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PIANO INTRO | 0:00:05 | 0:00:06 | |
VIOLIN AND PIANO CONTINUES THEN FADES | 0:00:17 | 0:00:19 | |
SWING SQUEAKS | 0:00:22 | 0:00:23 | |
MUSIC PLAYS - SOLO VIOLIN AND ORCHESTRA | 0:00:36 | 0:00:38 | |
MUSIC CONTINUES | 0:00:42 | 0:00:44 | |
SHE VOCALISES | 0:01:01 | 0:01:03 | |
SHE VOCALISES | 0:01:45 | 0:01:47 | |
SHE VOCALISES | 0:02:25 | 0:02:26 | |
-RADIO: -The time is now 24 minutes past eight. | 0:03:01 | 0:03:03 | |
Alma Deutscher wrote her first opera at the age of seven. | 0:03:03 | 0:03:08 | |
She wrote a violin concerto at nine. | 0:03:08 | 0:03:11 | |
And this year, her full-length opera of Cinderella will be premiered | 0:03:11 | 0:03:15 | |
in Vienna. She's just 11. | 0:03:15 | 0:03:18 | |
I started playing the piano when I was two. | 0:03:18 | 0:03:21 | |
And the violin when I was three. | 0:03:21 | 0:03:23 | |
And actually, I started to compose when I was four. | 0:03:23 | 0:03:26 | |
So, writing things down on paper. | 0:03:26 | 0:03:28 | |
You just found that the music was coming to you? | 0:03:28 | 0:03:30 | |
Yes. I didn't even know that it was called composing them. | 0:03:30 | 0:03:34 | |
I'd just sit at the piano and play the ideas I had in my head. | 0:03:34 | 0:03:39 | |
When you think of musical proteges, the names Mozart, | 0:03:39 | 0:03:42 | |
Schubert and Mendelssohn come to mind. | 0:03:42 | 0:03:44 | |
But here's another. Alma Deutscher. | 0:03:44 | 0:03:47 | |
HE SPEAKS GERMAN | 0:03:47 | 0:03:49 | |
SHE SINGS | 0:03:53 | 0:03:54 | |
A very young classical composer in England is now living | 0:04:00 | 0:04:03 | |
her very own fairy tale. | 0:04:03 | 0:04:05 | |
Alma Deutscher began playing the piano | 0:04:05 | 0:04:08 | |
when she was two and the violin a year later. | 0:04:08 | 0:04:11 | |
And now she has written and composed her first opera | 0:04:11 | 0:04:15 | |
at just 11 years of age. | 0:04:15 | 0:04:17 | |
Who's that down there? | 0:04:21 | 0:04:23 | |
That's my younger sister, Helen. | 0:04:23 | 0:04:25 | |
Look at the little monkey. | 0:04:28 | 0:04:29 | |
So, with Cinderella, | 0:04:33 | 0:04:34 | |
it's really interesting, the way you've changed the story. | 0:04:34 | 0:04:36 | |
You see, in my opera, | 0:04:36 | 0:04:39 | |
I don't have a shoe because I think the shoe is a little bit silly. | 0:04:39 | 0:04:42 | |
The Prince doesn't find Cinderella | 0:04:42 | 0:04:44 | |
with the shoe, but he finds her with a melody. So, you see, | 0:04:44 | 0:04:47 | |
now she isn't just a pretty girl who cleans and keeps quiet, | 0:04:47 | 0:04:50 | |
she's actually clever and she's a composer. | 0:04:50 | 0:04:54 | |
And the Prince is a poet, and so what happens is that, | 0:04:54 | 0:04:59 | |
as part of the plot, | 0:04:59 | 0:05:00 | |
Cinderella finds a poem that was written by the Prince. | 0:05:00 | 0:05:04 | |
She doesn't know that the Prince wrote this poem. | 0:05:04 | 0:05:07 | |
But she loves it. | 0:05:07 | 0:05:08 | |
And she's inspired to put it to music. | 0:05:08 | 0:05:10 | |
And so in the ball, she sings it to the Prince. | 0:05:10 | 0:05:13 | |
But she doesn't know that he wrote the words, | 0:05:13 | 0:05:15 | |
and he doesn't know that she wrote the music. | 0:05:15 | 0:05:17 | |
And so it's all a bit of a muddle, but in the end they find each other, | 0:05:17 | 0:05:21 | |
like lyrics finds music. | 0:05:21 | 0:05:24 | |
PIANO PLAYS | 0:05:25 | 0:05:27 | |
Alma's opera, Cinderella, has just begun rehearsals in Vienna. | 0:05:30 | 0:05:34 | |
WOMAN SINGS IN GERMAN | 0:05:46 | 0:05:48 | |
What do you think? Because they're really going to play, like everybody... | 0:06:40 | 0:06:44 | |
HE HUMS A MELODY | 0:06:44 | 0:06:46 | |
CONVERSATION IN GERMAN | 0:06:49 | 0:06:50 | |
-Glad to see you. -So am I! | 0:06:58 | 0:06:59 | |
-Hello. -Hello. | 0:07:01 | 0:07:02 | |
-Nice to see you. -Nice to see you. -Good to see you. | 0:07:05 | 0:07:10 | |
Um, from measure six. | 0:07:10 | 0:07:12 | |
PIANO PLAYS, SINGING RESUMES | 0:07:12 | 0:07:14 | |
Alma's progression as a composer has been carefully recorded | 0:07:27 | 0:07:31 | |
by her father, Guy. | 0:07:31 | 0:07:33 | |
So, this is Alma aged seven, in Berlin, | 0:07:35 | 0:07:38 | |
waking up first thing in the morning | 0:07:38 | 0:07:41 | |
with a melody that she had in her head and just playing it all. | 0:07:41 | 0:07:46 | |
SHE SINGS | 0:07:54 | 0:07:55 | |
So she's singing one of the singers and her right hand is playing | 0:07:58 | 0:08:01 | |
the other singer. | 0:08:01 | 0:08:03 | |
WOMAN SINGS A SIMILAR MELODY | 0:08:24 | 0:08:26 | |
SINGER AND ORCHESTRA PLAY THE SAME MELODY | 0:08:31 | 0:08:33 | |
You can hear this little girl on the piano with a... | 0:08:48 | 0:08:51 | |
And then you hear this, this is what was in her mind. | 0:08:51 | 0:08:56 | |
You know, it's almost bloodcurdling, isn't it, | 0:08:56 | 0:08:59 | |
when the opera is so dramatic. | 0:08:59 | 0:09:02 | |
And it doesn't maybe look it when a little girl gets up in the morning | 0:09:02 | 0:09:05 | |
and plays something on the piano. | 0:09:05 | 0:09:06 | |
But that's what she would have had in her mind. | 0:09:06 | 0:09:09 | |
IN GERMAN: | 0:09:10 | 0:09:12 | |
Ah, yeah. So, she was playing in a concert in the north of Israel, | 0:09:24 | 0:09:30 | |
so this is a type of violin course | 0:09:30 | 0:09:32 | |
and masterclasses and a concert in the end. | 0:09:32 | 0:09:35 | |
And we had a very long car journey back home | 0:10:00 | 0:10:03 | |
and the moment we came back home, | 0:10:03 | 0:10:05 | |
she essentially ran to the piano, | 0:10:05 | 0:10:08 | |
she very quickly wrote just a few bars of the beginning. | 0:10:08 | 0:10:12 | |
ALMA SINGS | 0:10:25 | 0:10:26 | |
And this turned into the main aria | 0:10:36 | 0:10:38 | |
of the opera where Cinderella composes | 0:10:38 | 0:10:42 | |
