Spotlight on Rupert Dussmann
Part of the Life of the Opera Pianist series
Education:
Kings College London (BM: University of London 1985)
University of Leeds (MM: Opera Studies 1986)
Guildhall School of Music (Répétiteurs course 1987)
National Opera Studio, London (Répétiteurs course 1988)
Current Opera House and/or Positions:
Freelance musician since July 2019 after 14 years at Staatsoper Berlin.
Current Opera House: Gran Teatro del Liceo Barcelona
Former Affiliations (Fest contracts)
Théâtre de la Monnaie Brussels (1990 - 1992)
Staatstheater Stuttgart (1992 - 1993)
Staatsoper Hamburg (1993 - 1999)
Staatsoper Unter den Linden Berlin (1999 - 2008 & 2014 - 2019)
Head of Music National Opera Studio London (2008 - 2010)
Freelance from 2010 - 2014 & current
Regular Guest Contracts
Dutch National Opera Amsterdam
Théâtre de la Monnaie Brussels
Salzburger Oster- und Sommerfestspiele
Festival Aix-en-Provence
Theater an der Wien
Glyndebourne Festival
Gran Teatro del Liceo Barcelona
Palau de les Arts Valencia
11 Questions
Many people do not know the many roles and responsibilities a répétiteur has in the opera house. How do you explain your job to non-musicians, or even other musicians?
Most people outside the business automatically think we perform (solo) concerts or play with the orchestra. Many are totally unaware that the first weeks of any opera production are generally with piano and that the orchestra arrives only at the final stage. I explain that singers need to be coached in their roles and corrected during the rehearsal process. It is difficult for a lot of people to imagine what we do and that our job actually exists.
What do you find to be one of the most challenging aspects of your job?
I find challenging to think of any job which demands such incredible concentration for so much of the time. We have to play often very difficult scores and follow the conductor while constantly keeping our ears on what the singers are doing. Of course, there are also rehearsals where almost nothing happens and one is kept waiting around — that is challenging in a different way!
Many people assume that one of the most difficult aspects of the job must be working with difficult and 'temperamental' singers. I have almost never found this to be a problem.
I have, however, worked a few times with difficult conductors who border occasionally on the tyrannical and that can be a challenge (for singers too, of course) to keep one’s nerve in such circumstances. Thank goodness that I have had mostly fabulous experiences with conductors where the opposite is true.
Do you have a favorite part of the preparation (rehearsal or learning an opera) process? If so, what is it and why?
I love coaching singers one-on-one more than anything. It is so satisfying helping them build and develop their interpretation.
What is your favorite opera?
This is such a difficult question but I would probably go with Otello while hating having to miss out on Pelléas et Mélisane, Jenůfa, Die Frau ohne Schatten and La fanciulla del West, which is my favourite opera that I have never played!
What is your favorite opera score to play and why?
I must say the sheer adrenaline of playing Turandot, especially that first act when all the chorus is there, is pretty hard to beat. But Pelléas et Mélisande is also such a gorgeous score to play and works pretty well on the piano.
What are some adjectives that describe the skills one needs to be a good répétiteur?
Lots of patience
Having an appreciation for what singers go through
The ability to understand what they actually need from a coach
As a répétiteur, we are expected to prepare music quickly (sometimes having to sightread or transpose or play music from the orchestra full score), manage multiple opera productions at the same time, play rehearsals for last minute cast changes, conduct last minute rehearsals or performances and sometimes even sing roles in these rehearsals or performances. Do you have any advice on how to deal with the excitement of the job?
Fortunately I have almost never had to transpose music at sight or play from orchestral score. It’s just as well since I am useless at it.
We also wear many hats as a répétiteur. We are often asked to assist conductors by taking notes, provide backstage conducting for performances, prompt the singers, conduct staging rehearsals, accompany chorus rehearsals, manage sound effects or major musical cues for performances, perform a keyboard instrument (or two) in the orchestra pit and give notes to singers about language and diction. Do you have a favorite aspect of the career? Have you branched out in other directions related to our field?
I also kind of avoid conducting and prefer not to. This has not been a problem since so many other colleagues are longing to do this.
I am a bit of a language freak although I particularly enjoy coaching and developing an interpretation with the singer departing from the text and diction. I also have played recitatives a lot and love doing this.
What was your first experience as a répétiteur? And your most recent experience as a répétiteur?
My first experience as a paid répétiteur was Die Fledermaus (in English!) at Scottish Opera in Glasgow in Autumn 1988.
I am currently working on Rigoletto in Barcelona after completing Lulu in Brussels at the La Monnaie.
How do you manage playing an opera (or opera aria) for the nth time?
It depends.
If it is a challenging piece which I love (this list could be endless), I have no problem. I could play Pelléas, Don Carlo, Trittico (most Verdi and Puccini actually) or the Strauss operas most days and be happy.
But if it is Barbiere, Zauberflöte or Elisir, I can get very sick of it very quickly.
Do you have any advice for pianists interested in a career at an opera house?
Going to work in a German house is the best way to learn a lot of repertoire and the trade in the shortest amount of time. I highly recommend this! How long one wants to stay is another matter since it can be tough. It really depends on the house and the city.
A pandemic balcony serenade with soprano, Anna Prohaska
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