What does the conductor do when a singer loses his/her voice?

There is always a possibility of trouble during a live performance. What if the singer loses his voice in the middle of the performance? I asked Adam Fischer about real experience.

“The person, who is officially entitled to interrupt a performance or to act in case of any unforeseen circumstances, is the Stage Manager. It is his/her job. He/she would either let the curtain down or come onto the stage to make an announcement. The stage manager has the responsibility over the whole thing, and all the information goes to him/her. Even if a singer loses his voice and walks off stage, the conductor cannot stop the performance because he doesn’t know what is happening. The singer may come back for instance a couple of moments later and continue singing.

In fact I remember a Traviata performance in the 80s in Munich, conducted by Carlos Kleiber, where the tenor, Giacomo Aragall left the stage shortly after beginning his aria in act 2, saying: "sorry I can’t go on". Kleiber went on conducting the whole aria without the tenor, then the curtain went down and the stage manager announced that Aragall didn’t feel well and they would have to wait to see what is going to happen. (Aragall still sang the rest).
German operas including Zürich and Vienna, don’t use substitutions (called "cover"), because they cost too much. Even in the MET, where they engage covers for every singer, the stand-by singer has to be only in town, not actually in the building.

I also conducted a Don Carlo in Zürich, when Benackova lost her voice during her aria in Act 4. The director came to the stage and said the performance was over. People went home without the Finale. There was no cover. I called it Don Carlo with a happy end.”

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Opera rehearsals

Opera productions are more complicated than concerts by nature. We asked Adam about rehearsals for the opera.
"The conductor is not needed at the beginning of the new production. Normally I attend 2 weeks rehearsals before the premiere; if it is repertory performance, it is only several times with singers with piano. The rehearsals with the orchestra is the last phase and there are a lot before that.
For example, rehearsals with the Bayreuth Festival Orchestra start early July because many members have season performances until June. I have only 24 rehearsals with the orchestra for the entire ring cycle. 12 times in the studio and 12 times with stage set. I cover one act for each rehearsal, but "Das Rheingold" and the first act of "Göterdãmmerung" take two rehearsals. The third rehearsal cycle with orchestra is actually dress rehearsals. In Bayreuth, it is almost the real performance with many invited guests."
The rehearsals of 2004 at Bayreuth starts on 20th of June.

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What's a Stage Manager?

Following last issue's prompter, we asked Adam Fischer about the stage manager's work, someone the audience never sees.

"The stage manager is responsible for the execution of the performance. He checks the timing and gives a cue to technical people who control the stage sets. He gives a cue to me when I can start the performance. Even though the audience is a seated and the lights go out, everything looks ready to go, but without a cue from the stage manager, I cannot start. Sometimes he asks me to play slow or fast based on the stage action. There is a green light and a red light on the conductor's music stand in opera house. Green means I can continue. Red means I have to stop because there may be an accident on the stage."

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What's a prompter?

There are many important people who is invisible from audience. A prompter is one of them. We asked Adam Fischer about the prompter's work.

"The prompter is something like an assistant to a conductor. He watches the monitor of the conductor and gives cues to singers. Prompters require similar knowledge and education as conductors. In most theaters, a "Korrepetitor" can become a conductor after a few years but a prompter belongs to his own division and doesn't becomes a conductor. Each theater has its style of prompting. For example, prompters at the Vienna State Opera or Bayreuth conduct singers, but at the Bavarian State a prompter doesn't conduct.

For a conductor communication with a prompter is very important. If a prompter conducts his own tempo, singers and orchestra will never be synchronized. Normally the same prompter attends the series of performances."

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Long-Term Plan (2004/2005)

Ever since becoming the GMD of Mannheim, Adam Fischer's performance increased a lot. Last year reached 108. We asked him about the long-term plan.

"I extended the contract with Mannheim after 2004. But the number of performances will be reduced and I will conduct mainly special project. The relation with Haydn Orchestra and Danish Radio Sinfonietta will be same. I will continue special project of Mozart early opera performance and recording with Danish Radio Sinfonietta. I will return to Bamberg Symphony in 2005 and Vienna Symphony in two years.

After the Ring, I will take one year off at Bayreuth in 2005. I personally want to return after 2006 but I am not sure because the festival has not decided the detail yet. In 2005 I am planning the opera festival in Eisenstadt in August. This is the revival of Haydn's opera produced for Haydntage in the past. There will be 12 performances during the festival."