music to the Prince's words that she finds. | 0:10:42 | 0:10:44 | |
SHE SINGS THE SAME MELODY, IN GERMAN | 0:11:14 | 0:11:16 | |
You have all the text, that's good. | 0:12:02 | 0:12:05 | |
OK, perfect. | 0:12:05 | 0:12:06 | |
You've got the whole score in front of you? | 0:12:13 | 0:12:15 | |
Oh, yes, of course, the whole orchestral score. | 0:12:15 | 0:12:17 | |
And Helen is helping you? | 0:12:17 | 0:12:18 | |
Yeah, Helen is turning the pages for me! | 0:12:18 | 0:12:22 | |
Because, because, you see, because it's all the orchestra, | 0:12:22 | 0:12:24 | |
I'm reading all the orchestra. | 0:12:24 | 0:12:26 | |
There's much more pages to turn all the time. | 0:12:26 | 0:12:28 | |
When they sing it, does it sound like when you practised it? | 0:12:28 | 0:12:31 | |
Quite often it sounds, you know, even better, | 0:12:31 | 0:12:34 | |
even than how I think about it. | 0:12:34 | 0:12:37 | |
So especially, you know, | 0:12:37 | 0:12:38 | |
the duet at the end between the Prince and Cinderella. | 0:12:38 | 0:12:41 | |
I think that was amazing. | 0:12:41 | 0:12:42 | |
You know, singing so beautifully together. | 0:12:42 | 0:12:45 | |
-You want to have one of them? -I don't like chocolate. | 0:12:46 | 0:12:48 | |
You don't like chocolate! | 0:12:48 | 0:12:49 | |
I don't understand that. Alma, please. | 0:12:49 | 0:12:52 | |
I'll get you your own one. | 0:12:52 | 0:12:54 | |
No, no, no, I'll get Alma her own one. | 0:12:54 | 0:12:57 | |
Alma brings something new, | 0:12:58 | 0:13:02 | |
and you can hear almost every composer, but in her own way. | 0:13:02 | 0:13:06 | |
It's her own way of composing | 0:13:06 | 0:13:09 | |
and I find it beautiful and really, | 0:13:09 | 0:13:12 | |
I've never heard something like that before. | 0:13:12 | 0:13:14 | |
-I thought about it more natural, as if you're, like, speaking. -OK. | 0:13:14 | 0:13:17 | |
So, you know, it's not artificial, it's natural. | 0:13:17 | 0:13:23 | |
That's Alma. | 0:13:23 | 0:13:25 | |
So, Guy, I want to ask you, is it true that Alma learnt to read music | 0:13:35 | 0:13:41 | |
or understand music before she learnt to read? | 0:13:41 | 0:13:44 | |
Yes, that's true, she could read music when she was three, | 0:13:44 | 0:13:49 | |
or just shortly after that. | 0:13:49 | 0:13:51 | |
But she didn't learn to read | 0:13:51 | 0:13:53 | |
until she was...until, you know, four and a half. | 0:13:53 | 0:13:56 | |
So, in this hat here, I have notes, | 0:13:56 | 0:13:59 | |
if you could pick four notes from this hat. | 0:13:59 | 0:14:03 | |
And then, I will improvise a piece based on the notes. | 0:14:03 | 0:14:06 | |
All right, hand me that, then. I'll close my eyes. | 0:14:07 | 0:14:10 | |
Yes, close your eyes. | 0:14:10 | 0:14:11 | |
That's one. | 0:14:12 | 0:14:13 | |
SHE SINGS THE NOTE | 0:14:13 | 0:14:15 | |
SHE PLAYS THE NOTE ON THE PIANO | 0:14:17 | 0:14:19 | |
Two. | 0:14:20 | 0:14:21 | |
SHE SINGS THE NOTE | 0:14:21 | 0:14:23 | |
SHE PLAYS THE NOTE | 0:14:25 | 0:14:27 | |
Three. | 0:14:28 | 0:14:29 | |
SHE SINGS THE SAME NOTE AS THE FIRST CHOICE | 0:14:30 | 0:14:32 | |
SHE PLAYS THE NOTE | 0:14:32 | 0:14:33 | |
Four. | 0:14:37 | 0:14:38 | |
SHE SINGS THE NOTE | 0:14:38 | 0:14:40 | |
SHE PLAYS THE NOTE | 0:14:41 | 0:14:43 | |
Hmm, difficult! | 0:14:43 | 0:14:45 | |
-Really? -Yes. So I'll just take a minute to think it over. | 0:14:45 | 0:14:48 | |
And then, barely 40 seconds later... | 0:14:58 | 0:15:01 | |
Alma magically transformed those four random notes. | 0:15:01 | 0:15:05 | |
SHE PLAYS THE FOUR NOTES | 0:15:07 | 0:15:10 | |
SHE PLAYS A CONTINUOUS MELODY WITH ACCOMPANYING CHORDS | 0:15:13 | 0:15:17 | |
SHE CHANGES KEY | 0:16:04 | 0:16:06 | |
MELODY CONTINUES | 0:16:11 | 0:16:13 | |
SHE DEVELOPS THE ORIGINAL THEME WITH A FASTER TEMPO | 0:16:28 | 0:16:30 | |
SHE MODULATES TO A NEW THEME | 0:17:04 | 0:17:06 | |
ORIGINAL THEME RETURNS | 0:17:22 | 0:17:23 | |
PLAYING STOPS | 0:17:41 | 0:17:43 | |
This started extremely early on, improvising these melodies, | 0:17:51 | 0:17:54 | |
and she was around four, and in the beginning, we didn't understand. | 0:17:54 | 0:17:58 | |
I remember sort of thinking, what is it she's playing, | 0:17:58 | 0:18:01 | |
which tune is she trying to play? | 0:18:01 | 0:18:03 | |
Because it didn't... It wasn't familiar. | 0:18:03 | 0:18:05 | |
And at some stage I asked her, "Actually, what is it you're trying to play?" | 0:18:05 | 0:18:08 | |
And she said, "No, no, no, it's my melody," you know, | 0:18:08 | 0:18:10 | |
"it's something I hear in my head." | 0:18:10 | 0:18:12 | |
It's rather fascinating, the way she's become attached | 0:18:27 | 0:18:30 | |
to her skipping rope. | 0:18:30 | 0:18:32 | |
Well, she got it for her birthday from her auntie. | 0:18:32 | 0:18:35 | |
Before that, she used to wave various twigs and sticks around, | 0:18:35 | 0:18:39 | |
and then she got that nice pink thing. | 0:18:39 | 0:18:41 | |
And since then, she's never parted with it. | 0:18:41 | 0:18:44 | |
I'm not a psychologist, so I don't know why it is, | 0:18:45 | 0:18:48 | |
but it is a fact that she says, | 0:18:48 | 0:18:49 | |
"I can't dream without my skipping rope." | 0:18:49 | 0:18:51 | |
ALMA LAUGHS | 0:18:54 | 0:18:55 | |
-That's good. -Yeah, I think that's nice like that. A little bit. | 0:19:24 | 0:19:26 | |
A little bit. | 0:19:26 | 0:19:27 | |
And just something, for the King, if on where you started on bar 154, | 0:19:29 | 0:19:34 | |
just try it if you just sung those two bars an octave lower. | 0:19:34 | 0:19:37 | |
Well, Alma is really a force of nature, isn't she? | 0:19:46 | 0:19:50 | |
I don't know that I've come across anyone | 0:19:52 | 0:19:57 | |
of that age with quite such an astonishing range of gifts. | 0:19:57 | 0:20:04 | |
Yes, and now sing it up. Once more. | 0:20:06 | 0:20:09 | |
It's natural for her, it's play. | 0:20:17 | 0:20:19 | |
