Music often plays an important role in a theatre production—what role does a theatre director play in a classical music concert?
Sinna: That’s an interesting question, one to which there’s no clear-cut answer… and that’s precisely why it’s such an intriguing challenge. I often work by bringing together unexpected elements and materials which, when combined, give rise to interesting theatrical content. In my role as a concert director, I operate with the same idea in mind.
Linda: In the context of classical music, a director can reinforce or challenge the absoluteness and precision of the music, as well as the work’s perspective, content and various interpretations. The director has the opportunity to broaden the concert-goer’s senses and thinking, whilst at the same time focusing them. At its best, the conductor’s art in a concert is the same as in a theatre performance: creating meaning for things that cannot immediately be put into words or interpreted from the written material alone.
What are your initial thoughts on indie concerts?
L: We are keen to continue the Indie series’ bold approach to combining different art forms in an organic and surprising way. Combining uniqueness, elements of surprise and improvisation with a carefully rehearsed and cohesive whole has been one of our key guiding principles. The variety of concerts, both thematically and compositionally, encourages this, and the different works and composers inspire us to invite artists with their own distinctive voices to join us.
S: The big, challenging and tantalising question is how, within such a tight timeframe, we can bring alongside a magnificent orchestra and a programme built through a meticulous and lengthy process something that makes the concert experience unique and different. I’m keen to bring to the stage material, performers, and theatrical situations and gestures that have never before been seen in this hall.
The concert hall and the number of musicians in the orchestra impose limitations on the conductor in themselves – or do they?
L: Not necessarily! Of course, the rehearsal period for a concert is shorter and more limited than that for a full-length theatre production. But as with all the performing arts, these constraints also present an opportunity. What can we create alongside the music in a space with a strong character of its own, so that it might evoke emotions and actions that break free from familiar conventions? How can we combine what is precisely pre-composed with what happens in the moment?
S: Personally, I find it rather inspiring.
The ‘Dreams and Utopia’ concert features Hildegard of Bingen’s Spiritus Sanctus vivificans vita and Franz Schreker’s Geburtstag der Infantin, based on a story by Oscar Wilde. What thoughts does the programme inspire?
S: I’m interested in bringing something spontaneous, unpredictable, surprising, vibrant and born in the moment to the stage.
The ‘Back to Nature?’ concert series explores the tension between nature and urbanisation, as reflected in works such as Beethoven’s Pastoral Symphony and Unsuk Chin’s Graffiti. Will we witness a convergence between a pastoral drama and a street art performance?
L: Ha ha! That wouldn’t be a bad starting point for a play at all. Nature is in a state of constant change, and its forces are immense and, at times, beyond human control or comprehension. Ilta seeks to make the stage – and, with it, the audience – feel alive – part of something thrilling.
What sort of audience are you hoping to see at the Indie concerts this coming season?
L&S: We hope that these concerts will bring together curious and open-minded lovers of classical music and the performing arts to experience art that transcends boundaries and engages multiple senses. We hope that as many people as possible, from all walks of life, will be able to experience this fascinating concert series. People coming together to share an experience – there is something powerful and wonderful about that. Especially in times like these.