It sounds like more active than it is now.

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Percussion in Mahler Symphony No. 6

Mahler Symphony No. 6 uses a lot of percussions including a huge hammer. We asked Adam Fischer about his unique idea.

"Mahler 6 has several editions : one has 3 hammers, the others only 2. I don't have strong convictions but I use 3 hammers because I think it is more powerful. In the 4th movement, Mahler himself stated "multiple cymbals". In this case, it depends on the orchestra. I tried 3 cymbals with the Mannheim Orchestra but only one with the Bamberg Symphony. In Bamberg I used the hammer hitting gun powder. This was the invention of the percussion player of Bamberg Symphony Orchestra. "

It sounds like he is trying some interesting experiments!

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What is a "Korrepetitor"?

Many conductors, including Adam Fischer, started their careers as "Korrepetitor". What is the role of "Korrepetitor"? We asked active Korrepetitor in Mannheim, Mr. Richard Lewis.

"Main job of the Korrepetitor is accompanying the soloist at the rehearsal. Sometimes he conducts back stage players and with enough experience, Korrepetitor also conducts the real performance. Of course it is very important to know the opera woks but not only that, we must know where are the cuts in the production. We have to study a lot."

Mr. Lewis is from Scotland and studied at the University of Edinburgh. He was the conductor of the University Opera Group, where Adam Fischer's daughter Golda is a member. He worked on "L'incontro improvviso" at the International Haydntage in 2000. After graduating from university, since beginning of this season, Mr. Lewis has worked at the National Theater Mannheim.

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The problems of the Bayreuth Festspielhaus

At the time of publication, Adam Fischer is in the middle of the "Ring" performances at Bayreuth. This theatre is dedicated to the works of Wagner and a little different from a traditional opera house. Just before the premiere, Adam Fischer talked about the challenges of the Festspielhaus.

"You may already have heard that in the Festspielhaus, the orchestra pit is sunk below the stage and not visible from the auditorium. There is a wall behind the conductor, which reflects the orchestra sound. Singers on the stage hear this reflected sound. It is OK when singers stand at the front of the stage. But when they are standing far away from the edge of the stage, the conductor must give the signal early enough, otherwise, the orchestra and the singers do not synchronize. We have only one rehearsal on the stage and that is the only chance we have to recognize those problems and change the performance. Of course it is the job of conductors but that does not mean it is easy. Without opera experience, even a good conductor can't be a success at Bayreuth's Festspielhaus. Also, because the orchestra pit is covered, the musicians have a tendency to play too loudly. It is impossible to judge how it is heard in the auditorium. At the rehearsal, my assistants sit in the auditorium."

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Why Classical Style Music?

With concert halls getting bigger as well as the size of the most orchestras, the late Romantic works are very popular in most orchestral repertoires. Why does Adam Fischer prefer Classical Style music? We asked him about this point.

"People might think the Classical style has strict rules. It is true but these rules are for composers but not for interpreters. During this period, composers did not include all instructions in the music. Composers themselves were most likely the first performers and changed the interpretation as they performed. On the other hand, for example the famous late Romantic composer Mahler did not like the interpretation by performer and wrote really detailed instructions in the score. For conductors, late Romantic works are actually easier because as long as you follow the composer's instructions, it cannot fail. Classical style music needs imagination and even the best orchestra can't make good performance without good idea from the conductor. That's why I like Classical style music such as Haydn, Mozart and Beethoven."

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What is most important for principal players?

This is a question from a reader, Ms. Yuko Notoya. If there is an audition, what kind of player does Adam chose for principal players? Here is the answer.

"This is a very good question but not easy to answer because there are so many factors. For example, if the flute player has a strong personality, it's better that the Oboe player is cooperative and maybe individual Clarinet. Two personal players are OK but not more than three. It depends on the music director's taste which section has strong personal player. Leadership is very important the principals of string section. Even a technically wonderful player can not be a principal if he leads his section to the opposite direction to the rest of the orchestra. In general, first violin and cello section are relatively easy because they can decide freely. Second violin and viola sections are very difficult because they have to follow other sections and at the same time, they must show their personality. In this point, the viola section of Los Angeles Philharmonic is wonderful. One of the best I have ever conducted. Anyway, the important thing for principal player is musicality rather than a technique."