And I think it was play | 0:20:21 | 0:20:26 | |
for certain brilliant composers. | 0:20:26 | 0:20:31 | |
Young composers like Mozart, like Korngold. | 0:20:31 | 0:20:36 | |
These are very unusual people who have this. | 0:20:36 | 0:20:38 | |
Is it "machen"? I don't understand. | 0:20:43 | 0:20:45 | |
This is the infinitive. | 0:20:45 | 0:20:47 | |
You have to turn it into... | 0:20:47 | 0:20:49 | |
-VOICEOVER: -She wanted to learn to read and we always promised her, | 0:20:49 | 0:20:52 | |
well, soon you're going to school. | 0:20:52 | 0:20:54 | |
And they'll teach you how to read and write. | 0:20:54 | 0:20:56 | |
And then she went to the first induction day | 0:20:56 | 0:20:58 | |
and she came back crying. | 0:20:58 | 0:21:00 | |
And we asked, what's wrong? | 0:21:00 | 0:21:01 | |
And she said, "You promised that they would teach me to read and write, | 0:21:01 | 0:21:04 | |
"and they didn't teach me anything." | 0:21:04 | 0:21:06 | |
And what do you think she's... | 0:21:06 | 0:21:08 | |
"Wherefore art thou Romeo," what do you think she's sighing about? | 0:21:08 | 0:21:11 | |
-Why are you Romeo? Why aren't you someone else? -Yes. | 0:21:11 | 0:21:14 | |
Why can't you be called Matthew? | 0:21:14 | 0:21:16 | |
-Or John. -Yes. | 0:21:16 | 0:21:18 | |
Why aren't you a Capulet? | 0:21:18 | 0:21:20 | |
Yes, why aren't you a Capulet? | 0:21:20 | 0:21:22 | |
Wherefore art thou Romeo? | 0:21:22 | 0:21:23 | |
The idea of home-schooling was not some pre-planned, ideological thing. | 0:21:23 | 0:21:29 | |
I mean, it was an adaptation to her, essentially. | 0:21:29 | 0:21:33 | |
Just says, "Oh, I don't like..." | 0:21:33 | 0:21:34 | |
Oh, never mind. There are plenty of other environments. | 0:21:34 | 0:21:37 | |
Exactly, exactly. | 0:21:37 | 0:21:38 | |
She's not very interested, | 0:21:38 | 0:21:40 | |
but he's been full of praises about Rosaline. | 0:21:40 | 0:21:42 | |
Exactly. Because he says he sees other ones | 0:21:42 | 0:21:45 | |
-but they're just like crows to his swan. -Exactly, darling. | 0:21:45 | 0:21:50 | |
And when he's in love with Rosaline... | 0:21:50 | 0:21:52 | |
-She's pretty good. -Yes, she's very good. | 0:21:57 | 0:22:00 | |
What do you do, Helen, when Alma is here, composing? | 0:22:02 | 0:22:07 | |
Do you leave her in peace, or do you play around? | 0:22:07 | 0:22:09 | |
Well, sometimes I leave her. | 0:22:09 | 0:22:12 | |
You'd better ask Alma that. | 0:22:12 | 0:22:14 | |
I've got a tree climbing school | 0:22:14 | 0:22:16 | |
which I teach her how to climb trees. | 0:22:16 | 0:22:18 | |
And Helen goes every day to it. | 0:22:18 | 0:22:20 | |
I have lots of climbing steps. | 0:22:20 | 0:22:23 | |
And handstands. | 0:22:23 | 0:22:24 | |
And handstands on the tree. | 0:22:24 | 0:22:26 | |
And I've got five swings. | 0:22:26 | 0:22:27 | |
The first one is called a padadicicha. | 0:22:27 | 0:22:29 | |
-Guilerotom. -Guilerotom. | 0:22:30 | 0:22:32 | |
And then majotte, balonnaire and toudemonde, | 0:22:32 | 0:22:36 | |
which is a flip in the tree. | 0:22:36 | 0:22:37 | |
Helen is just learning toudemonde right now. | 0:22:37 | 0:22:40 | |
INDISTINCT REPLY FROM HELEN | 0:22:40 | 0:22:41 | |
Majotte, toudemonde, | 0:22:42 | 0:22:44 | |
this list of made-up words was my first introduction | 0:22:44 | 0:22:47 | |
to Alma's imaginary world, | 0:22:47 | 0:22:49 | |
which began when she was very small. | 0:22:49 | 0:22:51 | |
I was telling Alma stories about characters | 0:22:51 | 0:22:54 | |
that I just had in my head. | 0:22:54 | 0:22:56 | |
And I was feeding Helen at the same time. | 0:22:56 | 0:22:58 | |
So, in order, in a way, | 0:22:58 | 0:23:00 | |
that Helen didn't get all the attention | 0:23:00 | 0:23:02 | |
from me, I would make sure that I told Alma stories. | 0:23:02 | 0:23:05 | |
-While you were feeding her? -While I was feeding Helen, in the evening. | 0:23:05 | 0:23:08 | |
So that she would feel part of it, you know. | 0:23:08 | 0:23:10 | |
So she was inspired by that, I think, | 0:23:10 | 0:23:11 | |
and she wanted to make up her own stories. | 0:23:11 | 0:23:14 | |
So she started talking about her country, Transylvanian, | 0:23:14 | 0:23:18 | |
later she had another country, Golfen. | 0:23:18 | 0:23:21 | |
These imaginary countries, countries which existed somewhere, but...? | 0:23:21 | 0:23:25 | |
Exactly, like parallel worlds. | 0:23:25 | 0:23:28 | |
And she was talking about this and I thought, well, | 0:23:28 | 0:23:30 | |
I should write it down. | 0:23:30 | 0:23:31 | |
So she would talk to me about it and I would write it down on a scrap | 0:23:31 | 0:23:34 | |
piece of paper and then in the evening I just wrote up exactly what | 0:23:34 | 0:23:38 | |
she said, without any editing or putting in full stops. | 0:23:38 | 0:23:41 | |
So, here we are. | 0:23:41 | 0:23:43 | |
-Aged four? -Aged four. | 0:23:43 | 0:23:45 | |
Author of the tales of Transylvanian, Alma Deutscher. | 0:23:45 | 0:23:48 | |
-Yes. -I love that, too, Transylvanian... | 0:23:48 | 0:23:52 | |
-Tongue. -Tongue, that's the language, you see. | 0:23:52 | 0:23:54 | |
Table, mudge. | 0:23:54 | 0:23:55 | |
Chair, chack. | 0:23:55 | 0:23:57 | |
Little chair, kantamish. | 0:23:57 | 0:23:59 | |
Tree, zaka. | 0:23:59 | 0:24:00 | |
Flower, zing. | 0:24:00 | 0:24:02 | |
Toys, ruing. | 0:24:02 | 0:24:04 | |
And she would remember these things. | 0:24:04 | 0:24:05 | |
I mean, she also associates colours with notes. | 0:24:05 | 0:24:07 | |
And... | 0:24:07 | 0:24:09 | |
But it's consistent, she will remember the same... | 0:24:09 | 0:24:11 | |
And with letters of the alphabet, too. Certain letters. And it's always the same. | 0:24:11 | 0:24:15 | |
Nice, very nice. | 0:24:15 | 0:24:16 | |
Delotung. | 0:24:16 | 0:24:17 | |
Nice. | 0:24:19 | 0:24:21 | |
Majotte. You've been practising, obviously. | 0:24:21 | 0:24:23 | |
That's the second swing of the dryads. | 0:24:24 | 0:24:26 | |
