Returning to Loughborough Festival Opera is always a highlight of my calendar. This time was even more exciting than usual however, due to getting to know the cast and backstage team, while photographing all the behind the scenes action of the final rehearsal of Ariadne Auf Naxos the day before. It was fun recognising so many familiar faces on stage and shooting the production photos was made even more enjoyable because of this.

Such a stunning performance of Ariadne Auf Naxos to be photographer at!

Some scenes were also familiar. Having seen the three nymphs complete their choreography with a gigantic purple ball of wool less than 24 hours before, I was extremely curious to see how it would turn out. Naturally, it all went off without a hitch (excuse the pun!). The lighting in this scene was subtle and dappled, making it look almost like a painting. Stunning!

The dappled lighting resembles that of a painting

Beautiful choreography, flow and movement of the three nymphs

I always make sure to capture plenty of wide angle photos as well as close ups.

LFO’s stunning performance of Ariadne Auf Naxos

The three nymphs

The costumes were beautiful, with the usual contrast between the characters of the first act and those of the opera that follows. The costumes of the second act were particularly bold and photogenic. In the first act, they were modern, but with hints of traditional opera.

Costume with muted colours

In the house of the “richest man in Vienna”

Opera within an opera

The perfect combination, speaking from an opera photographers perspective, of rich lighting, flamboyant costumes and a textured set.

Lighting design by Ben Ormerod

Unusual costume designs!

This lighting was stunning and is the work of lighting designer Ben Ormerod. I have photographed his work a number of times now, and this production had a great range of lighting set ups. Hints of diffused purple light were caught in smoke one minute, creating a dappled and painterly effect, while the next moment light panels backlit the stage creating bold and colourful silhouettes. There was even a neon tube light! Because why not?!

Statue lit with neon tube light in the background

The panels made for a very dramatic atmosphere

Beautiful lighting design by Ben Ormerod in Ariadne Auf Naxos at Longborough Opera

The different heights of the set and the characters added interest to the photos

Ariadne Auf Naxos was a stunning performance. As a theatre and opera photographer, having the opportunity to photograph both the rehearsals before hand, and the dress rehearsal itself was an absolute dream. It felt great having everyone on board and excited about ensuring that everyone gets to see what goes behind the scenes in putting on an opera. If you are reading this and you were a part of it, then thank you for being so welcoming backstage in the final moments of rehearsals!

Dramatic lighting

Clever use of fabrics in the staging and choreography

Singing the opera from one of the boxes

As an opera photographer I absolutely love going backstage to photograph the nitty gritty bits of a production that no one else gets to see! Wherever possible, I take some time to sneak in a few backstage shots, or head down into the pit with the orchestra. Having worked with Longborough Festival Opera for many years now, this year we finally allocated some time specifically for backstage photography! They commissioned me to attend the Ariadne Auf Naxos stage and orchestra rehearsals the day before the actual dress rehearsal as well as the dress rehearsal itself. My brief was to capture “everything and anything”.

Taking notes during an orchestral run through of Ariadne Auf Naxos at Longborough Opera

Backstage shot of rehearsals, from the wings

Behind the scenes, literally

Reflections in the pit

Final touches to a costume

The costume department took the opportunity to soak up some rays while finishing work on the costumes

Stage rehearsals

I liaised with the production manager, stage manager and orchestra manager, making sure everyone knew who I was, when I would be there, why I would be there and what I would be doing. The prior warning meant everyone was actually really excited about it. The singers and backstage staff saw it as a way to get some more unusual shots of them in action for their portfolios, and as such I was offered much more access than I would usually be offered. It was an absolute dream photography commission!

In the dressing rooms, the singers were busy applying makeup, getting ready, and sometimes simply just chatting to each other and laughing. The dressing rooms were bustling with activity, anticipation and excitement brewing in the run up to their final rehearsal. Despite the pressure, everyone was very relaxed, happy to have me around, and started ignoring me after a while which was exactly what I needed in order to capture truly candid photos. Nothing went unphotographed; even people simply relaxing on the sofas in the communal areas.

Getting ready

Make up artist at work

Applying makeup

Another shot from the dressing rooms

On stage, the last adjustments to the Ariadne set were being made, and the orchestra were also getting ready. When it comes to backstage theatre photos, there is a need for incredible patience. Nothing runs to schedule, and more importantly, a lot of things that happen aren’t scheduled at all in the first place. This is what makes this type of photography so exciting. I basically hover like a fly on the wall, waiting for a light to be adjusted, someone to scale a ladder, or an impromptu singing rehearsal to take place. There is no way to know what the costume department will be working on, or which orchestra members will arrive earliest to warm up, but persevering and staying patient offered up some fantastic photography opportunities.

