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ROYAL
OPERA HOUSE - TRANSFORMATION
By Erik Hendry
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The
Floral Hall at night
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The original Opera House was built in 1809 on the site of a theatre
which had stood since 1732. Popular from the outset and concentrating
on Italian operas its fame was assured by Royal patronage from Queen
Victoria and Prince Albert. A fire destroyed that building in 1857
but it was replaced within a year by the present ROH or rather the
building which was transformed and extended during 1996-2000 to
create the present ROH building.
The true transformation, however, was in gestation for much longer
- some 30 years - and involved the redevelopment of the area surrounding
the ROH as much as the House itself. It went beyond purely architectural
matters to involve a complete review of how the House should be
staffed and operated and how it should fit the changing face of
Covent Garden, itself an area where great rejuvenation and development
has taken place in recent years. This led to the House expanding
its site to include two new theatres, shops, restaurants and pedestrian
access from the Bow Street entrance to the House through to the
Covent Garden piazza.
The design is an obvious a credit to the architects, Jeremy Dixon,
Edward Jones and Charles Broughton but also to the process of consultation
with local individuals and other interests affected by the site
and its use. It goes without saying that the funding of the whole
exercise delved deep into resources of human creativity and artistry
both in the private and public sectors.
The ROH has a rich history of overcoming adversary and in producing
individuals to resolve seemingly impossible difficulties. Some might
claim that this quality of the House reflects British grit and determination
but it should be remembered that the art of producing opera and
ballet is a truly international affair and in the past the House
has found new direction by recruiting the services of talented individuals
from overseas. Names such as Erich Kleiber, Georg Solti, Carlo Maria
Giulini, Gotz Friedrich and Bernard Haitink come readily to mind.
It should come as no surprise, therefore, that the person chosen
to be the first executive director of the transformed ROH should
be an American, Michael Kaiser, who came to the House from a successful
career in the upper echylons of American business and a close association
with the arts, in particular the American Ballet Theatre.
The refurbishment of the House presented an opportunity to change
the technology of producing an opera. For example the night gangs
who used to change the sets after one show and prepare sets for
the next show or rehearsal are no longer required. Rationalisation
is necessary in any industry or business and it may be fair to say
that the ROH, before the transformation, was struggling bravely
under the accrued weight of traditions which had passed their sell
by date.
The surgery applied to the problems of the old House has been dramatic
at all levels of design and use of the House. The result is a building
of outstanding beauty and practicality and a Company producing opera
and ballet to the highest international standards. Above all there
is now a feeling in Covent Garden and wider afield that the ROH
is "our opera house", that it is more accessible than before the
transformation and that what happens there is exciting and meaningful.
The ROH is no longer only an opera house where one attends evening
performances but a building to visit, walk around, use and enjoy
at any time.
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| ROYAL
OPERA HOUSE |
Covent
Garden
London
WC2E 9DD
020
7304 4000 |
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Bookings
Online:
here
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Tube
Covent
Garden |
Web
www.roh.org.uk |
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