Majotte is the third swing of the dryads. | 0:24:26 | 0:24:28 | |
Nice. | 0:24:28 | 0:24:29 | |
And balonaire is the fourth swing of the dryads. | 0:24:29 | 0:24:33 | |
-And it's in dryad language? -Yes, dryads' language. | 0:24:33 | 0:24:36 | |
-Balonaire... -You can't flop over. | 0:24:37 | 0:24:39 | |
Doesn't matter. | 0:24:39 | 0:24:41 | |
Up. | 0:24:41 | 0:24:42 | |
Go down as far as you can, try as far as you can. | 0:24:42 | 0:24:45 | |
Fluster is Alma's friend in Transylvanian. | 0:24:45 | 0:24:49 | |
Aurelia is Fluster's daughter. | 0:24:49 | 0:24:51 | |
These are all imaginary names? | 0:24:51 | 0:24:53 | |
Absolutely. And the cast list has swelled! | 0:24:53 | 0:24:56 | |
I try to keep track of it as best I can. | 0:24:56 | 0:25:00 | |
-So, this is Shell? -This is Shell. | 0:25:02 | 0:25:03 | |
She was a big character. | 0:25:03 | 0:25:05 | |
She was a powerful lady and a singer and a figure of glamour. | 0:25:05 | 0:25:08 | |
And Alma used to dress up as Shell, although don't tell her | 0:25:08 | 0:25:10 | |
that I said it was her dressing up, because she thinks it was Shell. | 0:25:10 | 0:25:13 | |
So Shell used to arrive in our house, I should say. | 0:25:13 | 0:25:16 | |
And we used to greet her | 0:25:16 | 0:25:17 | |
-and treat her with due courtesy and respect. -Yes. | 0:25:17 | 0:25:21 | |
Her sort of heroines, or the people she's into, they're all women? | 0:25:21 | 0:25:25 | |
Yes. They are composers, | 0:25:25 | 0:25:27 | |
they are women and they are glamorous and free | 0:25:27 | 0:25:30 | |
and in charge and allowed to say whatever they want and... | 0:25:30 | 0:25:35 | |
do whatever they want! | 0:25:35 | 0:25:36 | |
And never have to pick up their socks or tidy | 0:25:36 | 0:25:39 | |
their room or anything like that. | 0:25:39 | 0:25:41 | |
And there are servants available? | 0:25:41 | 0:25:42 | |
Yes, exactly! It's that sort of operatic world. | 0:25:42 | 0:25:45 | |
So, a fairy tale world | 0:25:45 | 0:25:48 | |
and magic. | 0:25:48 | 0:25:49 | |
And I think music was part of that magic... | 0:25:49 | 0:25:53 | |
..because it was something that you could create out of nothing. | 0:25:54 | 0:25:57 | |
So, Antonin Yellowsink, he composes mainly in the romantic style, | 0:26:01 | 0:26:06 | |
more like Schubert and Tchaikovsky, | 0:26:06 | 0:26:09 | |
and...and Dvorak and those people. | 0:26:09 | 0:26:13 | |
But Ashley is more like Bach. | 0:26:13 | 0:26:15 | |
She composes fugues. | 0:26:15 | 0:26:17 | |
And Shell is very much like Mozart. | 0:26:17 | 0:26:19 | |
She writes sonatas like that. | 0:26:19 | 0:26:21 | |
And so does Flara, actually. | 0:26:21 | 0:26:23 | |
And Green Silver, she also writes more how I write, | 0:26:24 | 0:26:30 | |
so, in between Mozart, Schubert, | 0:26:30 | 0:26:32 | |
that kind of styles. | 0:26:32 | 0:26:35 | |
You see, they each have their own, their own... | 0:26:35 | 0:26:39 | |
personality. | 0:26:39 | 0:26:40 | |
-This is Chaplona. -This is Chaplona, the teacher. | 0:26:48 | 0:26:51 | |
You have to understand, the person who is playing is Alma. | 0:26:51 | 0:26:55 | |
The person who is speaking is the teacher. | 0:26:55 | 0:26:58 | |
Right. I've got it. | 0:26:58 | 0:27:00 | |
Did you hear? | 0:27:02 | 0:27:04 | |
And then she is talking to me, because the teacher is talking to | 0:27:05 | 0:27:09 | |
the father, telling him what to do. | 0:27:09 | 0:27:12 | |
-As a real teacher would sometimes do. -Yeah. | 0:27:12 | 0:27:15 | |
Now, the semiquaver... | 0:27:21 | 0:27:24 | |
-This is the right way. -And she's getting better. | 0:27:27 | 0:27:29 | |
So, not, actually, here is not too loud. | 0:27:35 | 0:27:38 | |
At the earlier periods, | 0:27:39 | 0:27:40 | |
it was incredibly important for her to believe that we really believed | 0:27:40 | 0:27:46 | |
that these are different characters | 0:27:46 | 0:27:48 | |
and she would get extremely upset at any sign | 0:27:48 | 0:27:52 | |
that anyone might doubt that, you know, | 0:27:52 | 0:27:55 | |
maybe this is actually Alma herself. | 0:27:55 | 0:27:57 | |
Hello, we're your guests. | 0:27:58 | 0:27:59 | |
Hello. | 0:27:59 | 0:28:00 | |
We tried always to go along with that imagination. | 0:28:01 | 0:28:05 | |
This is my daughter, Helen. | 0:28:08 | 0:28:10 | |
Helen... | 0:28:10 | 0:28:12 | |
We live with these people, they were part of our life. | 0:28:12 | 0:28:14 | |
And so... And we did go with it. | 0:28:14 | 0:28:15 | |
And she needed it as a way of coping | 0:28:22 | 0:28:23 | |
with life, I think. She really needed it. | 0:28:23 | 0:28:25 | |
Never did Antonin get tired of making his melodies even more beautiful. | 0:28:32 | 0:28:36 | |
Here is some sprightly music he composed. | 0:28:36 | 0:28:39 | |
It ends with a flourish. | 0:28:39 | 0:28:41 | |
SHE VOCALISES A MELODY | 0:28:41 | 0:28:43 | |
Now, Helen, you understand this. | 0:28:49 | 0:28:51 | |
Antonin loved experimenting and getting into mischief. | 0:28:51 | 0:28:54 | |
Actually, he was very mischievous when he composed. | 0:28:55 | 0:28:58 | |
He didn't care for the rules, much to Herr Zischab's surprise. | 0:28:58 | 0:29:01 | |
I also remember the time, she was just beginning to understand | 0:29:05 | 0:29:08 | |
about death and... | 0:29:08 | 0:29:10 | |
You know, there is a lot of talk in here about the underworld. | 0:29:11 | 0:29:15 | |
Because she understood death as the underworld. | 0:29:15 | 0:29:17 | |
There is a wonderful bit about Elizabeth Schwarzkopf, | 0:29:17 | 0:29:20 | |
who she knew was dead, | 0:29:20 | 0:29:21 | |
and she devised this idea that you can get a ticket back | 0:29:21 | 0:29:25 | |
from the underworld, to come back to life again. | 0:29:25 | 0:29:28 | |
-As if the imagination... -Can take you there. | 0:29:28 | 0:29:30 | |
Can take you there and can take you out of it, as well! | 0:29:30 | 0:29:33 | |
