Tuning in…
Tuning in…
Castaway
1 appearance
Opera director who worked with the greats at major opera houses for six decades; his acclaimed production of Labo M is still performed after 30 years.
On the island
Eight records
Vieni, diletto, in ciel la luna è sorta
Maria Callas had an enormous effect on me. 1964 was a very important year. I had already directed Tosca three times at Covent Garden, but this was the new production with Zeffirelli, and I was the assistant, and I was very thrilled to be his assistant, because it was going to be him, and it was going to be Maria Callas and Gobby, and I just I couldn't wait.
The Royal Opera House Orchestra
When Margaret Fontaine did the Rosedagio and she did those balances on point with her arms so beautifully arched, I did actually, I nearly died and I thought I'm going to work in this place. I don't care whether I'm a lavatory cleaner or what.
It's a very romantic song, and I'm I'm very connected and concerned about love in people's lives, and I think if you listen to this um it touches your heart, which is what life should be about, really.
Dopo notte, atra e funestaFavourite
I want it on the desert island because it's about coming out of a terrible, terrible time. The opera is about treachery, it's about dreadful things happening. And then it all resolves itself. And it's very much for me like my life.
Sonata for Two Pianos in D major, K. 448
Martha Argerich and Alexandre Rabinovitch
And at the end of that he just started turning the pages from the beginning. He said, Now we go from the beginning you do it properly. And I really thought sugar. Terrifying. That was terrifying.
He was the first chounin in my boème, The First One, and he was immediately struck me as a wonderful performer and actor and somebody I liked enormously. He was just the most lovely, lovely man.
He's Got the Whole World in His Hands
We were talking earlier about when I was playing that duet with Schulte, I definitely felt that somebody was actually looking after me. And I think somebody's looked after me.
She was one of the loveliest people, and you just hear the sound that she makes. And it's a poem. It's a wind and a sail carried off our thoughts to a sea where tenderness is. The counterpart of music and light.
In conversation
Presenter asks
2:14What are your memories from that particular time [directing Pavarotti in his London debut]?
Well, he was a lovely lad, and he was rather lonely. He hadn't been to London before. And he came to our house, and he used to go to Soho and bring a big bag of groceries and cook pasta sauce. And we'd get the ballet girls round,'cause he was very keen on the ballet girls, and he'd sing a bit, and I'd play the piano for him, and they were just it was so very informal, and he was just a lovely, lovely guy.
Presenter asks
2:39How did the magnitude of his [Pavarotti's] success change him?
Well, it's like all famous people, they will tell you it's the pressure on them to g give what is sometimes so difficult. You know, he was a perfectly ordinarily educated boy, and I'm afraid it did go to his head eventually, and, you know, he was so famous. I mean, what else do you expect?
Presenter asks
6:36What was life like [growing up in Birmingham]?
Well, I w I went to King Edward's school and I had a good time. It was during the war and we did lots and lots of plays and because it was a boys' school, I generally did the girls' parts. I did Eliza Doolittle in um in Pygmalion and I did Helena in Midsummer Night's Dream, which I didn't like very much'cause I wasn't the leading lady in there. And I did Lady M in the Scottish … And then I left, and then I went to the Royal Ballet School, so that was the end of my dramatic career.
The keepsakes
The book
The New Grove Dictionary of Opera
Stanley Sadie
I'd be able to read about all the things everybody else has done.
The luxury
Presenter asks
7:41What was your father's problem with [your singing and playing the piano]?
I think he thought it was pansy. Right. You know I wasn't going out and kicking a football. But anyway, I ended up as a pansy, so it didn't really.
Presenter asks
15:34How significant was it to form a civil partnership in 2005?
Um well, it was very important from a tax point of view. … Well, it was very, very nice. Yes, and we had a wonderful day and everybody came. All our friends, our dear, dear friends, some of whom are singing today, came and and supported us. And I think people were very glad. And I just think that we do have a bond. We're sort of linked and it does make a difference. Of course it makes a difference.
Presenter asks
30:22Do you remember the worst excesses of [your drinking], or is it something of a blur?
Yeah, yeah, I do remember yes, I do remember throwing the phone across the room. in an absolute rage and thinking, I think I'm drunk and I need help and I picked up the phone and I thought, Oh, well it'll won't work'cause it'll be broken and in fact it wasn't. And I got somebody from AA and they came round in about an hour. I went to a meeting the next day and that was it. Goodness me that was october the first, nineteen eighty. That was good for me.
“I'm not very bright, I'm not very well educated, and I don't have a very good brain, but I've got a very good instinct, and I've got a determination, which is scary.”
“I did pick up very early on that if you're doing the leading role in something you are different. Now that sounds so conceited and megamaniacal. But, you know, if you're doing Eliza Doolittle, you're the leading lady, and you get more attention and you get better frocks and you have more rehearsal.”
“I do remember being poor and not having enough to eat. I mean, I never want to be poor again.”
“I've had the most blessed life anybody could ever imagine. I mean I've I've had a blessed life. I've done what I wanted to do and somehow people along the way thought I'd got something if it was only enthusiasm I suppose and that plus a fantastic partner who I've had for fifty years in my life I don't think I could have been happier.”