TRANSCRIPT 🔗
Opera North Eugene Onegin Verity Wingate PODCAST: We are now singing actors. It used to be the other way around. And when it was the other way around, it wasn't much on the acting side at that. But now we really are singing actors. know, directors are demanding more. More more film directors are coming over into opera. Hello, how you doing? You're listening to Coasty Corbett here on the Arts and Toes podcast. Today we're going over to Nottingham to join the lovely team at Opera North. They've come down the M1 with their version of Eugene Onegin. This is an opera that was written by Tchaikovsky based on sort of a poem, a verse about two, well just over 200 years ago. And I was able to have a chat with Verity Wingate who plays Tatiana. in the opera. We have a chum wag about the emotional themes, compelling characters, but also the evolving world of opera, including Opera Nord's initiatives to get more people to experience opera for the first time. We're talking about goodie bags, we're talking about discounted tickets, and just making sure that things are a little bit easier to understand. Reflecting on the impulsiveness of making opera and welcoming and more accessible, it is something that Verity was so, so passionate about and genuinely comes through in her interview. It's an engaging conversation about the power of storytelling, the emotional resonance, I guess, of the verse and the poetry that it's based on and the exciting future of opera. Hello, Opera North debut. How is it going? It's been amazing. What a company. I mean, I was fortunate enough to work for Laura Canning when I was a really young artist at Garcinton, but to work with such a lovely company. and such a classic British company with so many people I know has just been such a treat. It's been so lovely. You have performed all over the world. I mean, I read Malmo. I love Malmo over in Sweden. It's a little happy place of joy. And then you end up up in Leeds. It's a little bit of a culture shift, but genuinely. Yes, the bars aren't quite the same, are they? Not quite. Like you said, this is going to sound so cliché, but it doesn't really matter where you are in the world for opera. It's about, from what I gather, it's about the story and how that's conveyed and the music. And then you come along with Eugene Wonjin, which started as sort of a one, from what I gather, as sort of a one verse poetry and Tchaikovsky got the hold of it and went, now we're going to turn this into something funky. And then you've just been able to play from what I gather. Tell me about the storyline. So, mean, Pushkin's Eugen on Jäger is one of those pieces that is like Little Women, Pride and Prejudice. It has this core of warmth and sort of beautifully integrated characters, especially the women of the family. Tatiana, her sister Olga, and her mother, Larina. and then their nanny, Filip Yevna. You've got these women at its core that are living a small country, comfortable but quiet existence. And then in
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walks Eugene Onyegin, a man of society, and Tatiana is completely and utterly bowled over. And it's not just bowled over, it's that she's a bookie girl. She is a bookworm and she imprints everything that she's ever read about these great romantic novels, this idealized version of a man she imprints onto this man. So she takes the bold move to write to him and tell him this and he rejects her out of hand and it is as painful as each and every one of ours. teenage stories of first love and first love sting and his rejection is is cold and humiliating especially to someone so sensitive as Tatyama is she's incredibly sensitive and and has this unbelievable I don't want to say imagination because that sounds really mean but she has this broad view of what her life could be and and it comes out in this out pouring of 15 minutes worth of aria, which is just ridiculously long. And for anyone who's a really long time to freak out, that's a really long time to freak out on stage. And you know, she, she pours her heart out and he completely rejects her. We then move on to a sort of party scene where he decides to dance with her sister. Now what his thinking is here, who knows, but a lot of us. have queries about what teenage boys are thinking at this stage in life and what they're up to. here we are, he decides to dance with her sister and he upsets her sister's boyfriend, upsets Tatiana, he upsets everybody in this moment. And his best friend Lenski, who is in love with Olga, challenges him to a duel. This does not go well for Lenski, poor man. Really, Lenski and Tatiana should have ended up together, but they never worked that out. He's the poet and she's the romantic. They belong together. They're the sensitive ones, but they're with these other two that are just chaos. And Paul Ensky, yeah, ends up dying at the hands of his best friend. And then we finally move on to many years later, or unidentified number of years later. In the novel, it's two years-ish, but I think in our opera, setting it's more like 10. Tatiana has married a prince or a member of the Russian aristocracy, Prince Grimin, who is an older, there's a reference to him being an injured war veteran and as I say he's a prince and she is married, is now part of the aristocracy herself and has blossomed into something that Arnegan never could have imagined. here he finds himself, because he's related to Prince Grimin as a cousin, they say a cousin, but who knows what that means. And he finds himself at the party and says, my God, that's Tatiana. And having rejected her in his youth, he realizes his folly and begs for her to come back to him, at which point she says, I am steadfastly married and and faithful to my husband and will be forever, get out. And yeah, he doesn't take that too well. But yeah, he realizes far too late that he has lost potentially the love of his life. You have the best way of telling stories in the entire world. I'll be honest with you, I was sort of expecting a poetic