Can get you out of it. | 0:29:33 | 0:29:35 | |
"Elizabeth Schwarzkopf lives in the dying place, the underworld. | 0:29:35 | 0:29:40 | |
"She has a ticket to come back here again. | 0:29:40 | 0:29:42 | |
"And if a ticket says no, then you don't come back again. | 0:29:42 | 0:29:46 | |
"And if it says yes, then you can come back again. | 0:29:47 | 0:29:50 | |
"You don't have to, but you can." | 0:29:50 | 0:29:52 | |
Gosh! Where did she get that from, though? | 0:29:54 | 0:29:56 | |
Did you talk to her about it, or was it just from books? | 0:29:56 | 0:29:59 | |
-What, death? -Yeah. -Well, | 0:29:59 | 0:30:00 | |
from books and family members suffering and dying. | 0:30:00 | 0:30:07 | |
So, she was aware of pain... | 0:30:07 | 0:30:08 | |
..and coping with it. | 0:30:10 | 0:30:12 | |
-Yeah. -You know, just very difficult. | 0:30:12 | 0:30:15 | |
And if there was something scary or unpleasant, | 0:30:15 | 0:30:17 | |
she could absorb it into her world. | 0:30:17 | 0:30:19 | |
I mean, she could be very, very concentrated and fierce | 0:30:19 | 0:30:24 | |
when it was about her art and her work. | 0:30:24 | 0:30:27 | |
And in ordinary life, not at all. | 0:30:27 | 0:30:29 | |
So, she's very gentle and sweet-natured and good-hearted. | 0:30:29 | 0:30:36 | |
But when it came to her work, she absolutely knew what she wanted. | 0:30:36 | 0:30:40 | |
When you discover this imaginative life that she has got very early on, | 0:30:43 | 0:30:48 | |
-what did you think? -I thought, | 0:30:48 | 0:30:50 | |
here's an imagination and the music and the words | 0:30:50 | 0:30:53 | |
are all part of the same imagination, | 0:30:53 | 0:30:56 | |
it's not a separate thing at all. | 0:30:56 | 0:30:58 | |
And I just wanted to give her... | 0:30:58 | 0:31:00 | |
just develop it and give her the space to... | 0:31:00 | 0:31:03 | |
and the freedom to develop it. | 0:31:03 | 0:31:05 | |
Because it was something that was so important to her, | 0:31:05 | 0:31:08 | |
it made her so happy, and I just felt that she... | 0:31:08 | 0:31:10 | |
she needed it at a very fundamental level. | 0:31:10 | 0:31:13 | |
CONDUCTOR VOCALISES THE RHYTHM | 0:31:16 | 0:31:18 | |
Drei... | 0:31:23 | 0:31:24 | |
-Perfect, danke. -Very staccato. | 0:31:26 | 0:31:29 | |
The King is mocking the Prince | 0:31:29 | 0:31:30 | |
and almost mocking the orchestra, because he thinks | 0:31:30 | 0:31:33 | |
that you are siding with the Prince. | 0:31:33 | 0:31:35 | |
Recht. Drei... | 0:31:35 | 0:31:36 | |
Right, drei... | 0:31:47 | 0:31:48 | |
Perfect, OK. | 0:31:57 | 0:31:58 | |
And the bassoon has to play loudly, louder, otherwise you can't hear it. | 0:31:58 | 0:32:03 | |
Yes. Yes, yes, yes. | 0:32:05 | 0:32:06 | |
CONDUCTOR SPEAKS IN GERMAN | 0:32:06 | 0:32:09 | |
Just... Did the flute play this? | 0:32:14 | 0:32:15 | |
-Yeah, but he played really... -You should be able to hear that. | 0:32:15 | 0:32:19 | |
James, 113. | 0:32:19 | 0:32:22 | |
-Also the clarinet. -Yes. | 0:32:22 | 0:32:23 | |
-The clarinet played a little bit louder. -Yes, OK. | 0:32:23 | 0:32:26 | |
HE SPEAKS IN GERMAN | 0:32:26 | 0:32:28 | |
Yes, OK. Danke, danke. | 0:32:45 | 0:32:46 | |
OK. Passe, passe. | 0:32:48 | 0:32:50 | |
OK. | 0:32:50 | 0:32:51 | |
Much better now, right? With the clarinet, and... | 0:32:53 | 0:32:55 | |
-Yes, yes. -Perfect. All right. | 0:32:55 | 0:32:57 | |
-No, no, no. Start again. -OK. It's all right, yes? | 0:33:02 | 0:33:04 | |
We're just going to stop again, yes? | 0:33:04 | 0:33:06 | |
All right. Once again. | 0:33:06 | 0:33:07 | |
No, no, no. It's... | 0:33:13 | 0:33:15 | |
Perfect, all right. Thank you, thank you. | 0:33:15 | 0:33:17 | |
Yes? | 0:33:18 | 0:33:19 | |
The bassoon is coming one bar too early. | 0:33:20 | 0:33:23 | |
-No, he's playing over here. -Yeah, I know. | 0:33:24 | 0:33:26 | |
But he's not... This only comes on this bar. | 0:33:26 | 0:33:29 | |
He's playing...ta-ta-ta-ta-taa | 0:33:29 | 0:33:31 | |
already here, I think he is playing it wrong, | 0:33:31 | 0:33:33 | |
-in the wrong time. -No, no, no, he was playing wrong? | 0:33:33 | 0:33:36 | |
-He was playing wrong. -You mean this one? | 0:33:36 | 0:33:39 | |
-Yes. -OK. | 0:33:39 | 0:33:40 | |
HE SPEAKS IN GERMAN | 0:33:40 | 0:33:42 | |
BASSOONIST REPLIES IN GERMAN | 0:33:42 | 0:33:44 | |
OK, yeah. | 0:33:50 | 0:33:51 | |
OK, direkt... | 0:33:51 | 0:33:54 | |
Drei, und... | 0:33:55 | 0:33:56 | |
Yeah, that's right. | 0:34:01 | 0:34:02 | |
Tempo. | 0:34:09 | 0:34:10 | |
OK, perfect. | 0:34:14 | 0:34:15 | |
HE SPEAKS IN GERMAN | 0:34:15 | 0:34:16 | |
ALMA SINGS IN GERMAN | 0:34:20 | 0:34:21 | |
CONDUCTOR SPEAKS IN GERMAN | 0:34:34 | 0:34:35 | |
And can... | 0:34:39 | 0:34:41 | |
I really want the horn to play quite a...TA-tum! | 0:34:41 | 0:34:46 | |
-Yes, of course. -I couldn't really hear it. | 0:34:46 | 0:34:48 | |
Yes, yes, yes. Of course. | 0:34:48 | 0:34:50 | |
Yes, that's good! | 0:34:54 | 0:34:56 | |
So, thank you all very much. | 0:34:57 | 0:34:59 | |
We did a very good job on the first act. | 0:34:59 | 0:35:02 | |
-Bravo, Alma. -Thank you very much. | 0:35:02 | 0:35:04 | |
Bravo to you, you played really nicely. | 0:35:04 | 0:35:06 | |
And I'll see you all tomorrow. | 0:35:06 | 0:35:09 | |
Danke! | 0:35:13 | 0:35:15 | |
That's the bassoonist who got such a grilling. | 0:35:15 | 0:35:18 | |
I wonder what he thought of it. | 0:35:18 | 0:35:20 | |
Alma in action. | 0:35:21 | 0:35:23 | |
You know, it's amazing. | 0:35:23 | 0:35:24 | |
She's 11 years old, she writes amazing music, | 0:35:24 | 0:35:28 | |
and she knows everything about the music, every single note. | 0:35:28 | 0:35:32 | |
It's... | 0:35:33 | 0:35:34 | |
I have no words for this. | 0:35:34 | 0:35:36 | |
It's outstanding. | 0:35:37 | 0:35:38 | |
We're not necessarily geographically close, but we're all in touch. | 0:35:45 | 0:35:48 | |
Yeah, yeah. | 0:35:48 | 0:35:50 | |
