0:00:02 > 0:00:06# Gwlad, gwlad
0:00:06 > 0:00:13# Pleidiol wyf i'm gwlad
0:00:13 > 0:00:15# Tra mor... #
0:00:15 > 0:00:18Bryn Terfel is one of the world's top opera singers.
0:00:18 > 0:00:22He's a bass baritone and sings a wide variety of musical genres.
0:00:22 > 0:00:25He lives in North Wales where he grew up.
0:00:25 > 0:00:29I went to meet him on the final day of a festival in his name,
0:00:29 > 0:00:32the BrynFest, at the Royal Festival Hall in London.
0:00:32 > 0:00:38# ..barhau. #
0:00:38 > 0:00:42I wanted to talk to him about his musical life
0:00:42 > 0:00:44and find out what makes him tick.
0:00:44 > 0:00:46RAUCOUS CHEERING
0:00:56 > 0:00:59Choirs from around the world are arriving
0:00:59 > 0:01:01to take part in the day's performances,
0:01:01 > 0:01:05and I'm going to start the morning with Bryn outside his dressing room.
0:01:05 > 0:01:0715, 16, 17...
0:01:07 > 0:01:10- Bryn, great to meet you. - Hello there, good morning.
0:01:10 > 0:01:13- Really excited about today. - Have you warmed up your voice yet? - I have a bit.
0:01:13 > 0:01:17- Well, I've been practising this aria from The Magic Flute.- You have?
0:01:17 > 0:01:21- The O Isis.- Oh, that's really low. - It's quite low.
0:01:21 > 0:01:23I'm a baritone, I don't know whether I can get that low.
0:01:23 > 0:01:27I thought at some point today, we could give it a go together.
0:01:27 > 0:01:29Why not? Well, we've got the choir here,
0:01:29 > 0:01:31we've got the quarry band here as well, warming up.
0:01:31 > 0:01:34- So it's a hive of musical activity. - It's a good atmosphere.
0:01:34 > 0:01:36- Yeah, it's fantastic. - How are you feeling?
0:01:36 > 0:01:43I just went for a coffee over there and already met some members of the choir from Africa, from India...
0:01:43 > 0:01:44It's brilliant.
0:01:44 > 0:01:47- This is the BrynFest, isn't it?- Yes, yes.
0:01:47 > 0:01:49We've already had three evenings,
0:01:49 > 0:01:53so this is the one that closes the door on the festival of Bryn.
0:01:53 > 0:01:57It's nice to be interviewing someone who's actually taller than I am.
0:01:57 > 0:01:58- Am I?- I think you are, yeah.
0:01:58 > 0:02:00I think you might be, just a little bit.
0:02:00 > 0:02:03- Shall we do back-to-back? - Yeah, come on, then.
0:02:03 > 0:02:05What do you think?
0:02:05 > 0:02:07- Me?- He does it, yeah.
0:02:07 > 0:02:10Yes, it's a good thing I put my heels on today.
0:02:10 > 0:02:13- Shall we go into your dressing room? - Yes, come on.
0:02:13 > 0:02:17- How do you pronounce your name? You pronounce it Ter-vel.- Terr-vel, yes.
0:02:17 > 0:02:18Not an F, but a V.
0:02:18 > 0:02:22Yes. In Welsh, one F is a V sound,
0:02:22 > 0:02:27and two Fs, like - what shall I say? -
0:02:27 > 0:02:30Ffestiniog, for instance, where the railway is, it's two Fs,
0:02:30 > 0:02:31so it's a 'fuh'.
0:02:31 > 0:02:33So, Terr-vel.
0:02:33 > 0:02:38How many hours' practice do you put in a day or does it vary enormously?
0:02:38 > 0:02:42Erm, depends what opera I'm singing.
0:02:42 > 0:02:46If it's a Wagner opera, then I sing quite a bit,
0:02:46 > 0:02:49just to bring this vehicle back into your voice
0:02:49 > 0:02:51because, for me personally,
0:02:51 > 0:02:54I don't know if it's the same for any other singer,
0:02:54 > 0:02:56I seem to forget German very quickly.
0:02:56 > 0:03:01So I have to keep on top of it, my finger has to be on the pulse.
0:03:01 > 0:03:04My music room at home has a window that looks over
0:03:04 > 0:03:06the Snowdonia Mountains.
