As we launch the latest call out for our Female and Non-Binary Conductor Traineeship, we asked Michal Oren, last year’s successful applicant, to tell us how she has found being at Opera North and why she thinks the scheme is such an important initiative.
To begin, we were keen to find out what had inspired Michal to take up conducting in the first place.
My curiosity in conducting started in high school. It was thanks to my youth orchestra. It was a wind band and, at some point, I became the principal clarinettist, which is basically like the ‘concert-meister’ of the band. I really enjoyed leading from the chair and was curious to find out what it’s like to try and become a conductor.
I enjoyed it very much but I was super young, of course. I didn’t fully understand what it meant to be a conductor but that grew in me with time.
Michal Oren © Olivia Da Costa
Why did you apply for this traineeship?
I really love opera but I have no experience of conducting opera. I thought it was a wonderful opportunity to understand the inner workings of an opera company and what opera conducting really requires, as it’s quite different from the symphonic world. I’m really happy to have this opportunity.
What has the traineeship involved?
The traineeship is ten weeks and I’ve been really lucky to observe three completely different productions. I started with Kurt Weill’s Love Life which is a 1940s Broadway musical followed by The Flying Dutchman by Wagner and ending with The Magic Flute.
I’ve been able to watch from the first music rehearsal until the performances, so it’s allowed me to explore the entire process of how productions come to life. I can watch how the conductor works and also how the assistant conductor works – I think for young conductors, it’s even more relevant to see what the assistant conductor is required to do for a production.
Tell us about the one-to-one sessions
Every week, I have had a one-to-one session with one of the music staff and also with a guest conductor. It’s by request, which means I can bring excerpts from whatever I want. Of course, I’ve brought mainly opera – arias and recitatives that I should probably practice, as this is the best place to try them out. I’ve also had wonderful conversations with conductors Patrick Lange and Jim Holmes.
Music Director Garry Walker conducts a rehearsal © Tom Arber
Tell us about the masterclasses
As part of the traineeship, I get two masterclasses with the Orchestra of Opera North and Garry Walker, the Music Director. It’s quite rare for young conductors to have a three-hour session, just for you, with a professional orchestra led by an amazing conductor (which Garry is). We explored all sorts of operatic scenes and also symphonic music and, for me, it was just great.
What do you think has been the most useful thing you’ve learned?
The biggest thing I’ve learned, and am still developing, is actually the ‘give and take’ relationship between conductor and singer. Singers are quite an enigma for me as I’ve never worked with them before, so I’ve been learning, as a conductor. to give them the freedom they might want but with the support they might need. It’s fascinating and is a relationship that comes with experience, but this was the first time I actually started to understand it better.
Has anything surprised you about the operatic world?
Because I was so inexperienced in opera, I found it difficult and I was even scared to approach opera, but it’s such a warm environment, it just makes me feel that ‘ok, so it is possible’. I’ve realised you have a really long journey to work on these productions, to get to know your singers, your director, the assistant – it’s a big team – so you have time to develop yourself as well within the production.
What have you enjoyed the most?
It’s quite difficult to choose what I’ve enjoyed the most. I think honestly the one-to-one sessions for me were the most exciting because it’s an opportunity to have a private session, to analyse your conducting, and to get some really, really helpful tips.
Why do you think traineeships like this are important?
I believe the cultural world has changed already and is developing in a good direction but, of course, we have further to go, so these traineeships and these programmes for females and other diversities are really important. I hope this programme not only encourages my other colleagues to try out more opera and opera conducting, but also to become conductors, particularly if they’ve just never had the courage to try it out.
What would you say to someone who was thinking of applying?
It’s a great programme and I would definitely recommend it to everyone to try, particularly when you want to improve your operatic knowledge and to gain insider knowledge of the operatic world.
Apply for this year’s traineeship