INDISTINCT CONVERSATION CONTINUES | 0:35:50 | 0:35:53 | |
How is your German now, Alma? | 0:35:59 | 0:36:01 | |
Well, I'm learning all the grammar now, so... | 0:36:01 | 0:36:04 | |
Ich bin nur ein Anfanger | 0:36:05 | 0:36:08 | |
aber ich verstehe ein bisschen. | 0:36:08 | 0:36:12 | |
I understand a bit. | 0:36:12 | 0:36:13 | |
You were pretty good with all of them. | 0:36:13 | 0:36:16 | |
-Thank you. -Who is in charge, by the way? | 0:36:17 | 0:36:19 | |
Well, the conductor is really in charge. | 0:36:19 | 0:36:22 | |
But I was giving tips about musicality and interpretation | 0:36:24 | 0:36:27 | |
and tempo and things like that. | 0:36:27 | 0:36:29 | |
Hmm, I thought you were in charge. | 0:36:30 | 0:36:32 | |
THEY ALL LAUGH | 0:36:32 | 0:36:33 | |
Now, how much of this is actually hard work and how much of it is fun? | 0:36:33 | 0:36:37 | |
It's all hard work! | 0:36:37 | 0:36:40 | |
Can it be hard work and fun at the same time? | 0:36:40 | 0:36:42 | |
-Is that what it is? -Well, you see... | 0:36:42 | 0:36:44 | |
First of all, the fun bit was really getting | 0:36:44 | 0:36:47 | |
a melody, getting inspiration. | 0:36:47 | 0:36:49 | |
I love that, that's not really the hard work. | 0:36:49 | 0:36:51 | |
That's the nice bit. | 0:36:51 | 0:36:53 | |
But the hard work is then making the modulations go | 0:36:53 | 0:36:57 | |
to the right place, | 0:36:57 | 0:36:58 | |
developing the melody, continuing it... | 0:36:58 | 0:37:00 | |
and all that. | 0:37:00 | 0:37:02 | |
And do you ever think to yourself, | 0:37:02 | 0:37:05 | |
is this a gift, where does it come from? | 0:37:05 | 0:37:06 | |
Why have you got this ability? | 0:37:06 | 0:37:08 | |
Well, it's a mystery, I don't even know if I can answer that myself, | 0:37:10 | 0:37:15 | |
how I get the melodies, the inspiration. | 0:37:15 | 0:37:19 | |
But just sometimes... | 0:37:19 | 0:37:23 | |
I have an inspiration in my head, it just pops into my head. | 0:37:23 | 0:37:25 | |
Sometimes I hear it being played by... being sung by a voice, | 0:37:25 | 0:37:32 | |
or it being played by an orchestra, | 0:37:32 | 0:37:35 | |
or sometimes I've got a melody just for two horns. | 0:37:35 | 0:37:37 | |
So, you see, I have this imaginary composer, in Transylvanian. | 0:37:37 | 0:37:41 | |
He's called Antonin Yellowsink and he composes | 0:37:41 | 0:37:43 | |
lots of beautiful melodies. | 0:37:43 | 0:37:45 | |
I've actually stolen quite a few of them for Cinderella. | 0:37:45 | 0:37:50 | |
Actually, one of the most important arias in Cinderella is | 0:37:50 | 0:37:53 | |
Antonin Yellowsink's melody. | 0:37:53 | 0:37:54 | |
The ballad, the sad aria that Cinderella sings | 0:37:56 | 0:37:59 | |
when the step-sisters and mother have gone to the ball | 0:37:59 | 0:38:02 | |
and left her behind is actually... | 0:38:02 | 0:38:04 | |
the melody is taken from Antonin Yellowsink. | 0:38:04 | 0:38:06 | |
But did you invent...? Go on. | 0:38:06 | 0:38:08 | |
I noticed that also you had this motif | 0:38:08 | 0:38:10 | |
and you actually gave it to him to develop. | 0:38:10 | 0:38:13 | |
Yes, exactly! | 0:38:13 | 0:38:14 | |
Oh, yeah. So you see, I also, I had a melody. | 0:38:14 | 0:38:17 | |
A beautiful melody. | 0:38:17 | 0:38:19 | |
So I showed it to Antonin | 0:38:19 | 0:38:20 | |
and Antonin made a whole beautiful new version | 0:38:20 | 0:38:22 | |
of it, really beautiful, which is now actually, | 0:38:22 | 0:38:25 | |
is the starting of the overture of Cinderella. | 0:38:25 | 0:38:27 | |
Right. And is there also a kind of... | 0:38:27 | 0:38:30 | |
That's quite a sad bit, the bit you're talking about? | 0:38:30 | 0:38:33 | |
-Yes. -Is Antonin able to deal with sort of darker things? | 0:38:33 | 0:38:36 | |
Yes, exactly. Because, you see, I am a very happy person, | 0:38:36 | 0:38:39 | |
so it's a bit strange that I get these very sad melodies. | 0:38:39 | 0:38:42 | |
And I think maybe that's because Antonin Yellowsink | 0:38:42 | 0:38:45 | |
sometimes gets them and then I take them. | 0:38:45 | 0:38:48 | |
You said, "I don't like being compared to Mozart. | 0:38:48 | 0:38:50 | |
"If I was an old man with a beard, then people..." | 0:38:50 | 0:38:54 | |
-Yes! -What made you say that? | 0:38:54 | 0:38:55 | |
What's wrong with old men with beards? | 0:38:55 | 0:38:57 | |
I'm an old man with a beard. | 0:38:57 | 0:38:59 | |
No, but I mean, | 0:38:59 | 0:39:00 | |
people like Brahms, who have been dead a long time ago, | 0:39:00 | 0:39:03 | |
they are old and fat. | 0:39:03 | 0:39:05 | |
And, you know, they are taken extremely seriously because of that. | 0:39:05 | 0:39:09 | |
Well, nobody really took a young girl very seriously. | 0:39:09 | 0:39:13 | |
Also, isn't there something behind you, your piano at home, | 0:39:13 | 0:39:16 | |
you've got a picture of a woman composer? | 0:39:16 | 0:39:19 | |
Yes. Nannerl, who is Mozart's sister. | 0:39:19 | 0:39:21 | |
Because, you see, she was also very talented at composing but she wasn't | 0:39:21 | 0:39:25 | |
allowed to compose because she was a girl. | 0:39:25 | 0:39:27 | |
So she couldn't publish any compositions under her own name, | 0:39:27 | 0:39:31 | |
she just had to stay at home and knit and cook and do the cleaning. | 0:39:31 | 0:39:35 | |
And is that why you defiantly decided that | 0:39:35 | 0:39:38 | |
your Cinderella wasn't just going to be a girl who fitted the shoe? | 0:39:38 | 0:39:41 | |
Yes, exactly. Because I didn't want Cinderella to be just another girl | 0:39:41 | 0:39:45 | |
who looked pretty and keeps quiet and cleaned the floor. | 0:39:45 | 0:39:48 | |
But I actually wanted her to be, you know, clever, | 0:39:48 | 0:39:50 | |
and I wanted her to be a composer. | 0:39:50 | 0:39:52 | |
And as I had this melody already there, | 0:39:52 | 0:39:54 | |
with this special, haunting chord, | 0:39:54 | 0:39:56 | |
