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    London Tours on Opera and Classical Music Offer Looks Behind the Curtain

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    Fans of music from centuries past will find a wide variety of experiences and collections. One even comes with a side of rock ’n’ roll.Have you ever wondered what happens behind the red velvet curtains at the Royal Opera House? Do you relish a bit of backstage gossip or enjoy looking at centuries-old instruments? London has a rich variety of tours and collections for opera and classical-music enthusiasts. Here’s a selection.Royal Opera HouseWho were some of the women who made history at the Royal Opera House in Covent Garden? It’s a question that the opera house is answering in detail in a tour that runs through Aug. 12.Among the many stars the tour is spotlighting is a soprano who gave a whole new meaning to the word “diva”: Adelina Patti (1843-1919), an Italian who made her opera debut in New York at 16, then crossed the Atlantic for a 23-year Covent Garden career.She was admired for her coloratura singing and feared for her business chops. According to the tour organizers, she demanded to be paid in gold at least half an hour before each stage appearance and commanded $100,000 per show (in today’s money). And in a performance as Violetta in “La Traviata,” she wore a custom gown encrusted with 3,700 of her own diamonds.The singer comes up in another tour: an outdoor one organized jointly by the Royal Opera House and the Bow Street Police Museum that runs through Aug. 31. During Patti’s diamond-studded performance of “La Traviata” at the Theatre Royal (the precursor of the current opera house), security had to be reinforced in a big way because of the precious stones embedded in her gown. Covent Garden at the time teemed with pickpockets, robbers, criminals and even murderers. So police officers surreptitiously joined the chorus onstage — where they could get as close as possible to the soprano and go unnoticed.The Royal Albert Hall, named for Prince Albert and inaugurated in 1871, a decade after his death, has featured luminaries from Albert Einstein to Adele. Suzie Howell for The New York TimesRoyal Albert HallWith 5,272 seats, Royal Albert Hall is more comparable in size to an arena than to a classical-music concert hall; in fact, the Cirque du Soleil regularly performs there. It’s named after Prince Albert, Queen Victoria’s husband, and was inaugurated in 1871, a decade after his death. You can hear that royal back story and get the lowdown on the hall’s tricky acoustics in an hourlong tour. The tour also covers some of the luminaries who graced the main stage (such as Albert Einstein and Muhammad Ali) and some of the more outlandish events held in the hall, including a séance and an opera performance for which the auditorium was flooded with 56,000 liters (nearly 15,000 gallons) of water.Handel Hendrix HouseThe museum, in a Georgian townhouse at 25 Brook Street in Mayfair, has a rich history: George Frideric Handel lived there from 1723 until his death in 1759. (Jimi Hendrix rented an apartment on the top floor in the late 1960s, but that’s another story.) The house is now a museum where you can visit Handel’s bedroom, the dining room where he rehearsed and gave private recitals, and the basement kitchen. This is where Handel composed “Zadok the Priest,” the British coronation anthem, which was recently performed for King Charles III. Here, too, Handel wrote “Messiah,” which took him about three weeks to compose.Speaking of “Messiah,” if you would like to see the first published score of songs from the oratorio, head to the Foundling Museum, on the grounds of the Foundling Hospital, a children’s home in Bloomsbury. The score was donated by Handel, one of the hospital’s major benefactors, who gave benefit concerts there and even composed an anthem for his first one. Also on display: Handel’s will.A new exhibition at the Royal College of Music features hidden treasures such as this yuequin, a stringed instrument from China, which was brought to London in the early 19th century and acquired by King George IV.HM King Charles III; photo by Claire ChevalierRoyal College of MusicThe Royal College of Music has a collection of more than 14,000 objects covering five centuries of music making. That includes about 1,000 musical instruments, such as the world’s earliest-dated guitar.A new exhibition features hidden treasures from the collection, including a photograph of Mary Garden. She was a Scottish-born soprano who moved to the United States in the late 19th century, joined the Opéra Comique in Paris in 1900 and premiered the role of Mélisande in “Pelléas et Mélisande,” the only opera that Debussy ever completed.Also on display is a yuequin, a stringed instrument from the ancient city of Guangzhou in China, which was brought to London in the early 19th century and acquired by King George IV. More

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      Interview: Tanya Bridgeman on Shoes To Fill

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      Iris Theatre, located at The Actors Church in Covent Garden, is always a joyful place to visit, especially when the sun is out. Their summer season promises more great shows presented outside in the churches wonderful gardens. One of which is Shoes To Fill.  So it seemed a good chance to catch up with writer Tanya Bridgeman to find out more about having your debut show performed in such a lovely location and the strong woman who inspired her to write it.

      First things first, what’s Shoes To Fill all about then?

