this: is the opera worth it? Just think of all the hard work and expertise that went into it. Think of how much it must have cost. And wonder what planet Covent Garden was on. It's Springtime for Meyerbeer...some of us hadn't laughed so much since we saw The Producers.

Try to be serious. This opera is important. Really, seriously important. It was performed around 750 times across the middle of the 19th century and to see it is to begin to understand all those matters about that time that you read about, and sort of know about, but don't usually have the chance to experience viscerally.

You see where many subsequent, much better works originated. Giselle, for instance - as Alice clings to the cross, or as the not-very-willi-like dancers gear up for action. And also Carmen - no kidding. Alice is a foreshadow of Micaela: molested by soldiers on her first appearance, trying to find Robert to bring him news that his mother has died; later, searching alone and fearful for her lover in the mountains, while we know he has been led astray by the demon Bertram. Bizet's audience, familiar with Robert le Diable, was being set up to identify Carmen herself with the devil.

"A masterpiece," said Chopin, who was 21 at the time of the premiere. Really? Remember, it was 1831 and nobody had ever heard anything like this before. It was four years since Beethoven died, three years since Schubert. The great romantics - Mendelssohn, Schumann, Wagner, Verdi as well as Chopin - were aged between 17 and 22. An off-stage orchestra and chorus suggesting hell! A real workout for the brass section! Imaginative instrumentation, as brightly coloured as Pelly's costumes, including mega-solos for flute, for lead cello and so on. Absolutely dizzying vocal display. Foot-tapping rhythms (someone in the row behind me did so every time an oom-chah passage started up, which said much). Oh yes, and more people believed in Destiny, the hell thing, the devil thing and the ghost thing than do so today, so the suspension of disbelief may not have been so difficult and it might all have been scary instead of hilarious.

As for the libretto, I know you have to suspend disbelief and so forth, but - well, it makes most other clunky opera stories look like flippin' Dickens. How do you sympathise with a hero who lets everyone down and can't see that his beloved companion is evil incarnate even though everyone else can? Was he the ill-fated romantic hero, like Byron's Manfred, eternally cursed and cast out? If so, how come he gets to live happily ever after? And there's a wonderful moment when he faces Isabelle to try to make up, and she wants him to take part in the tournament, but he's lost his weapons. "Here's one I made earlier," she says (sort of), producing a sword for him from nowhere. Pelly's vision of hell, meanwhile, involved fiery screen projections in which a little demon figure tipped cartoon stickmen into a tumbly abyssy pit with a pitchfork. This can do terrible things to a girl's mascara.

Over the years I've read reams about what Faure and co were fighting against - being expected to become composers of super-popular grand opera to make their fortune, when it was the last thing they wanted to write. It's only now that I realise exactly what they had to contend with. Imagine being Faure, with all his sensitivity and intuition and passion for Schumann and early church music and intimate songs and chamber music - but the French loved this? Oh, my ears and whiskers.

This opera sums up much that was characteristic of its day, and perhaps a good deal that was wrong with the mindset. Because of this, I'm pleased they've done it: it fills in our musical education in a very particular way and provides some real perspective on, er, the good stuff.

What works of the 20th-century and the early 21st, I wonder, will be exhumed from deserved burial in 122 years' time and allowed their auto-erotic hour of dancing to show bemused people what was characteristic of, and wrong with, our life and attitudes?

Trifonov: Try Phone Off.

One for the appropriate names department at the QEH last night. Daniil Trifonov, the 21-year-old Russian whizz-kid who has scooped top prize at both the Tchaikovsky and Rubinstein competitions and third in the Chopin, came to London for his South Bank recital debut, which duly blew our socks off. But music is as much about silence as about sound. In that great silence at the ultimate climax of the Liszt B minor Sonata, there it was, wouldn't you know it...the mobile going off.

And not off. It went on and on. The admirable TryPhoneOff wasn't remotely fazed, carrying on with aplomb as if nothing had happened. But for the rest of us, who had been following the narrative thread on the edge of our seats - for this Liszt was a fantastical Bulgakovesque page-turner - the timing could scarcely have been worse. It does scupper the experience to a large degree and there is no excuse except carelessness and, I'm afraid, plain old human stupidity. It's time for concert halls to introduce signal blockers at best, or bouncers in place of ushers at worst. Possibly both. Otherwise it can only be a matter of time before an audience group gets together to form a vigilante clique, perhaps with whips.

OK, so much for the phone. What of the Fon? Friends, please welcome a very major talent. He may be just 21, but Trifonov somehow makes me think of a taller, thinner, younger, embryonic kind of Sokolov-to-be. He's an old-school Russian, with that sense of colour and drama - as if the Liszt B minor Sonata and the Chopin Preludes are great narratives like The Master and Margarita or Anna Karenina itself: mighty struggles between good and evil, with, in the case of the Chopin, an apocalyptic conclusion balanced earlier by perfect songs-without-words and a deep sensitivity to the evanescence of absolute beauty. There's that Chaliapin-like phrasing, the breath strongest at the start of the phrase; there's an identification with the Russian sense of vastness, and a pride in it. He takes risks - as much with the softness he can evoke as with the juggernauts of octaves he can unleash when required. The Scriabin Sonata No.2 came out in three-dimensional textures, lit by a stained-glass window of synaesthetic luminous legato. There's an energy that crackles around him from the minute he steps on stage - as if he functions at a higher vibration level than most people.