I suddenly thought that this... the Prince could be haunted | 0:39:56 | 0:39:58 | |
by this chord but not remember how it continues. | 0:39:58 | 0:40:01 | |
But then he has a brainwave that he will search | 0:40:01 | 0:40:04 | |
everywhere in the kingdom and sing the beginning of it, | 0:40:04 | 0:40:06 | |
and only the girl who can finish it with the right haunting chord is | 0:40:06 | 0:40:09 | |
the one he is looking for. | 0:40:09 | 0:40:10 | |
-You have to do quite a long one. -OK. | 0:40:39 | 0:40:41 | |
-Like you suddenly remember something. -OK, OK. | 0:40:46 | 0:40:48 | |
Frightening, isn't it? | 0:41:23 | 0:41:24 | |
Have you checked, is there a chip somewhere, hidden? | 0:41:24 | 0:41:27 | |
An incredible talent. | 0:41:27 | 0:41:29 | |
These kind of things, you cannot teach anybody. | 0:41:31 | 0:41:34 | |
I think it's a talent, and it's manifested | 0:41:34 | 0:41:37 | |
in an 11 going on 12-year-old girl. | 0:41:37 | 0:41:41 | |
Ladies and gentlemen, can I introduce you... Alma, come here! | 0:41:44 | 0:41:47 | |
Can I introduce you to Alma Deutscher? | 0:41:47 | 0:41:49 | |
Now, tell us about the piece you are going to play. | 0:41:51 | 0:41:55 | |
Well, I'm going to play with this wonderful orchestra and with Gareth, | 0:41:56 | 0:42:02 | |
this wonderful conductor, | 0:42:02 | 0:42:03 | |
a movement of my own violin concerto | 0:42:03 | 0:42:08 | |
that I composed myself when I was nine. | 0:42:08 | 0:42:11 | |
APPLAUSE | 0:42:11 | 0:42:14 | |
Just imagine, Alan, you're playing your own composition. | 0:42:17 | 0:42:20 | |
I could never write a song and sing it. | 0:42:20 | 0:42:23 | |
She has a very natural instinct. | 0:42:23 | 0:42:25 | |
Who knows what the future will bring for her, but at the moment... | 0:42:40 | 0:42:45 | |
..life is her oyster, isn't it? | 0:42:47 | 0:42:48 | |
She can have anything for the future, | 0:42:48 | 0:42:52 | |
only if she takes care of it. | 0:42:52 | 0:42:54 | |
So, remember, Helen, on the end... | 0:43:02 | 0:43:04 | |
First time, you lead, is that it? | 0:43:05 | 0:43:08 | |
I want to go from, um... | 0:43:08 | 0:43:10 | |
Alma has written a piece for two violins, which she'll perform | 0:43:10 | 0:43:15 | |
with her sister, Helen. | 0:43:15 | 0:43:17 | |
There is a sense of phrasing which... | 0:45:12 | 0:45:14 | |
..many people two or three or four times her age would... | 0:45:16 | 0:45:20 | |
..would be lucky to have. | 0:45:21 | 0:45:23 | |
There is a sense... | 0:45:23 | 0:45:25 | |
I go back to it again, | 0:45:25 | 0:45:27 | |
this idea of what the tension and release is | 0:45:27 | 0:45:30 | |
and what the harmony does | 0:45:30 | 0:45:32 | |
that seems to be completely inborn to her. | 0:45:32 | 0:45:35 | |
This is not something you can teach. | 0:45:35 | 0:45:37 | |
And...I haven't really seen anything like it. | 0:45:37 | 0:45:43 | |
So, that's Nannerl Mozart? | 0:46:07 | 0:46:09 | |
Mozart's sister. | 0:46:09 | 0:46:10 | |
She was a bit like you two, she was... | 0:46:11 | 0:46:14 | |
she was what, sort of about 12 or something, and he was about eight? | 0:46:14 | 0:46:17 | |
Yes. She was his older sister. | 0:46:17 | 0:46:19 | |
And they went touring together, didn't they? | 0:46:19 | 0:46:21 | |
Exactly, when they were young, when they were children. | 0:46:21 | 0:46:23 | |
When she was a child, she was allowed to perform with Mozart. | 0:46:23 | 0:46:26 | |
But when she grew older, she wasn't allowed to any more, | 0:46:26 | 0:46:29 | |
and certainly not compose. | 0:46:29 | 0:46:30 | |
It's great that she is sitting behind you, not forgotten. | 0:46:30 | 0:46:33 | |
Exactly. | 0:46:33 | 0:46:35 | |
The whole family have decamped to Vienna | 0:46:40 | 0:46:43 | |
as rehearsals intensify and the first night looms. | 0:46:43 | 0:46:47 | |
Today's rehearsal is open to the press. | 0:46:49 | 0:46:51 | |
The legendary conductor Zubin Mehta is also coming. | 0:46:57 | 0:47:00 | |
-Hi. -Hello! -How are you, my love? -I'm very well. | 0:47:00 | 0:47:05 | |
I'm very excited. | 0:47:05 | 0:47:07 | |
WOMAN SINGS IN GERMAN | 0:47:07 | 0:47:09 | |
Alma, I'm Katie. Very nice to meet you. | 0:47:35 | 0:47:37 | |
That sounded fantastic... | 0:47:37 | 0:47:39 | |
Well, I got... | 0:47:42 | 0:47:44 | |
I actually started it when I was eight and I was collecting | 0:47:44 | 0:47:47 | |
lots of material. | 0:47:47 | 0:47:49 | |
REPORTER SPEAKS IN GERMAN | 0:47:49 | 0:47:51 | |
I just get these melodies when I'm in... | 0:47:55 | 0:47:57 | |
called an improvising mood, I call it. | 0:47:57 | 0:47:59 | |
There were a lot of media there today. | 0:48:09 | 0:48:11 | |
How is she coping? | 0:48:11 | 0:48:13 | |
Well, it's... it certainly is intense. | 0:48:13 | 0:48:17 | |
More for Alma than for us because, you know, we just have to... | 0:48:17 | 0:48:20 | |
..stay in the background and let her do the speaking. | 0:48:22 | 0:48:25 | |
She doesn't terribly enjoy sitting and giving interviews as such. | 0:48:27 | 0:48:31 | |
But she is getting used to it. | 0:48:31 | 0:48:33 | |
But if she says, "I'm really too tired," then we won't do it. | 0:48:33 | 0:48:36 | |
And she knows that... | 0:48:38 | 0:48:39 | |
..well, essentially that is the way of making an opera known | 0:48:41 | 0:48:46 | |
to the world, so that's the real motivation. | 0:48:46 | 0:48:49 | |
She really wants her opera to be known and she wants it to be put on | 0:48:49 | 0:48:53 | |
in different places, so that's... | 0:48:53 | 0:48:55 | |
so that's the contribution of how to make it happen. | 0:48:55 | 0:48:59 | |
Crescendo. | 0:49:07 | 0:49:08 | |
There shouldn't be too much of a break to the... | 0:49:17 | 0:49:20 | |
between...tum and... | 0:49:20 | 0:49:21 | |
OK, OK. So not so much. OK. | 0:49:23 | 0:49:25 | |
HE SPEAKS IN GERMAN | 0:49:25 | 0:49:27 | |
-Danke, danke. -Here, it wasn't together. | 0:49:33 | 0:49:35 | |