Working out how to rig up part of the set

Finishing touches to the lighting

Practising the put up and take down of part of the set in order to make it as swift as possible on the day

Choreographing the scene with the large ball of wool

Lighting desk

Finishing touches in the costume department

Anthony conducting in the orchestra pit

The orchestra rehearsing

Clarinetist preparing his reeds in the orchestra pits

Making notes during the rehearsal

Working on the set

I also had the opportunity to shoot the orchestra, and world renowned conductor Anthony Negus, as they were rehearsing. The high contrast between the light stand lights illuminating the sheet music, and the dark ambient light in the orchestra pit made life very challenging, but also offered up some interesting lighting situations.

Rehearsing

Double bass player, with his eyes fixed on Anthony Negus, the conductor

Pianist keeping himself occupied during a period of the opera where he was not involved

Anthony at work

The concentration of all the musicians was intense, so I had to take care to be as quiet and unobtrusive as possible

It was amusing finding out how all the musicians keep themselves busy when they have long gaps in the performance

Anthony Negus conducting the rehearsal of Ariadne Auf Naxos at Longborough Opera

Reflections in the pit

Framed by a harp

Hanging out in the wings as the singers started their rehearsal was a really special experience too. I have to admit though, hearing their incredible voices from just a few feet away was slightly distracting! It was truly impressive, and gave me a taste of the dress rehearsal of Ariadne Auf Naxos that I was going to photograph the following day.

This experience shooting backstage was truly unique, giving me freedom to capture the normally unseen sides of an opera; the orchestra in the pit, the lighting designers at work, the singers as they got ready to perform, the stage-manager in the wings. It was such a great team effort, that has resulted in a truly original, intimate and hopefully insightful set of operas photos, showing all the efforts that go in behind the scenes. It felt great having everyone on board and excited about ensuring that everyone gets to see what goes behind the scenes in putting on an opera. If you are reading this and you were a part of it, then thank you!

The stage is ready

Stage manager keeping an eye on proceedings

Candid shots in the wings were great fun to capture

Making notes during a rehearsal

Lighting designer Ben Ormerod lost in his thoughts

At work at the lighting desk

Lighting designer at work at his desk

Full cast rehearsals underway

Looking down into the pit

Warming up prior to stage rehearsals

Waiting in the wings

On a really exciting note, there is a lot more to come of this from Longborough Festival Opera, as there is a 4 year long project in the works. Watch this space!

I have photographed a lot of operas directed by Richard Studer since I first worked with him about 10 years ago when I was in my early days as an opera photographer. From a photographic perspective, every single one is fun. Each interpretation is unique, lively and full of potential for stunning opera photographs. This occasion was the Magic Flute by Mozart, and as ever, the performance was fantastic.

One of my favourite sets I have ever had the joy of being opera photographer at!

Papageno and his panpipes

One of the many stunning costumes in Mid Wales Opera’s performance of the Magic Flute

The Magic Flute given to Tamino

The hexagons changed colour, reflecting the atmosphere of the scene

The lighting was phenomenal, and typically creative of a Richard Studer production. Throughout the whole opera there was a simple hexagonal honeycomb backdrop, but Declan Randall’s mastery with use of contrasting colours, as well as broad range of deep shadows and bright whites made it feel different in each scene, dependant on the setting and mood. The central sphere changing between orange to reflect the day, and blue to reflect the night transformed the atmosphere instantly.

The Queen of the Night

The costumes were eye-catching, and sometimes bizarre (in the most complimenting sense of the word!) – both of these qualities being thankfully very photogenic! The three attendants of the Queen of the Night were in futuristic dresses, with bright turquoise, dragonfly-like colours, and striped tights. Papageno, with a more traditional ragged shirt with colourful feathers stuck to them.

The three attendants of the Queen of the Night

The way in which the birds were portrayed, that appeared around Papageno was interesting, with the birds being puppets to humans wearing huge parrot masks. The variety of costumes added a real playfulness to the opera, and as such the photos, making it really enjoyable to be at.