The programme was cleverly chosen to show off his strength in fantastical, mercurial imagination; and in the encores he romped home to Russian territory with a Medtner Fairy Tale, a mind-busting transcription of the Infernal Dance from the Firebird by Stravinsky - something I've never heard on the piano before and don't anticipate hearing again anytime soon, given its challenges - and a little calm-down-dears extra piece to close that [UPDATE] has turned out to be a little something of his own.

Let's hope that Trifonov can sustain, guard and further develop his glorious pianism and sterling musicianship without the undoubted stardom he faces wreaking materialistic havoc. I'm an optimist in this case, and I think he can make it.

KICKSTART YOUR WRITING is back!

New year, new resolution: KICKSTART YOUR WRITING is back! I've designed this special workshop as a total-immersion day for anyone who has ever said "I've always wanted to write, BUT...": here's your chance to get rid of your "but". So to speak.

In a small group with a supportive and non-critical atmosphere, we explore ways to help you get started. You don't need to bring anything except paper and a pen and you can share your work during the session or not, as you like. Places are strictly limited, so book soon! For more info and booking, please email kickstartworkshops@googlemail.com.

The first workshop of 2013 will be on SUNDAY 13 JANUARY in SW London, 10.30am to 4.30pm-ish.

Please share this post if you like the look of it.

A Diable of a tenor: meet Bryan Hymel

You have to hear Bryan Hymel, the American French-style "heroic tenor" who's about to sing the title role of Robert le Diable at the Royal Opera House. He has already become the darling of Covent Garden, stepping in to replace an indisposed Jonas Kaufmann for Les Troyens earlier this year and earning out-and-out raves. I've had a good chat with him about Robert - especially about the particular quality of voice that is required for it, and that he has, and that is a rare marvel today: in a way, the white tiger of the tenor jungle. Just listen to this, from Rossini's Guillaume Tell.

JD: So, Bryan, how’s it going? 

BH: Really well! Each act has its own feeling and mood - it’s good to get into each one. I’ve done the opera before, but only in concert. With this production it’s exciting to see the possibilities, and the stylised way that Laurent [Pelly] envisions the piece is great. It’s a lot of fun.

JD: What are the special challenges that you face in this role? 

BH: First, it’s really high. The range and the majority of the notes lie in a very high part of the voice. This range and the length of the opera are the biggest challenges: my approach is to take it in little chunks, digest them and make sure I’m singing as efficiently as possible. Fortunately I had the chance to do it in concert, just concentrating on the singing and the music, so I was ahead of the game, knowing what to expect of that. What’s going to make it exciting for the audience is also what’s exciting and challenging for us, because all the four main characters’ roles are written that way. They use the whole range, well over two octaves - and the soprano has almost two and a half octaves. You don’t hear that very often, even in things like Lucia. It's extremely virtuosic singing, but the interaction between the characters, especially Robert and Isabelle, is also very dramatic. He thinks she’s left him for another knight and he’s the scorned lover; and in Act 4 he has to fight away the crazy nuns in the ballet. I think the spectacle and the drama will be very exciting in the house. 

JD: Do you think the melodramatic quality and the virtuosity is what made it such an incredible success in its time? 

BH: I do, and I think you have to have the singers and actors that can pull it off. And there are some wonderful moments – that’s an integral factor for any piece to stand the test of time. Maybe it’s 30 seconds or one aria that the audience is waiting for - and there's at least one such bit in every act. There are some really beautiful stand-alone pieces. I hope it will be a reawakening of this repertoire. But it’s hard, especially when times are tough and there’s not a lot of money; a lot of forces are involved in this opera, a big orchestra, the chorus and the ballet. 

JD: How would you account for its neglect?

BH: I think it’s really hard to cast! It’s difficult to get four singers together at the same time who can sing these parts. They contacted me about this over three years ago - it was planned that far in advance. At the time everyone was the same [as the concert performance] except Diana Damrau who’s just had a baby – she’s the only one not here from the original team. It’s not standard repertoire and none of us knew the roles before that. The last time it was done on stage was in Paris in the late 1990s. You need the time to learn the role and get it into your body because it’s not just about singing the notes. You have to be able to do it in an artistic way while still giving the illusion it’s easy. This is the hardest thing I’ve ever had to sing, by a good bit! 

[UPDATE, 3 December 12 noon: the ROH has just announced that the role of Isabelle will not now be sung by Jennifer Rowley, but instead by Patricia Ciofi and Sofia Fomina.]

JD: Wagner was hugely influenced by Meyerbeer...