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Learning from mistakes (2) - Never make a joke in foreign language

Following last issue, we asked Adam Fischer about the episode of his funny mistake.

This is the story when I conducted Il barbiere di Siviglia at the Metropolitan Opera in '94. In the beginning of ACT I of the Met production, gypsy musicians appeared on the stage in a cart dragged by a horse. At the rehearsal after ACT I, I was asked whether I need the horse or not, that appears a little at the storm scen ein ACT II. Since it is not important, I made a joke and answered "The horse can go home (but not the others)." Then, one of male players of the orchestra laughed and asked me. "Is it the choir only? Does it include the orchestra?" I was confused and shouted again, "Horse can go home." The entire orchestra laughing but still I did not understand why. Later someone told me that because of my Hungarian accented English, they heard "Horse" as "Whores". That's why many of male players were laughing. Never make a joke in a foreign language. If you do, you may not know why people are laughing."

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Learning from mistakes (1) - Don't change the National Anthem

Adam Fischer had conducted countless performances but not only from good performances, he studied many things from the mistakes in the past. This time, he told us some of his funny story.

"The National Anthem of Germany was composed by Haydn and Mozart composed Austria's. But people do not perform like Mozart wrote. A long time ago, when I was invited to the Bregenz Music Festival, I played Austria's National Anthem before the performance. Since I was young and stupid, I changed and arranged it a little so that it sounded like Mozart. Then everybody was very upset. Next day, the newspapers criticized strongly about the national anthem and never wrote anything about the real performance. Because of that, I was never invited by the festival again. No matter how different from the intention of the composer, it is not recommended to change the national anthem. That's the reason I was very nervous when I played "Star Spangled Banner" at the Hollywood Bowl last year. The orchestra and audience knew it well, but the conductor hardly at all. Normally it starts with a drum roll but because of the program, we did not have any percussion. I started with a tremolo by Double Basses. I hope nobody was upset by that."

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Tasks of a conductor

Audiences think that the conductor's job is keeping the tempo of music right with his baton during the concert. Is that all of the tasks of conductor? This time, we asked Adam a little more inside.

"There are two important tasks for a conductor. As many people imagine, one is to decide the interpretation of the piece, such as the tempo, accent etc. The other more important task is taking care of musicians and establishing a good environment to play. For instance, principal players of the string section must decide bowing and explain to each section. If the conductor does not indicate the tempo, they can't decide the right bowing. If the conductor asks to change the bowing later, it is possible to affect the next phrases and it is just like a chain reaction. Then the musicians are confused and become nervous. Therefore it is very important to give the idea early enough for musicians to understand well. A conductor must solve many problems of the orchestra and make them to concentrate on the performance. Orchestras invite a guest conductor hoping he understands the importance of latter task, unfortunately, most conductors only think the former task. I have conducted many orchestras and all of them tried their best to play my music. There is no bad orchestra. If the performance was bad, it is the conductor's fault."

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Accidents in the Opera

Adam was annoyed by some minor accident in Hollywood Bowl, but he had experienced funnier accidents in Opera world. We asked him about it.

"I was not conducting but the funniest accident in the history of Vienna State Opera, happened at a performance of "Tosca". For some reason, the people playing the executioners had gone home before act III. Everybody was waiting for the execution but the executioners never came on the stage. Cavaradossi played alone and pretended being shot but the whole audience laughed.

I remember a terrible incident in my "Othello". In the first act, everybody on the stage fights each other, then stops when Othello appears and shouts, "Stop fighting." In one performance, orchestra and everybody on the stage became quiet but most important Othello did not show up. The silence continued about 15 seconds. I was shocked more than anybody because I have to do something to make the play go on. That time, Othello was lost somewhere backstage." (08/01/99)

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What language do you use at the rehearsal?

Language is very important for the international conductor, who conducts many orchestras in the world. But what language do they use? We asked Adam Fischer about it.

"When I founded the Haydn Orchestra, we decided that everybody has a right to use his mother tongue while playing. Therefore, the official languages of the Haydn Orchestra are German and Hungarian. However, in reality, Hungarian musicians understand German but Austrians have no idea if I speak Hungarian. So, I use German in general and give very short, condensed Hungarian instructions when I need to. I use German or English when I conduct other orchestras. If the orchestra, for instance a Scandinavian orchestra, understands neither German nor English, I speak Italian. My Italian is not good enough for conversation, but many musical terms are Italian. We musicians can communicate with it.