The quirky bird costumes

Papageno and Papagena

Tamino surrounded by the attendants of the Queen of the Night

Pamina

Watching Richard Studer’s operas is always a treat and this one was no different. From the beautiful music to the bright colours and visual stimuli, there is never a dull moment!

A stunning performance

Last shot of Papageno and Papagena

One of the many faces of Papageno

Papageno, again

Pamina and Tamino

The attendants of the Queen of the Night discover Tamino

It was great to be back at West Green House Opera for the fourth consecutive year, photographing all 4 of their operas. This occasion was Madama Butterfly, by Puccini. An opera famous for its tragic story. The simple yet elegant décor, colourful costumes and unique backdrop led to an extremely interesting shoot.

The Geisha arriving on stage at West Green House Opera

Upon arrival, I immediately went to find the cast backstage, the atmosphere exuding excitement as the singers hurried to-and-fro getting ready for the dress rehearsal. The geisha costumes were bright and intricate, the men’s suits crisp and plain, already alluding to the culture clash that would be revealed in the story. The geishas were patting on white makeup and helping each other with their kimonos, as the men rehearsed their parts one final time.

I absolutely love backstage opera photography – fixing Madama Butterfly’s wig at West Green House Opera

Madama Butterfly getting dressed backstage. As an opera photographer, getting this behind the scenes type of photos always feels great!

One of the things I love about returning to the same venues year on year is getting to know the singers and backstage staff, which allows me to blend into the background and capture candid back stage shots.

Rehearsing one final time before the opera dress rehearsal

Last minute adjustments to the set before the start of Madama Butterfly

The stage itself was simple and elegant but it was clear that great attention had been paid to all the details. The simplicity of the set only served to highlight the beautiful backdrop better, which had different panels covered in ancient map details, reminding the spectators of the travelling and foreign aspects of the story to come. The panels were located apart from each other, creating an interesting depth to the stage, and between them was a light panel, which later on would change colours and patterns, reflecting the mood of the scene. All these elements contributed to the atmosphere and made photography the opera really enjoyable.

The first Act of Madama Butterfly

Mr Pinkerton toasting to his wedding

The brighter and bolder Kimono worn by Madama Buttefly stood out against the paler shades worn by the other Geishas.

Madama Butterfly getting undressed for her wedding night

The American flag was used regularly in the opera, which produced an extremely photogenic backdrop, especially with the blue light panel behind.

The wedding ceremony. One-off moments such as this are always the hardest to capture, but when I capture them well, it is what makes being an opera photographer so much fun!

The fun of photographing operas is capturing un-replicable, natural looking images or the singers in interesting positions. This production of Madama Butterfly offered lots of exciting opportunities for this, with the geishas kneeling and bowing, the main characters embracing, and even scattering bright rose petals, adding the unique element of bright red petals frozen in mid-air.

Madama Butterfly scattering rose petals

West Green House Madama Butterfly

The uninvited uncle

The renouncing of Madama Butterfly

The characters’ facial expressions were also extremely diverse, whether it be happiness, anger, disappointment or despair. Capturing the everchanging expressions, especially those of Madama Butterfly made the photographs come alive.

After the wedding ceremony.

The wedding night

Even when she was motionless, kneeling, with her back turned to the audience as she waited during the Humming Chorus, the scene was made special by the beautiful lighting.

Madama Butterfly waiting during the Humming Chorus. With absolutely stunning lighting, this is exactly what I love most about being an opera photographer.

Incense sticks added an interesting atmosphere at the beginning of the second act. Patterns of flowers had also appeared on the light panel, adding even more to the photogenic set!

Madama Butterfly set at West Green House Opera

Madama Butterfly and a suitor

However, opera, and as such opera photography isn’t just about the performers on stage. It would be nothing without the orchestra. With the orchestra set up directly in front of the stage, I was able to capture a few images of the conductor, Jonathan Lyness and some of the musicians. I love witnessing the interaction between the singers on stage and the conductor in the pit, who is responsible for holding the whole performance together.

All in all, Madama Butterfly was a beautiful experience to photograph, as is every performance at West Green House. The costumes, the décor, the singers, the music all come together for an eye-catching shoot.

Jonathan Lyness conducting the Humming Chorus. As an opera photographer, I often find myself capturing images of the orchestra and conductors, which are an equally important part of the performance as those on stage.

