- Sunday, May 05, 2024
Eastern Eye caught up with the award-winning pianist Avishka Edirisinghe to discuss music, the new show, and pressures of conducting
By: Asjad Nazir
Brixton-based opera company Pegasus has led the way for 30 years when it comes to diversity in classical musical theatre. They continue that ethos of ‘harmony in diversity’ with new double-bill show The Six of Calais & Ruth.
This production sees Sri Lankan Avishka Edirisinghe as conductor and adds to his musical journey, which began with learning piano from his mum as a five-year-old kid.
Eastern Eye caught up with the award-winning pianist and English National Opera’s assistant chorus director to discuss music, the new show, and pressures of conducting.
What has been your memorable moment as a pianist?
Performing at Wigmore Hall in the finals of the Kathleen Ferrier competition with my duo partner Esme Bronwen-Smith. She won first prize, and I won the pianist’s prize. She was the first singer I ever worked with at RCM (Royal College of Music), so meeting her was a moment of fate for me.
What is it like working with Pegasus Opera Company?
Pegasus is such a warm and welcoming company. They were the first company I ever worked with, and still remember feeling so welcomed. What the company stands for is also important. Being surrounded by so many talented people from diverse backgrounds has been such a privilege, and bonding over shared experiences with everyone is such a
comforting feeling.
What do you like the most about conducting?
Getting to work with so many people. I’ve always enjoyed the social side of music-making, whether that be in chamber music, orchestras, or choirs. Conducting feels like an extension of that to me. Also, feeling the energy between myself and musicians in a performance is a thrilling experience.
What can we all expect from the concert?
A really special part of this double bill musically is the use of ensemble and chorus singing. Both operas make use of choral textures in the vocal parts to serve specific dramatic and thematic purposes, and often the harmonic soundscapes of these sections are really interesting. The choral textures are balanced by dynamic solo singing in The Six of Calais and some really lush Arias and Duets in Ruth. Also, expect some animal sounds. I won’t say any more.
Do you feel a lot of pressure as a conductor?
Definitely. We work with so many talented musicians, and it is completely up to you to make the piece work, so each individual can shine. There are many things to be keeping track of at once, and if things go wrong, you will be blamed. However, all this pressure leading up to a show is worth it when things go well – it really is the most incredible feeling.
How do you feel being onstage with talented musicians?
Honoured. Each musician brings their own individual energy and character to a piece of music. The energy we exchange with each other on stage is the thing that makes live performances so special.
Can you tell us what inspires you as a musician?
Fundamentally, it’s that music makes me feel. What exactly that feeling is of course depends on the drama or on the piece of music. But emotions I feel while making music, whether happy or sad, make me feel alive.
Who is your own classical music hero?
There have been lots of musicians who I have been inspired by, both people I have met or worked with, and those I haven’t met. But I think my mum is my musical hero. She started teaching me piano and has been the one throughout my life with whom I have shared my love for classical music with most. And it’s that enjoyment of this art form that keeps me doing it to this day.
Why should we all come to the concert?
Besides there being great music and drama, I think the fact that we are showcasing the talent of so many people from diverse backgrounds is a really special thing everyone should support.
The Six of Calais & Ruth is at Susie Sainsbury Theatre, Royal Academy of Music, Marylebone
Road, London NW1 5HT, next Friday (21) and Saturday (22). Visit www.ticketsource.co.uk