In the past, I encountered the problem of language. When I performed "Bluebeard's Castle" with the Hungarian State Symphony Orchestra in Japan, I was asked to check the translation projected on the stage. Since I do not read Japanese characters, I had no idea what was written."

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Why is opera conducting difficult?

Last issue we asked the Oboe player the difference between playing for the Opera and Concert. This time, we asked Adam why opera conducting is difficult.

"A concert has more rehearsals and artistically these are all important. On the other hand, dramatic elements such as the lighting, acting accidents, are just as important as artistic consideration of the music. For instance, even if the composer specified "Slow", if the stage director asks for violent action, the singer cannot sing slowly because he needs more breath. In that case, the conductor and the stage director must discuss and make a compromise. Depending on the position of the singers, sometimes there are difficulties in hearing voices. And in other cases, the music must synchronize with the stage effects such as, rotating the stage or bringing down the curtain. These must be considered but there are not enough stage rehearsals because some opera houses have performances every day. If the singer is sick and cannot sing well, the conductor must adapt himself and the orchestra to the circumstances and take the necessary steps.

Not only the music, the opera conductor must know the production itself, singers, and the physical limitations of the lighting and stage set. Experience is most important.

For me, a good opera performance is better than a bad concert. A good concert is better than a bad opera. They are both just as important to me and I cannot say which I prefer."

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Guest Conductor and Music Director of Symphony Orchestra

In the past, we asked Adam about the title of conductor.  This time, we asked him to explain the detail difference between Guest Conductor and Music Director of symphony orchestra.

"Many conductors often compare an orchestra to a horse. If so, the Guest Conductor is a jockey and the Music Director is a trainer. For most of the riding competition, a horse is assigned to the jockey the day before.  Most important thing for the jockey is understanding the ability and the characteristics of the horse and making the horse run as fast as he can, and jump as high as possible for him.  Guest conductor must understand the strong point of the orchestra during limited rehearsals, and make them give the best performance they are capable of.

On the other hand, the role of trainer is improving the ability of the horse.  The Music Director of a Symphony Orchestra must train the orchestra to be able to respond to many guest conductors. In order to do so, regardless of his preference, he must play many repertories and he must have a strong character to lead many of professional musicians.

My master conductors, Nicholaus Harnoncourt and Carlos Kleiber, do not have their own orchestras and plays limited repertories as guest conductor.  In concert, I want to concentrate on playing mainly classical works of Haydn, Mozart, Beethoven and the symphonies of Mahler as a guest conductor."

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Symphony Orchestra and Opera Orchestra

Some member of Haydn Orchestra changes every year.  This time, we  interviewed the principal Oboe player of the Zurich Opera, Mr. Bernhard Hinrichs, who played with the Haydn Orchestra for the first time.  We asked him the difference between symphony orchestra and opera orchestra.

"There is a big difference. Since opera performances are very long and we play a different opera each night, the rehearsals of an opera orchestra are very limited.  Normally we have just one rehearsal for regular repertory performances. Also, we have to listen to the singers on the stage and support them.  Compared to a symphony orchestra, with 2-3 days of rehearsal for one performance and playing the  music as written, we must be flexible.  Just like jazz musician, sometimes we have to improve.

Frankly, when I was studying music in Munich, I was not inter-ested in Opera. But my teacher told me, ‘There are many wonder-ful works in Opera. If you don’t play opera, it would be a great pity for a musician.”  So, I joined the opera orchestra.  Now I feel the same way.  In addition, I also play ina  symphony orchestra because Zurich Opera's  orchestra gives two concerts a month.”

Not only in Zurich, Mr. Bernhard Hinrichs is very active all over the world such as the instructor of Pacific Music Festival in Sapporo this summer.

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What is "Wiener Oboe"?

This is the question from the Internet Reader. Some Orchestra including Vienna Philharmonic uses special Wiener Oboe.  What it the difference?  We asked the principal Oboe Player of Haydn Orchestra, Mr. Peter Schreiber who also plays Oboe and  English Horn at Vienna Symphony Orchestra.

