The Orchestra of Opera North’s first session after the summer break was to record several extracts of The Adventures of Pinocchio for inclusion on a promotional CD. Percussionist Chris Bradley talks about what it’s like to play a new piece of work and the preparation that goes into to it.
Of course, as expected, the underlining theme of Pinocchio is wood. I must therefore search out my collection of woodblocks to find a high pitched one and a low pitched one, extremes at first, to see if the composer likes these sounds. One of the more unusual instruments required is the swanee whistle (slide whistle) with an incredible range. I need two for this score and having gone through my collection of eight whistles, only three short ones came close to the range I need. I contacted my suppliers in the USA and Europe but I’m still at a loss to know if I can get whistles with these ranges. If push comes to shove, and after discussion with Jonathan Dove, we’ll have to look into the possibility of having the whistles made. (If this is achievable then it will come with a heavy price tag!).
Titles for the work are extremely important. Before a note of music is heard an image is created in the listener’s mind. The first extract has the apt title The Log and sure enough it involves a xylophone (wooden keys), a snare drum rimshot (stick on stick), and an orchestral whip (wooden clapper) within in the orchestral sounds. Strong, wooden sounds along with energetic rhythms set the timbre of this movement. This is followed by the extreme opposites, Pinocchio’s Reverie which has long melodic phrases with many high, soft metallic sounds.
The next sample Pinocchio meets the Cat and the Fox, reminds me of two other, contrasting works; Rossini’s famous Cat Duet and Renard by Stravinsky. Here the two cunning animals wail to Pinocchio advising him to take his five gold coins to the Field of Miracles where once planted and watered will yield 5,000 coins. Are they fooling Pinocchio? Two more extracts followed: Assassins and Pinocchio’s nose grows. Everyone knows why Pinocchio’s nose grows and here in this extract the Blue Fairy is helping Pinocchio not to lie. I’m looking forward to seeing how the technical department create the nose growing effect!
The next sample Pinocchio meets the Cat and the Fox, reminds me of two other, contrasting works; Rossini’s famous Cat Duet and Renard by Stravinsky. Here the two cunning animals wail to Pinocchio advising him to take his five gold coins to the Field of Miracles where once planted and watered will yield 5,000 coins. Are they fooling Pinocchio? Two more extracts followed: Assassins and Pinocchio’s nose grows. Everyone knows why Pinocchio’s nose grows and here in this extract the Blue Fairy is helping Pinocchio not to lie. I’m looking forward to seeing how the technical department create the nose growing effect!
It’s always exciting to be involved in the creation of a new work, especially an opera. I was lucky enough to be involved in Opera North’s recent community opera The Pied Piper where the children from each area where the opera toured participated as the rats and children in the performances.
Here in the UK, even with the financial risks involved, there has been a steady stream of commissions from opera companies to mostly British composers, for new work with a wide appeal. To put this popular, well-known story into the main Opera North season and to take it to the touring venues shows how committed the company is to attracting new audiences and giving children the opportunity to experience live theatre.
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