Violinist playing during Madama Butterfly

French Horn players for Madama Butterfly

Madama Butterfly and her son

Madama Butterfly fighting off the Marriage Broker

Madama Butterfly getting ready to see Mr Pinkerton

The Humming Chorus

Mr Pinkerton and his wife

Madama Butterfly before her death (sorry for the spoiler!)

Final Scene of Madama Butterfly – such a dramatic scene.

This is my 8th season shooting all of Longborough Festival Opera’s productions and I absolutely love it! The grounds are like a second home, with a wonderful group of friendly people who put on world-class performances in an opera house that was once a chicken shed! The opera on this occasion was La Traviata, by Verdi, and this interpretation definitely did justice to the world’s most performed opera. Being there to capture it was a fantastic experience.

Full cast and set of La Traviata at Longborough Festival Opera

The attention to detail in every aspect of the opera was absolutely breathtaking, directed superbly by Daisy Evans. The set followed a movie set theme. While this type of set up can often look cluttered in images, in this instance it merely added to the photographic potential. I was able to use the lighting stands and equipment to frame some shots, and could also use the stage-within-a-stage setting to create unique compositions.

One of the photogenic props on stage during La Traviata

As a theatre and opera photographer, one of the challenges in to capture depth in the images. The lighting set on stage helped me to do this.

Each act had similarly dramatic, but very individual lighting styles. The atmosphere was manipulated using smoke to create light beams, windows to create interesting shadows and the film set equipment to produce light on areas of the stage that would normally be inaccessible. This has created an interesting variety to the set of opera production photographs. The huge sheets dangling from the ceiling in the first act offered lots of compositional potential with shadows being cast onto them. One of the most striking moments was when the scene was devoid of décor, with one single spotlight beaming down onto Violetta, letting her emotions and voice take over.

Violetta, singing under a spotlight during the performance of La Traviata at Longborough

Light beams, caught in the smoke

Violetta at the party at the beginning of La Traviata

Jake Wiltshire’s stunning lighting was an absolute pleasure to photograph! There was never a dull moment! At times, light would come through the window of the movie set, creating a nice warm glow on the characters’ faces, while at other times, strong blue shafts of light would contrast beautifully with warm orange hues on the singers faces, lit by the on stage lighting of the film set.

La Traviata Opera Photography at Longborough Festival Opera

Opera is by definition dramatic, but this really was next level, and it made photographing the opera a joy! The emotions portrayed by the singers, the dynamic film-set backdrop, the vibrant costumes and the rich tones in the lighting made for wonderful photography opportunities. The challenge here was not to capture beautiful pictures, but not to be distracted into simply watching and listening to the opera!

The final scene was extremely powerful

I have been photographer at Longborough Opera for a number of season, and love returning every summer, but L’incoronazione di Poppea (Monteverdi) threw up a new challenge that I hadn’t experienced before…

So what was the challenge? A giant Theorbo placed right in the middle of the stage! And no, I didn’t no what a Theorbo was prior to chatting with the musician playing it prior to the opera starting! It is a baroque instrument bearing 14 strings, and being inconveniently 2m long. I understand all the artistic reasons why it was given centre stage, but it did require much more care to be taken on my position when photographing the opera singers. After a quick shuffle around, I managed to find a spot where I would have the option to either include, or exclude the beautiful (but photographically distracting) instrument, just in time for the performance to start.

Beautiful staging during L’incoronazione di Poppea at Longborough Opera

Large colourful backdrops always make my job as an opera photographer much easier!

This was my first time photographing L’incoronazione di Poppea

This was a young artist opera production, so all singers were under 25. Just to be clear, that by no stretch of the imagination means a compromise in quality. The whole thing was stunning in every aspect, from the singers and the orchestra, to the set design and the lighting. It was an opera photographers dream!

Playing

Dramatic scene with the canvas in the background, where the characters wrote words that reflected the issues being addresses in the scene

What made this performance even more enjoyable than usual was that I had also been commissioned by Longborough Opera to spend some time photographing the cast at their rehearsals too. These took place in Hackney, London, not far from where I live. There was something very satisfying about seeing a scene unravel on stage that I had seen in its infancy just a couple of weeks before.

I felt very privileged to be at the London opera rehearsals in London. Watching how Jenny Miller directed her young cast was fascinating. It also lead to some fantastic photographic opportunities, especially with the backdrop of the windows at the church that they were rehearsing at in East London.