Yes, yes! So... | 0:49:35 | 0:49:37 | |
It's just the first violins and the second violins together. | 0:49:48 | 0:49:51 | |
It wasn't together. | 0:49:51 | 0:49:53 | |
HE SPEAKS IN GERMAN | 0:49:53 | 0:49:55 | |
I want the horn to be louder, | 0:49:58 | 0:49:59 | |
because no-one can really hear. That should be really loud. | 0:49:59 | 0:50:02 | |
And here... | 0:50:02 | 0:50:04 | |
I want the horn to play really forte, to be really clear. | 0:50:06 | 0:50:09 | |
It's extremely tiring now, because I'm working on everything. | 0:50:14 | 0:50:16 | |
I've got to listen to everything, the orchestra, | 0:50:16 | 0:50:18 | |
and whenever there is a mistake, you know, I have to correct it. | 0:50:18 | 0:50:22 | |
If the tempo is right, and listen to the singers as well. | 0:50:22 | 0:50:26 | |
So it's very tiring, but very exciting. | 0:50:26 | 0:50:29 | |
But I'm going to get it right, it's going to be a success. | 0:50:29 | 0:50:31 | |
Perfect. Sehr gut. | 0:50:35 | 0:50:37 | |
Check the oboe didn't come in twice, here and here. | 0:50:40 | 0:50:43 | |
Yeah, she just doubles... | 0:50:43 | 0:50:44 | |
-I get it now. -And also here. | 0:50:47 | 0:50:49 | |
Yeah, yeah. | 0:50:49 | 0:50:50 | |
Yeah, you can't hear it. | 0:51:03 | 0:51:04 | |
Too soft, you can hardly hear it at all. | 0:51:04 | 0:51:07 | |
And... | 0:51:07 | 0:51:08 | |
-SIMON RATTLE: -You don't have to be ten or 11 or 12 to be | 0:51:12 | 0:51:17 | |
an irritatingly exacting composer. | 0:51:17 | 0:51:20 | |
And it's interesting, she's come and listened to a lot of rehearsals and | 0:51:22 | 0:51:26 | |
she's also listened to what I've said to orchestras. | 0:51:26 | 0:51:29 | |
I'm sure she's gone to many other people's rehearsals and noticed, | 0:51:29 | 0:51:33 | |
"Oh, this made a real difference when you asked them to do that." | 0:51:33 | 0:51:38 | |
And so... | 0:51:38 | 0:51:39 | |
she's soaking it up like a sponge. | 0:51:39 | 0:51:42 | |
THEY SPEAK IN GERMAN | 0:51:42 | 0:51:45 | |
One of the things I most love is when a piece is being born | 0:52:09 | 0:52:12 | |
and you are hearing those sounds for the first time - | 0:52:12 | 0:52:16 | |
composer, conductor, players, this is a... | 0:52:16 | 0:52:20 | |
That's a holy moment. | 0:52:20 | 0:52:22 | |
Well, you know, I've heard it loads and loads of times in the rehearsals, of course. | 0:52:36 | 0:52:40 | |
But when it's on the stage and all the costumes | 0:52:40 | 0:52:43 | |
and they are all acting it, you know, | 0:52:43 | 0:52:45 | |
it really looks so, so real, so convincing. | 0:52:45 | 0:52:48 | |
You know, sometimes I forget and I almost think that it really is real. | 0:52:48 | 0:52:52 | |
Just put your fluffy boots on. | 0:52:52 | 0:52:54 | |
Gloves on. What about your violin? | 0:52:58 | 0:53:00 | |
I've got the violin. | 0:53:01 | 0:53:03 | |
What did you feel about an 11-year-old girl writing an opera? | 0:53:20 | 0:53:23 | |
You sort of stand in... | 0:53:25 | 0:53:27 | |
It's unbelievable. I mean, I can hardly put it together in my brain. | 0:53:27 | 0:53:31 | |
I cannot put it together. | 0:53:31 | 0:53:32 | |
It's something I've never experienced. | 0:53:32 | 0:53:34 | |
And also, I love the solution she found with, um ... | 0:53:34 | 0:53:37 | |
with the poem and the composition. | 0:53:37 | 0:53:39 | |
I think that is so...such a good development in the story. | 0:53:39 | 0:53:43 | |
It's extraordinary for a 12-year-old, | 0:53:46 | 0:53:49 | |
and yet she is capable of garnering some sort of... | 0:53:49 | 0:53:53 | |
some sort of core of emotions, | 0:53:53 | 0:53:55 | |
some sort of raw feeling in her music, which actually, | 0:53:55 | 0:53:58 | |
for someone with relatively little life experience, | 0:53:58 | 0:54:01 | |
you wouldn't think they would be able to do that. | 0:54:01 | 0:54:04 | |
-SIMON RATTLE: -She's just at the beginning and she has a range | 0:54:16 | 0:54:20 | |
of gifts where she could do anything. | 0:54:20 | 0:54:22 | |
But it won't always flow so easily. | 0:54:25 | 0:54:28 | |
What experience does is to show you | 0:54:31 | 0:54:34 | |
just how difficult it is. | 0:54:34 | 0:54:36 | |
But we'll all be there for her when it gets hard, | 0:54:41 | 0:54:45 | |
and if it doesn't get hard, we'll be thrilled. | 0:54:45 | 0:54:48 | |
SINGING IN GERMAN: | 0:54:49 | 0:54:51 | |
It's amazing that after all this, you know, preparation, | 0:56:00 | 0:56:04 | |
essentially a whole year, | 0:56:04 | 0:56:05 | |
suddenly all this thing that Alma had in her mind, | 0:56:05 | 0:56:09 | |
now I can actually hear it. | 0:56:09 | 0:56:11 | |
APPLAUSE | 0:58:54 | 0:58:56 | |
CHEERING | 0:58:57 | 0:58:59 | |
-Thank you very much. -Is it possible to make a photo? | 0:59:27 | 0:59:29 | |
Yeah. | 0:59:29 | 0:59:31 | |
Amazing, you did absolutely amazing. | 0:59:33 | 0:59:36 | |
Fantastic. | 0:59:36 | 0:59:37 | |
I watched it many times, but it was even nicer. | 0:59:39 | 0:59:42 | |
Thank you. | 0:59:42 | 0:59:43 | |
Oh, look at the picture. | 0:59:52 | 0:59:54 | |
"At the end of the evening, | 0:59:55 | 0:59:56 | |
"the little girl in the red dress received a standing ovation | 0:59:56 | 0:59:59 | |
"and hearty cries of 'Bravo!' rang out across the hall." | 0:59:59 | 1:00:03 | |
-That sounds like one of your... -I know! -..one of your biographies... | 1:00:03 | 1:00:06 | |
-I know. -..biographies of Antonin. -I know. | 1:00:06 | 1:00:10 | |
"Cinderella is a fairy tale with a happy ending. | 1:00:11 | 1:00:15 | |
"Deutscher's own fairy tale, you sense, is just beginning." | 1:00:15 | 1:00:19 | |
Terrific, darling. | 1:00:20 | 1:00:21 | |
Last summer, the sisters paid a visit to Mozart's childhood home | 1:00:38 | 1:00:43 | |
and played Alma's music on the young Mozart's violins. | 1:00:43 | 1:00:47 | |
Unlike Mozart's sister Nannerl, no-one is holding Alma back. | 1:00:49 | 1:00:54 |