0:03:06 > 0:03:10Many a score has been thrown from corner to corner, you know,
0:03:10 > 0:03:15many a glass of wine or a cup of coffee has been spilt over scores.
0:03:15 > 0:03:19It's sometimes infuriating in the music room all by yourself,
0:03:19 > 0:03:23trying to learn words, learn music,
0:03:23 > 0:03:28but when the final light at the end of the tunnel is there,
0:03:28 > 0:03:34it's such a fantastic feeling to think that you've achieved something monumental.
0:03:34 > 0:03:37I sang for the Welsh National Opera a couple of years ago
0:03:37 > 0:03:40the Meistersinger of Nuremberg which, by any yardstick,
0:03:40 > 0:03:43is the longest role ever written for my voice category.
0:03:43 > 0:03:48It took me a year to actually learn this piece.
0:03:48 > 0:03:55So it's very... Dedication, you know, homework is regimental.
0:03:55 > 0:03:57You cannot just think,
0:03:57 > 0:04:00"Oh, I can't do it today. I'm off on the golf course."
0:04:00 > 0:04:04So, yes, I have to sing nearly every day.
0:04:06 > 0:04:0910 o'clock rehearsal with choir of the world.
0:04:11 > 0:04:1310 until 12.
0:04:13 > 0:04:16Bryn will be singing various songs during the day
0:04:16 > 0:04:18and I'm going to listen to him warm up his voice.
0:04:28 > 0:04:32Bryn took part in the Cardiff Singer of the World competition in 1989
0:04:32 > 0:04:34and this helped to launch his career.
0:05:09 > 0:05:11That should do it.
0:05:11 > 0:05:12HE LAUGHS
0:05:12 > 0:05:14- Are you serious? That's it?- Yes.
0:05:14 > 0:05:16What were you playing?
0:05:16 > 0:05:19Oh, just a little bit, just to check if it's there.
0:05:19 > 0:05:21Still there, still got it?
0:05:21 > 0:05:22Still there, still ringing.
0:05:26 > 0:05:28Hello. Ti'n iawn, blodyn?
0:05:33 > 0:05:36It's time for Bryn to rehearse with the choirs.
0:05:36 > 0:05:39First, though, there's a chance to catch up with another Welshman,
0:05:39 > 0:05:41BBC newsreader Huw Edwards,
0:05:41 > 0:05:44who will be compering the concert in the hall.
0:05:44 > 0:05:45Chi am ganu heddiw?
0:05:45 > 0:05:46THEY LAUGH
0:05:46 > 0:05:48- Not quite.- Not quite.
0:05:48 > 0:05:50Na. Yn sicr nid tra bo ti o gwmpas!
0:05:53 > 0:05:56Singing is part of the cultural fabric of Wales
0:05:56 > 0:06:01and Bryn hails from the tradition of the Welsh male voice choir.
0:06:01 > 0:06:03Look at them in their red jackets.
0:06:03 > 0:06:06- This brings you alive, doesn't it?- Oh, yeah.
0:06:06 > 0:06:10The older I get, maybe I'm a little bit more...
0:06:12 > 0:06:14..melancholic. I love it.
0:06:14 > 0:06:18I could have a little tear already but I'm keeping it back, maybe.
0:06:18 > 0:06:22This is the moment where it does all start to come together, doesn't it?
0:06:22 > 0:06:23Hey, they like their 'amens'!
0:06:25 > 0:06:27Amen!
0:06:27 > 0:06:28Do you think...
0:06:30 > 0:06:33- ..the piano would be better there? - In the middle?
0:06:35 > 0:06:39The problem with that is that there are choirs down here in the first half.
0:06:39 > 0:06:43- Oh, they are, right. That's fine, yeah.- In front of the band.- OK.
0:06:43 > 0:06:45- Let's see what it's like coming out. - Yeah.
0:06:45 > 0:06:47See whether you're OK and whether we can be heard,
0:06:47 > 0:06:51- and Mick will decide with you if we need amplification for you.- OK.
0:06:53 > 0:07:07# I'se weary of waitin' for the gospel train
0:07:07 > 0:07:14# Old, tired and dreary
0:07:14 > 0:07:21# Take me home again
0:07:22 > 0:07:26# Massa calls me to join... #
0:07:26 > 0:07:29Conductor Paul Bateman has worked with Bryn before.
0:07:29 > 0:07:32Who's in charge when you're working with Bryn?
