Orchestra of the Royal Opera House Appea

Interviews

Matt Glendening, Principal Clarinet

This season marks the 75th Anniversary of the incredible Orchestra of the Royal Opera House. Supporting so many of the productions that you see on our stages, the Orchestra form part of the backbone of the organisation and the Royal Opera House would not be the same without them.

Earlier this year we sat down with one of the Orchestra’s newest members to find out more about what our musicians get up to. Matt Glendening joined as Principal Clarinet in October 2021 and recently spent some time sharing his experiences with us. 

How did you come to work here at the Royal Opera House?

I’d auditioned just before the pandemic and was really excited to get a trial but had to wait a very long time to get involved. As things started to open up, though, I came in more and more, before starting as an official member in the autumn. It turned out to be a great way to emerge from such a difficult time. 

Are there any unique challenges that come with playing in an Orchestra for an Opera or a Ballet? 

Connecting with what’s going on on-stage is quite a unique challenge. You can have your eyes on the conductor and be playing with your colleagues, but if that’s not together with the singers or dancers then it’s no good! With an opera it can be quite difficult to hear what’s going on above us because we’re actually underneath the stage so sometimes you need to keep your ears on stalks to make sure it’s all together! 

What do you particularly enjoy about playing for an Opera or a Ballet? 

I love that what we do here is part of a bigger picture. It’s amazing to see how all the different departments come together to produce these amazing productions and being just a small part of that feels like a real privilege. It's fascinating connecting to the drama on the stage as well. We are really serving a purpose, supporting the drama taking place on stage and helping to tell those stories. 

What do you think makes the Orchestra of the Royal Opera House special? 

I love that everyone can shine in their own right but there is also a strong sense of it being a collaboration and working towards that bigger picture. I also feel that we as an Orchestra have our own unique sound relative to others, with everyone working hard to create a platform that is supportive for whatever is happening on the stage. 

Is there anything coming up that you’re looking forward to? 

I’m really excited for Peter Grimes, as it’s so different to anything I’ve done before. The Clarinets get to play in an offstage moment which is almost like a Jazz Band which will be good fun. This will be my first experience of playing off-stage as well, I’m not too sure what to expect but it should be a great experience. 

And finally, what do you love the most about the Orchestra of the Royal Opera House?

For me I love that there is a real sense of community within the Orchestra. It is such a supportive environment that comes across in the music that we make. Everyone is so proud of what we achieve each night which is a wonderful thing to be a part of. It’s an amazing place and I didn’t even think in my wildest dreams that I could end up here!

Marion McGowan, sub-principal second violin 

We spent time talking with sub-principal second violin Marion McGowan about her experiences here over a distinguished 25-year career. 

So you’ve been with the Orchestra for some time now? 

Yes, this is the year in which I receive my Silver Anniversary Medal. I recently got a handwritten letter from our CEO Alex Beard thanking me for my 25 years’ service and I have the Medal Ceremony to look forward to in May. I never imagined I would be here so many years later but though it’s difficult to get a job in the Orchestra of the Royal Opera House, it’s even more difficult to leave! I feel very fortunate to have got that lucky break all those years ago. 

What would you say have been your highlights over the years? 

Playing the Ring Cycle with Bernard Haitink in my first full season was completely life-changing. I had never experienced music-making like that and I’d never been on such a long journey with a single monumental piece of music. Everybody played their hearts out for Bernard and there was an incredible unity of intent. Other highlights are the many Verdi and Puccini performances with Maestro Pappano and I also have outstanding memories of the two French operas we did with Simon Rattle – Pelléas et Mélisande and Dialogues des Carmelites.

Talking about that collective sense of goal, other members of the orchestra have also mentioned sharing this with the audience, do you? 

We have such a knowledgeable and passionate audience and we missed them so much in lockdown – doing streamed performances to an empty hall brought it home to all of us how much of a two-way relationship it is. I love watching the enrapt faces in the front row, lost in the story and the beauty of the music. Sometimes I get chatting to audience members when we recognise each other on the tube home or out in the Piazza and I love to hear their impressions of the show.

Is having a house Orchestra something that sets us apart? 

Yes, we are the beating heart of every opera and ballet performance that takes place on the main stage. We rehearse and perform these wonderful pieces over a long period, so we get to know the repertory in a really profound way. Over the course of an evening the orchestra has many functions – providing sensitive and flexible support for the soloists on stage, carrying the story forward as if we were one of the characters or stepping out of the texture with a solo in the woodwind or horns. Because we know the repertory so intimately we’re able to adapt seamlessly to conductor and cast changes and we can be ‘spontaneous’ with the singers and dancers to match their interpretation. 

Has the Orchestra changed much over the years? 

One thing that has changed in the time that I’ve been here is that there are many more women in the Orchestra than when I joined, and in really key roles, which is wonderful! We even had to reclaim part of the men’s (much more spacious) bandroom because we were bursting at the seams in the ladies' changing rooms.

What do you feel makes this Orchestra special? 

There are so many incredible players! I have such inspiring colleagues who are able to create magic every night even if they have had a tough rehearsal in the afternoon. It’s such a friendly supportive bunch of people and unlike symphony orchestras, which are often on tour, we have our ‘home from home’ at the Opera House. 

As a valued member of the Royal Opera House community, we would be delighted if you would support the work of everyone involved with the Orchestra.