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THE REHEARSAL The Chelsea Opera Group holds a unique place in the history of British opera. We go behind the scenes at the final rehearsal before its acclaimed performance of Euryanthe at Cadogan Hall WORDS Lucy Ryan PHOTOGRAPHY Mischa Haller or most people, Friday night is the he says. ‘Conducting calls for great tact and time to switch off, kick back and sensitivity. You need to be clear and direct but relax. Not so for conductor Cameron at the same time encouraging and inspiring. Burns and the 112 members of the Your mood on the podium dictates the mood Chelsea Opera Group. It is the of the room, so it is extremely important to be Fevening before they perform Carl Maria von calm and relaxed, especially when dealing Weber’s Euryanthe at Cadogan Hall, and the with a challenging work such as Euryanthe.’ orchestra and chorus are assembled in Henry This unusual choice for the performance Wood Hall for their final tutti rehearsal. at Cadogan Hall – one of three a year – is The German grand-heroic Romantic opera typical of the Chelsea Opera Group. It was in three acts is a tough choice for Cameron’s founded in 1950 by music critic David Cairns Left: conductor debut with the group – technically challenging and the late Stephen Gray, General Manager Cameron Burns for the musicians and extremely demanding of the Royal Liverpool Philharmonic with the Chelsea on the soloists. He, however, has absolute Orchestra. At the time, both were unknown Opera Group. faith in the talented company of amateurs and young musical enthusiasts with a passion for Above, from left professionals before him, and urges them on. opera, and their first performance, Mozart’s to right: mezzo- ‘It is an extremely difficult opera, so we still Don Giovanni, was conducted by a young soprano Camilla need to iron out a few things,’ he confirms. Colin Davis, who went on to become one Roberts; violas He tackles the tricky sections with gusto, of Britain’s greatest conductors. Stefan Laros and calling for replays and firmly but fairly taking The group’s mission – to bring opera to a Ellie Merton; the chorus to task when necessary. ‘It is my wider public and give young instrumentalists double bass responsibility to bring out the best in people,’ and singers the chance to perform leading Jacob Head struttandparker.com/andlondon 45 pp44-47_&London_OperaGroup_des4.indd 45 13/02/2014 17:48 I FEEL PROUD TO operatic works before At 31, Cameron is one of the group’s BE PART OF OUR the public – is alive and youngest conductors. He hopes to offer a GRAND OPERATIC well today. fresh perspective, marrying his voice and HERITAGE AND TO The group is a magnet opera-coaching expertise to his conducting WORK WITH SUCH for talented amateurs, skills, described as ‘urbane, unhistrionic and young professionals and impeccable’ by The Times. ‘Conducting TALENTED MUSICIANS chorus singers, while opera singers and conducting an orchestra AND SINGERS opera aficionados relish require very different disciplines,’ he says. Cameron Burns, conductor the opportunity to enjoy ‘It is hard work to bring both areas together. Chelsea Opera Group less well-known operas Performances are extremely demanding, and see performers who mentally and physically.’ If further proof may be established abroad but are unknown were needed, he mops a dripping brow to British audiences. Celebrated alumni of the and restores order to a ruffled, damp shirt. Chelsea Opera Group include conductors Sir In the highly competitive world of Simon Rattle, Sir Mark Elder and Sir Roger conducting, Cameron is in a privileged position. Norrington and opera legends Dame Kiri Te ‘I’ve always been a fan of Sir Colin Davis, so to Kanawa, Sir Willard White and Jill Gomez. work with the group with which he started his The combination of amateur and career is a great honour. I feel proud to be part professional talent gives the group its unique of our grand operatic heritage and to work energy – a quality that appeals hugely to with such talented musicians and singers.’ conductors such as Cameron. Having largely Inspired by a team that includes celebrated worked abroad, he seized the opportunity to violinist Diana Cummings as leader of the take to the podium here in London. ‘In the orchestra, and internationally renowned UK, we produce some of the best opera in the mezzo-soprano Deborah Miles-Johnson as world,’ he says. ‘We are blessed with some chorus master, the group performs with of the finest conservatoires with exceptional passion and brio. Little wonder critic Richard standards of teaching and coaching. We take Nicholson regards their performances as opera seriously; as a largely subsidised art, it ‘among London’s most joyful operatic events’. comes with a great sense of responsibility to As for Euryanthe on the night at Cadogan our sponsors to live up to expectation and Hall? ‘It was a triumph,’ reports Cameron the merit their support.’ following Monday. ‘An absolute triumph.’ 46 A particular take on property pp44-47_&London_OperaGroup_des4.indd 46 19/02/2014 12:34 CHELSEA OPERA GROUP TALENT SPOTTING Kirstin Sharpin (soprano, Diana Cummings (first violin Jonathan Stoughton (tenor, above) A graduate of the Royal and leader of the orchestra, below right) Having trained at Scottish Academy of Music below centre) One of the the Royal College of Music’s and the Cardiff International country’s most distinguished Benjamin Britten International Academy of Voice, Kirstin has violinists, Diana boasts a Opera School and the National performed numerous critically glittering international career Opera Studio, Jonathan made acclaimed roles, notably The as a soloist and an orchestra his debut as Radames in Aida High Priestess in Aida with the leader. She is currently a at the Royal Albert Hall, and London Symphony Orchestra Fellow and professor at the has embraced various roles as at the Royal Albert Hall. Royal Academy of Music. an oratorio and concert soloist. Visit chelseaoperagroup.org.uk for details of the group’s spring/summer performances struttandparker.com/andlondon 47 pp44-47_&London_OperaGroup_des4.indd 47 19/02/2014 12:38.

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