0:07:32 > 0:07:35Ah, that's a good question, when working with all singers.
0:07:35 > 0:07:37It's a collaboration, you know.
0:07:37 > 0:07:40In a sense, the soloist is going to be the soloist and, therefore,
0:07:40 > 0:07:43you're accompanying the soloist.
0:07:43 > 0:07:46At the same time, you might have musical ideas
0:07:46 > 0:07:49to suggest how you want the music to be.
0:07:49 > 0:07:52But, in general, people come to a pretty quick understanding.
0:07:52 > 0:08:03# ..for the gospel train. #
0:08:03 > 0:08:05Woo-hoo!
0:08:05 > 0:08:07LAUGHTER
0:08:07 > 0:08:09Calm down, calm down!
0:08:09 > 0:08:10SHE LAUGHS
0:08:13 > 0:08:16Bryn's got a rehearsal with the pianist Annabel Thwaite,
0:08:16 > 0:08:18who's going to be accompanying him.
0:08:18 > 0:08:22- I wish I could play the piano. - You can. We saw you earlier.
0:08:22 > 0:08:23Not like this.
0:08:28 > 0:08:37# If I can help somebody as I pass along
0:08:37 > 0:08:45# If I can cheer somebody with a word or song
0:08:45 > 0:08:52# If I can show somebody he is travelling wrong
0:08:52 > 0:09:06# Then my living shall not be in vain. #
0:09:06 > 0:09:07Good work!
0:09:07 > 0:09:09Der-dum-tsssh!
0:09:09 > 0:09:14Incredible sound! I mean... In the tiniest of rooms, as well.
0:09:14 > 0:09:15Just fantastic.
0:09:15 > 0:09:20I did a duet once with Tom Jones in one of his An Evening With Tom,
0:09:20 > 0:09:23and sang in a rehearsal room like this.
0:09:23 > 0:09:28He has - well, had - an operatic voice as a youngster.
0:09:28 > 0:09:30He could have been a tenor, undoubtedly.
0:09:30 > 0:09:34# I chwalu'r holl amheuon
0:09:34 > 0:09:39# Anfonaf angel atat ti
0:09:39 > 0:09:48# A guardian angel keeping watch till morning
0:09:48 > 0:09:55# A guardian angel with undying love
0:09:55 > 0:10:03# I'm safe with you to guide me and rest with you beside me
0:10:03 > 0:10:10# My guardian angel from above
0:10:12 > 0:10:25# My guardian angel from above. #
0:10:26 > 0:10:28- Great!- Beautiful.
0:10:28 > 0:10:31Annabel, your instrument's the piano,
0:10:31 > 0:10:33your instrument is your voice...
0:10:33 > 0:10:39Do you treat it as an instrument and treat it with real care?
0:10:39 > 0:10:40Yes.
0:10:40 > 0:10:44I...sometimes treat it with care,
0:10:44 > 0:10:51especially when I've got big debuts and Wagnerian operas.
0:10:51 > 0:10:54That is go back home and lock the door,
0:10:54 > 0:10:58but, usually, I'm pretty, you know, comfortable.
0:10:58 > 0:11:01I like to also enjoy a little bit of life.
0:11:01 > 0:11:05- So, I've got the words, I've scribbled the words down...- Yes.
0:11:05 > 0:11:07..to an aria from The Magic Flute.
0:11:07 > 0:11:12Yes. And this is sung by Sarastro, yeah, which I've never sang.
0:11:12 > 0:11:14- You've never sung it? - No, because it's a bass role.
0:11:14 > 0:11:17So it's lower than you and it's actually lower than me, really,
0:11:17 > 0:11:19- cos I think I'm a bass baritone. - Let me see, then.
0:11:19 > 0:11:21# O I... #
0:11:21 > 0:11:24Put your hands down! Why are you putting your hands up?
0:11:24 > 0:11:28- Why do my hands need to be down? - Stay still.- OK, I'll stay still.
0:11:28 > 0:11:31Cos people want to look at your face, not your hands.
0:11:31 > 0:11:32I'll keep my hands down, all right.
0:11:32 > 0:11:34# O Isis... #
0:11:34 > 0:11:37Your hands are up again.
0:11:37 > 0:11:42# ..und Osiris schenket
0:11:42 > 0:11:50# Die Weisheit Geist dem neuen Paar... #
0:11:50 > 0:11:52Nice. Breathe.