Backstage at LFO’s L’incorazione di Poppea

Jenny Miller directing her young cast

Young Artists rehearsing

Backstage at the rehearsal of L’incoronazione di Poppea, prior to the opera being shown at Longborough

Rehearsal for L’incorazione di Poppea

Behind the scenes opera photography

Music Maestro

Young Artists rehearsing

So. To the performance. The singers were very talented, and expressive, making the opera a real pleasure to photograph. There was perhaps more interaction between the performers, and more dynamism in their movements than in the average opera, so the pictures often told the story very clearly. Interesting gestures and movement of fabrics breathed life into the photos, and I particularly liked the inventive use of head torches on the Gods, which were later used to illuminate members of the cast on stage.

LFO’s L’incorazione di Poppea, by Monteverdi

The dynamism in the play made for interesting pictures

As an opera photographer, beautiful staging and costumes always makes me happy!

Inventive lighting, using head torches on the Gods made for some interesting opera photos

The set design was very interesting and modern. Numerous light panels created a pleasing symmetry to the stage – something that I absolutely love as an opera photographer! The silhouettes of the opera singers against these light panels also made for very interesting pictures. I love sets and lighting like this, which offer plenty of objects and shapes to play around with. I particularly enjoyed the gods (who control the human characters) writing words on a large blank canvas at the back of the stage, reflecting their negative views of humanity.

Shadows and symmetry

A divide created by the panel

Orange and blue panels complimented each other in the photos

As with many of the scenes, there was plenty going on in both the foreground and background, which made for interesting photos

Silhouettes with the light panels

Quirky props

The gods expressing their views on humanity

The set had a lot of depth, allowing for secondary action going on behind. Often this was the gods watching the humans’ actions. Although this created the challenge of trying to keep the compositions clean and uncluttered, it also made for an interesting set of opera photos, perhaps more a kin to a theatre production than a typical opera.

This young artist production felt in no way different to any other of the stunning operas that I have photographed at Longborough. It was a privilege to photograph the rehearsal of L’incoronazione di Poppea in London as well as the dress rehearsal. It was an extremely well thought-out and dazzling performance, adding a modern twist to an opera traditionally set in the Roman Empire.

So much attention to detail in every scene

L’incorazione di Poppea by LFO’s Young artists

Final scene

This was my first time at Winslow Hall. I love visiting new opera houses as each place always has their own individual set up. Getting to know the teams at each new place is always fun, and Winslow Hall was as unique as ever. I was there to shoot Un Ballo in Maschera by Verdi and the performance was beautifully atmospheric.

The final scene

Amela seeking Ulrica’s help

Opera Photography of Un Ballo in Maschera at Winslow Hall 2017

The mysterious atmosphere was present from the start and enhanced enormously by some stunning lighting. It reached its peak in the second scene at Ulrica the fortune-teller’s dwelling. This is the point at which I go into overdrive, taking photo after photo after photo, knowing these are going to be the most eye-catching photos from the opera performance. Strong beams of blue lights, thick purple smoke emerging from a trap door and the bright white of the fortune-teller’s crystal ball. This, coupled with the rest of the cast peering from the shadows made for a dark, sinister feel, and some opera photos that I am really proud of.

A warning

Stunning light in Ulrica’s dwelling during Un Ballo in Maschera

Amelia seeking Ulrica’s help

A change of setting

The projection at the back of the stage was used cleverly too, with my favourite occasion being its use as the partly cloud covered moon. The lighting effects were all extremely well thought out and made the pictures almost feel like genuine street scenes rather than photos shot on a stage.

Amelia in the outskirts of town

An ominous setting

Un Ballo in Maschera opera photography at Winslow Hall

The performance was made more photogenic for its simple, uncomplicated use of set changes. The rich red curtains on the balcony at the Palace, and the gallows in the town scenes offered simple but visually interesting changes to the set.

At the palace

Beautiful backdrop

The costumes were very photogenic, with a wide variety of fabric being used. Opulent, red velvety fabric for Riccardo and Renato was reminiscent of royalty and the palace, while Amelia was clad in a delicate dress, hidden by a blue cape.

As you can see, my first experience as opera photographer at Winslow Hall was fantastic. The opera was beautiful, and a treat to photograph, and I can’t wait to go back and see what other performances they have in store.

Invitation to the masked ball

At the masquerade ball

Secrets told at the Masquerade Ball

The masquerade ball’s elaborate costumes

The final scene

Costumes and set using similar tones created an almost painterly feel to the images in this scene.