BH: I’ve never sung any Wagner – it's a different voice type – but I can certainly see how Meyerbeer’s writing would have influenced Wagner's, especially in the ballet. The music uses very progressive tonalities for the time and it’s great writing. It’s what probably gave Wagner the idea to make the orchestra an equal part of the opera, as opposed to just accompanying the singers - I think Meyerbeer’s already started to do that here. The ballet is almost the most famous thing in the opera, not just because it’s great, but also because it’s shocking to the audience – and not just because it’s nuns behaving badly. I don't think the audience was used to hearing music that was so much part of telling the story. It’s doing much more than setting the mood. There are lots of little solos between instruments that I haven’t heard in operas written before that time. I can see how Meyerbeer influenced Wagner in that way.

JD: Some people suggest that Meyerbeer is too "kitsch" to be convincing today...

BH: If you want to be that way about it, you can – because there are some silly moments. But if you're a Wagner person I think it’s hard to look down your nose too much at anyone else, because the way the drama moves - slow and laboured - that’s part of the style you see in Wagner. And in general, you have to suspend disbelief in opera to enjoy it. I mean, look at L'Elisir! If you buy into Wagner being six hour long, then when you walk into the theatre you approach it from a different place - and I think if an audience doesn’t do that, then they’re not going to enjoy it. 

Laurent Pelly has shrewedly set the audience up for this. Act 1 is set in a tavern, everyone’s drinking and I think that’s an easy way to open the piece. In Act 2 we have the jousting and the tournament: the horses are red, yellow, green and blue, and the chorus singers supporting each horse are painted the same colour, even their arms and faces. I think he has a way of easing the audience into the opera and saying 'This is not what you might expect, but let us lead you there'... so by the end, people will really appreciate it. We’ve made some cuts that I think help to move things along. The French, for grand opera, wanted a long evening in the theatre – they went along for that! It might be a little far for modern audiences to go there right away, but I think we’re going to give it a good shot.

JD: Yout high tenor role is something particularly characteristic of French opera? 

BH: Yes. I would say that Berlioz, Meyerbeer, Auber, etc, were writing for a specific kind of tenor voice – it’s a very different style from the Italian and it involves another approach to the high notes. Italians often throw in a high note out of the blue and I think it was written in that way so that if a tenor had that note he could put it in, and if he didn’t - and probably most of them didn’t! - you could just go on without it and unless people knew the music well, it wouldn’t strike them as funny. Here, though, there’s no way not to do the high notes and that’s what makes it really tricky. Being a tenor who sings this repertoire, I know that if I’m not feeling 95 per cent, the note’s just not going to come out! Rossini wrote Guillaume Tell in a similar fashion. The term at the time was 'heroic tenor', because though it was high it’s still very visceral. 

Meyerbeer and these guys were writing for a specific kind of singer; those tenors were just starting to sing the high notes in their full chest voice right before this was written. Some of them still would go into the voix mixte. That wouldn’t work today: the theatres are too big and the orchestras are too loud for those sounds to be heard. 

When they first sent [the score] to me I wasn’t sure I wanted to do it. Three years down the line you think hopefully your vocal progress will have continued to grow, but even though I could sing it at the time, I wasn’t comfortable enough about saying 'OK let’s do the title role in this opera at Covent Garden'. It’s been three years that this has been looming over my head! Now that I’m here, thank goodness I feel in the best shape I can be in. Coming from Les Troyens I feel I have the confidence and a kind of support and relationship with the audience here in London. I think we’re going to present something they’ll look forward to. I feel strongly about the piece, I’m excited aboutit and through the rehearsals I've felt I’m in a good place. 

JD: Well, if you guys can't pull this off, then nobody can.

BH: I think that’s probably true! 

[Production photos: Bill Cooper/ROH] 

True love and piano heaven?

Fairly perturbed by London reactions to Andras'/Backhaus's Bechstein - the upper register "cold", "colourless" - ?  As they say on Twitter, WTF? Nothing could be further from my own impression over in Lucerne.

I fell in love with my own Bechstein when I played it at a friend's wedding. Before deciding absolutely to give myself over to my midlife crisis and commit the necessary large sum to buying it, I wanted to be sure I really loved it as much as I'd thought I did. So I went along to Steinway's and played every grand piano in the shop.

They were all perfect. And they didn't do it for me. OK, they also cost a heck of a lot more, so it was just as well I didn't take to them, but there was more than that to it. Where was the character, the depth of sound, the individuality? Back to the Bechstein. Heaven. My beloved model M/P grand has a particular sound, a particular woody deliciousness that you can really get your teeth into, and a different colour in each register. Where does it come from?

It's all about the balance of the tension in the sound-source, especially the soundboard. The way the pieces of wood bond together. The relatively dryness of them. And a lot of passion and dedication goes into producing it. This is all explained in this film, which offers a bit of insight into the Bechstein processes and includes plenty of examples of that special quality of tone. It's called C BECHSTEIN - A LOVE STORY.

Andras's London concerts, by the way, are taking place in the Wigmore Hall which, excuse me, was originally called the BECHSTEIN Hall. The name was changed at the time of the First World War, when anything with a German name became mud in Britain. Is it possible that the ongoing prejudice against some of the most wonderful pianos in the world goes back to that?