      Shoes to Fill is about a young, mixed woman of Bajan and Irish heritage who is trying to find herself. At the start of the play she struggles with her mental health and all of her shoes go missing, leaving her confined to her bedroom. She uses the stories that her grandmothers tell her to escape from her sense of entrapment and find freedom in being who and what she wants to be. She fights against the imposter in her head to take up space and thrive for a fulfilling life as her grandmothers taught her.

      The play draws on both Irish and Bajan culture, what were the reasons in using those two?

      My Grangran is Bajan and my Granny is Irish. Both women had a huge impact on my life in different ways. I grew up hearing their stories and have always thought that these are stories worth sharing.

      These cultures are my personal heritage, and I do not think there has ever been a character specifically written with this in mind. I started writing because I want to create more roles for black and mixed actors, I want these roles to be specific so that everyone can see themselves reflected on the stage. For me it is about getting specific, my mix of Bajan and Irish heritage play a huge role in how I relate to the world, this would differ from a person of Greek and Trinidadian heritage. Culture runs through our veins and makes us see things differently from our neighbours. From the food we eat, to how we socialise, a lot of this stuff is ingrained from cultural traditions passed down to us.

      The story features a character only known as “Granddaughter”, but appears to never be named, is there a reason for this approach?

      Granddaughter is unnamed because I want her to remain relatable. Pretty much everyone has a shared experience of being a grandchild or hearing stories from older relatives, and although the story is specific to someone of a mixed heritage there is something powerful in knowing that a lot of people can connect to this character. Not everyone will relate to everything but hopefully they will relate to just one experience or emotion expressed by granddaughter.

      The play promises spoken word and elements of music; are these genres you have explored previously? Did you start with the idea of using them or did they develop as you wrote the play?

      I wanted to use spoken word and music when I set out to write Shoes to Fill. When I started my writing journey a lot of what I was writing was spoken word, as I feel like this is a really freeing form to write in. I enjoy rhythm, flow, and rhyme and this is something I wanted to incorporate into the play. I also feel like spoken word has less rules. I’m not, and have never been, great at grammar and structure but by using a form such as spoken word I’m able to just let the words just fall out of me. –(sounds cringe I know! But it’s true!)

      For the elements of music, firstly- I just love moving and singing to music – in particular, the bass of a song. But music also encapsulates different cultures so well and to transport audiences to the worlds of Granny and Grangran music was always going to lend a helping hand! Plus, music is fun and can move us in so many ways, it can make us sad, happy, angry, determined!

      There is a very feminine focus to things – granddaughter and grandmothers all get mentioned – was it a conscious effort to focus on the female side of family and culture?

      Yes, this was a conscious effort! The Grandmother/Granddaughter relationship is so precious, and I wanted to highlight this. Also, Granddaughter is 26 and this whole idea of womanhood across different generations is really interesting. By the time both of my grandmothers where this age they had migrated to England, were married, had jobs, had homes and had children and the conversation around milestones in a woman’s life is a theme that the play looks at.

      The play is being performed in the gardens of The Actors Church, does performing outside require a different approach to the final draft of the play?

      The play has been written especially for an outside space! When we were awarded the Iris seed commission, I only had a rough draft of what the play was going to look like- so I have been able to write with this in mind. The biggest change in approach that we are having to keep in mind is the fact that we cannot use lighting to create atmosphere. But within the writing there is a sense of the classic, ‘’black out’’ or ‘’scene change’’. Getting creative with words and not relying on lighting has taken us back to the foundation of theatre.

      You are part of Soho Theatre Writers Lab, how did you get involved in that and how has it helped you develop your writing?

      I only started writing over the first lockdown, having not really written creatively since secondary school (ten years ago – gross!)  A friend told me about Soho Writers Lab, and I had a piece ready to send in but did not really expect to gain a place. But I did earn a place and it has been so great! It has firstly giving me the confidence to say that I am a writer. I have learnt so much about structure, different techniques, ways of unlocking ideas and all the different forms that plays can be written in. I am learning and absorbing so much information that is aiding my skills as an artist.  Being able to read some amazing plays by other amazingly talented new writers is so inspiring and really pushes me to produce my best work.

      As well as Shoes to Fill I am writing another play which I am getting feedback for through the Soho writers lab and although the plays are separate, I can apply the dramaturgical advice to both. Doing so I can break down the play and really push the narrative to an exciting place.  

      So, how does it feel knowing your debut play is all set to be unleased upon the world?

      Brilliant! I cannot wait to share Shoes to Fill with an audience. It’s a really fun piece and we have a lot of surprises in store! Also Shoes to Fill is not only my debut play as a writer but the debut show of my production company FAIR PLAY.  It’s so exciting to see everything coming together and years of hard work paying off. Eeeakkk so many emotions right now!

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      Thanks to Tanya for her time in chatting to us. Shoes To Fill will be playing in the gardens of The Actors Church in Covent Garden between 5 and 10 July. Further details and booking via the below link. More