"The Wiener Oboe that it came out of the old German Oboe which was displaced by the so-called French system, which was developed in the end of the 19th century, during the 20th cen-tury. Now it is professionally  played only in Vienna and Baden by about 30 players and 20/25 students.. In Graz or Linz which are only 150 or 200km away from Vienna they play the French Oboe like everywhere else in the world.

The most important difference is that the Wiener Oboe has a much more tapered bore and two even wider parts in the middle of the instrument. And the reeds are different, they are shorter and wider than the ones for the French Oboe. The sound is more clear with the Wiener Oboe because it has more overtones.

The Viennese Oboists had many troubles getting good instru-ments in the 1970's. There were two Oboe makers in Vienna, one of them in permanent health troubles, the other not willing to make new oboes. As a consequence there were really few young and good oboists and there was the danger that the orchestras would change to the French system.

This problem was solved by Yamaha who builds Wiener Oboes for about 16 or 17 years now. Since there are instruments there are also more students and the standard is getting higher and higher. Now there are two other instrument makers who build Wiener Oboe. There are some trials to induce different French oboe makers to make also Wiener Oboe.

Nowadays it is only hard to get English horns or oboe d'amores with Viennese system, but we are always trying to im-prove the situation. One part of these trials is the formation of a Society of friends of the Wiener Oboe.  Members and interested people from all over the world are welcome.

Gesellschaft der Freunde der Wiener Oboe
c/o Volksoper Wien/ Josef  Bednarik,
Währinger Straße 78, A-1090 Wien

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What does Adam do at home?

 Every year Adam works very hard and energetically during September but how is he at home as a father?  We asked his daughter Golda about him.

    "At home he suddenly start thinking something and could not hear me even when I talk to him.  Also, he sleeps a lot.  He plays chess with my mother's brother and he likes talking about poli-tics.  Every September he is not at home but this year I am very happy that I can work with him.  Almost one month we are to-gether with little argument but it may be the longest period in my whole life that we spend time together."

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About Opera

This time we asked Opera conductor Adam Fischer about some episode and his experience of Opera.

Lighting of Opera - from the bitter experience
"Long time ago when I conducted the new production of Barber of Sevile in Karlsruhe, I asked to set the orchestra pit in a high position so the musicians can hear the singers well.  The producer also agreed and we proceeded carefully.  However, at the final rehearsal 3 days before the Premiere, we found that the light for musicians in the pit was too bright and disturbed the stage lighting.  We decided to reduce the lights in the pit but both the orchestra and lighting designer were always fighting.

From this experience, I always ask to turn on the light in the pit with white paper on the music stand during the lighting re-hearsal of a new production. "

Das Rheingold - the conductor never meets Erda?!
"Regular opera has the intermission but Das Rheingold is one of the very few operas performed without it. It begins 7 pm. and ends around 10 pm.  The Goddess of earth Erda shows up about 9:30 and sings her short very difficult part for 5 or 6 minutes and is then done.

I had conducted Das Rheingold at the Vienna State Opera many times but I had never seen Christa Ludwig sing Erda. We do not rehearse such a short part and when she came to the Opera, I was already in the pit. It is very strange that I never met her even when she was singing just a few meters away and I accom-panied.  I really want to talk to her personally some day."

What does the prompter do?
"Prompter does nothing necessary from the point of the audi-ence.  In order to secure the production, he whispers the words or shows the act to singers.  Not only knowing the opera very well, he have to know the singers preferances since sometimes whispering disturbs singing.  Also he must understand the conducter's tempo.  If there is no prompter, we can avoid the disaster with everybody's concentration, however bad pormpter sometimes ignore the conductors instruction and causes far worse result than without prompter."

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Impressive concerts with Haydn Orchestra

We asked Adam Fischer about the impressive concerts with Haydn Orchestra during these 10 years.

" Probably everybody agrees that the most successful concert we have ever had is the concert at London in 1993. Financial point of view, it was a big success too. The performance that I myself remember as wonderful is the concert that we played with Baritone Thomas Quasthoff first time. Also, I remember the concert that we are supposed to play with Peter Schreir. Originally he was the main attraction of that concert but unfortunately he got sick and we had to change the program. Before the concert, we made an announcement that we would refund the ticket money. Only four people requested that and all others enjoyed our performance. We were very happy and proud of. "

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Telephone call from Donizetti?