melodic. No, that shouldn't have worked out, but anyway, we'll move on. I love this, but the amount of research you're having to do, not only for Tatiana, but just as part of your role to be able to tell that storytelling, I think, in my opinion, goes really undervalued by those that may not, forgive me, but may not necessarily understand your job. Yeah. Because you're a soprano. I think this is the further we've gone in opera in the last couple of decades especially, we are now singing actors. It used to be the other way around. And when it was the other way around, it wasn't much on the acting side at that. But now we really are singing actors, know, directors are demanding more, more and more film directors are coming over into opera because they're kind of like, yeah, I mean, for example, Ralph Fiennes just directed Eugene Onyeagin in Paris because he played Eugene Onyeagin. So he knows this and He learned to speak Russian for that Nuria film that he did. So he had a real passion about it. And there are more and more film directors doing this. it's not just about coming on stage and making a beautiful sound. That's a 20 % part of the job. And of course, that is the part where we get hired or not, mostly. But the job. is not that. Now the job is telling a story through singing, but the acting, you're really, you know, more and more the really top tier artists that are out there, they are performing like they're in a film or, you know, doing Shakespeare or anything. They're performing with that level of commitment theatrically, but while singing. And no, it's not easy. But I got to ask, you've just mentioned about film directors coming out and it surprised me. And then as soon as you said, hang on a minute, look at them. yeah, of course it is. Yeah, because you've just described sort of the genre of opera. Sorry if I've just put words in your mouth and changing over the last two decades. Do you is this bringing in a new demographic? Is this widening in an audience? mean, Opera North are going above and beyond. and successfully. think that that is something to put out there because most companies are going above and beyond unsuccessfully because of how they're doing it. Opera North are attracting such an amazing new demographic. mean, they had a pay what you want night the other night for Rigoletto, five pound minimum. And they had a, I'm sorry if I get this wrong, but I believe it was 94 % first time opera goer. rate in our audience. And every night anyway, you can pay £20 if you're a first time opera girl to see anything and they welcome with the subtitle boards, like when you're watching Netflix and you've got the subtitles, whatever, they put on every night how many first time opera girls they have in the house and they're like, welcome to this night and they get a little goody bag on their seat. Everything, yeah, it's fantastic. It's just such a lovely atmosphere. for me, you know, it's work, happy and not harder. And, and Opera North have
really brought that to the table. And I think that's really impressive. And they say creativity is dead and we don't need it on the curriculum. Wow, isn't that a full circle moment? Yeah, it's really lovely. And I think, obviously, they have initiatives working with children and everything else. But I think in, in just the principle of coming to the opera, giving it a whirl. for a fiver. Yeah. You can't, or 20, or even 20 pounds. Like, if you go to prep, you're likely to pay more than 20 pounds for, you know, like, for 20 pounds, if you look at what's happening on stage, you can't argue with that, whether you like it or not, whether you like it or not, to pay 20 pounds to have that experience and to have all of those people working, whether singing, backstage, anything. Tech hands, make up, you can't argue with that. And Opera North don't have a small team. And I would argue that there is more backstage by the time we've put in makeup, by the time you put in the props, than there are on stage. And I think that goes missing. And that ticket sale is a bargain. Absolutely. So lovely to hear 94 % of a new demographic. That's amazing. Amazing. Yeah, had one experience, which I think actually Opera North and more opera companies should perhaps adopt. So the Bayerische Startsober in Munich, for the very final night of the season, whatever show that is, they have a huge like glitter bomb thing go off for the curtain call, and they open the back and reveal just how many people actually work behind, yeah. So you have the cast who've done their curtain call, but then they lift the back and every member of the company, be that admin, techs, makeup, costume, everyone is stood there to show just how many people have worked throughout that unit and who are behind it. And I think having that visual impact of that many people is incredible because it really shows what is going on. that's just made my heart sing. That's lovely. I could to you all day and I'm aware of time. But you have you you have traveled all over the world. You have worked with so many amazing companies and Opera North are coming to Nottingham again. And it is a joy to be able to welcome them to the East Midlands. Somebody's just listened to this and gone, all right, fine. I'm going to give opera a go. What is your top tip for your first ever time at the opera? Read the story first. Yeah, OK. Just a synopsis, like it couldn't be easier nowadays with AI mode, just like type in, give me a quick sum up of Eugene Onyego and actually it turns to a brilliant job. And just read that first so that you've got a concept because then when the subtitles come up, you're not sifting through trying to understand what the plot is. Then you can sit back and enjoy the music and read the subtitles and be taken in by what they're saying. But you're not having to do too much work, in the moment. It's just asking too much of yourself. Like, make it easy, have a cup of tea and read the plot. And then when you're there, you'll be able to take in so much more. And I guarantee you that in so many operas, mean, Carmen, like, forget it, you'll know the whole thing. No matter how much you think you don't know classical music. There's usually something in every opera that you'll recognise because of adverts, because of whatever, social media nowadays. But Eugene Onegin, you're like almost certainly going to recognise the beginning of Act Three. And yeah, enjoy. Eugene Onegin will be coming to Nottingham's Theatre Royal from the 18th to the 21st of November, 2026. And there's also a pre-show talk available on the 18th of November. Everything can be booked through Nottingham Theatre Royal's website trch.co.uk And do remember talking about these tickets for people that are new to opera? They're doing it for just £20 for all those who have never experienced opera before. So if you're on a cold, dull, autumn, rainy, wintery evening, you get the gist. Go and try something new. Head on over to Nottingham Theatre Royal from the 18th to the 21st of October. And if you're loving what you're hearing, you like the arts and wondering what's going to be going on. over the winter months then why not give a subscribe and follow to the Arts and Toast podcast as well. Trust me it really really is appreciated. Right then I'm off to go and take in some culture. Until next time I've been Kirsty. Ta-ra.