The most needed high-tech device for the musicians who travels very often is a cellular phone. Of course Mr. Fischer always carries it in the pocket of his jacket. However, sometimes unexpected call from unexpected person astonish him. This time we asked Adam about such an episode .

"This is the story when I conducted Donizetti's Linda di Chamounix· at Zurich on September, 1996. I was very surprised that my cellular phone suddenly started ringing during the public dress rehearsal. It was not the real performance, however, there are many audiences since it is open to public. I tried to stop it. Unfortunately, as it was a new machine to me, I could not find which one was the correct switch. Of course I have to conduct at the same time. It was a terrible experience. The orchestra laughed and said ·'Because the tempo is too quick, composer Donizetti is upset and called you.' Also, I know much more tragic incident. At the concert of Vienna Philharmonic, during the important solo, the horn player's phone in his pocket started ringing. He wanted to stop it but he could not since both hands were busy for playing. "

By the way, the person who called Adam was not Donizetti but the manager of Haydn Orchestra, Miss Christa Redik.

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Episode of other conductors

Some say the conductor is solitary occupation. It is true that it is different from orchestra player. Then how about the relationship between conductors. We asked Mr. Fischer to tell some episode of the other conductors who is good friend.

Nicholas Harnoncourt
"He told me why he became a conductor. Originally he was a cellist of Vienna Symphony Orchestra. One day, the orchestra had a rehearsal of Mozart A Minor Symphony (No. 40) with one famous conductor. However, this conductor was so terrible that the orchestra did not listen to him and ignored his instruction. The conductor was so upset and finally he broke down. Harnoncourt though he should become a conductor because he did not want to be conducted such a person. He did not tell me who the conductor was, but when I asked strongly, he answered, 'That was Karl Bohm.'"

Karl Boehm
"I was still a trainer of Vienna State Opera when I met Karl Boehm for the first time. Since he was a famous Maestro, I was very nerves playing the piano. Then he strictly said, 'You should play black note only in the music. Do not play white part!' I was so discouraged. Later, somebody told me that Bohm always let the young musician down, then we became good friends. When he got ill, he himself recommended me to conduct Beethoven's Fidelio as his replacement. Harnoncourt and Bohm are different types of conductor. Probably I am the only one who is the friend of both of them."

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Happenings during the performance

Sometimes there may be an unexpected happening during the live performance. Mr. Fischer told us some of his experience.

Where has the baton gone?
"Once I had thrown my baton into auditorium during the performance. I finished without it and later in the intermission, the concert master delivered it to me. A member of audience found it and threw it to the front, the concert master about to leave the platform caught it. There was much applause."

Interpretation by fly
"Last year in Atlanta, there was a very active fly above the podium. It was so annoying and I wanted to flick it away with my left hand. However, I had to be careful otherwise the orchestra reacts promptly and make accents. Anyway it was lucky that it wasn't a bee. It would then have looked like a Charlie Chaplin movie!!"

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How many performances in a year?

"Four months from September to December '95, including Operas and Concerts, I had 4 performances at Eisenstadt, 3 at Atlanta, 6 at New York, 6 at ZEich and Austria Tour with Hungarian States. In total 22 performances in four months. So, if I multiple 3, there are about 60-70 performances in a year. When I was the Music Director of Kassel State Theater, I had over 100 performances but not any more."

In addition to the answer above, there is a rehearsal before each performance. Normally 2-3 days for concert and few weeks for the Opera. Suppose the rehearsal is 3 times of the performance, (Of course if they play same program many times, they do not rehearse for each time), the rehearsals are about 200 days, in total he must conduct 260 days. It does not include the recording, traveling, studying etc. What a hard job a conductor is!

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The Title of the conductor

There are many titles of conductor and it is a little difficult for us to understand the difference. Then I asked Mr. Fischer the difference of each title.

"Principal Guest Conductor is basically just a 'guest'. That means, the orchestra ask for conducting but conductor has freedom to accept or refuse the offer. The contract of Primary Conductor includes the number of the concerts he must conduct. The schedule is negotiable but at least he has to conduct certain times. Music director has artistic rights such as personnel of the orchestra, performance program, selection of the guest conductor or soloist. Each of them is totally different."

Currently Mr. Fischer is "Music Director" of Haydn Philharmonie and "Principal Guest Conductor" of Hungarian State Symphony Orchestra.

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