0:11:52 > 0:11:55# Die ihr der...
0:11:55 > 0:12:03# ..Wand'rer Schritte lenket
0:12:03 > 0:12:12# Staerkt mit Geduld sie in Gefahr
0:12:12 > 0:12:23# Staerkt mit Geduld sie in Gefahr. #
0:12:23 > 0:12:25Fantastic! Nice.
0:12:25 > 0:12:28When I had a singing teacher, he could play the piano,
0:12:28 > 0:12:31he could speak six languages,
0:12:31 > 0:12:36and he was perfect for what I had to learn in music.
0:12:36 > 0:12:39You know, I came from a little farm in North Wales.
0:12:39 > 0:12:44My dad has sheep and cows - or had, cos he's retired now.
0:12:44 > 0:12:50So it was a big culture shock to leave the square mile of North Wales,
0:12:50 > 0:12:53but I had told myself, you know,
0:12:53 > 0:12:56"This is your only chance, so you better embrace it."
0:12:56 > 0:13:00People often want to know how a big star becomes a big star,
0:13:00 > 0:13:03so how did you start out in music?
0:13:03 > 0:13:09I sang in competitions in Wales, little Eisteddfod, they call it.
0:13:09 > 0:13:12It's a gathering of people competing against each other.
0:13:12 > 0:13:15So I started performing when I was about three or four years old,
0:13:15 > 0:13:18reciting, then going into singing.
0:13:18 > 0:13:21And my parents were very influential,
0:13:21 > 0:13:24in the fact that they drove me to these different places -
0:13:24 > 0:13:27north, south, east, west.
0:13:27 > 0:13:32And it certainly gave one a love of performance.
0:13:32 > 0:13:36# Y gwrol hyn a gar wlad
0:13:36 > 0:13:41# Y gwerin a fu'n gariad... #
0:13:41 > 0:13:45Maybe I liked performing at that age,
0:13:45 > 0:13:49but then the voice started developing and people started noticing.
0:13:49 > 0:13:54I would win a couple of these competitions which is an incentive.
0:13:54 > 0:13:57For me, it gave me a little bit of money,
0:13:57 > 0:14:01which bought a new football boots or new Manchester United kit.
0:14:01 > 0:14:03It was very important for me then.
0:14:04 > 0:14:05During rehearsals,
0:14:05 > 0:14:09there's an opportunity to have a chat with Huw Edwards backstage.
0:14:09 > 0:14:13Describe Bryn's voice for me in a couple of sentences.
0:14:14 > 0:14:18Instantly recognisable,
0:14:18 > 0:14:19resonant,
0:14:19 > 0:14:21immensely powerful,
0:14:21 > 0:14:23and yet able to be sensitive.
0:14:23 > 0:14:28Probably the best quality voice of its kind anywhere in the world.
0:14:28 > 0:14:30Doesn't get much better than that.
0:14:31 > 0:14:33'Before he performs,
0:14:33 > 0:14:36'Bryn's been invited to a function hosted by the Welsh government.'
0:14:37 > 0:14:42John Morris was the British Secretary of State for Wales in the 1970s.
0:14:42 > 0:14:46Wherever you go, if you think of Welsh music these days,
0:14:46 > 0:14:49it is Bryn Terfel first, second and third.
0:14:49 > 0:14:54Roger Lewis is the group chief executive of the Welsh Rugby Union.
0:14:54 > 0:14:58I've been fortunate enough to stand in front of Bryn Terfel
0:14:58 > 0:15:02when he has sung the national anthem Mae Hen Wlad Fy Nhadau at the Millennium Stadium,
0:15:02 > 0:15:04and I tell you what, it's like having a front seat
0:15:04 > 0:15:06at Covent Garden
0:15:06 > 0:15:10because, behind me, towering, was Snowdon, vocally.
0:15:10 > 0:15:15# ..bur hoff bau
0:15:15 > 0:15:26# O bydded i'r heniaith barhau. #
0:15:26 > 0:15:29Preparations are continuing behind the scenes.
0:15:31 > 0:15:34- How are the nerves? - Fine. No problem.
0:15:36 > 0:15:38Did you have nerves when you started out?
0:15:38 > 0:15:42I did, incredible, terrible nerves. They were...
0:15:43 > 0:15:47- ..so bad that I nearly gave it all up.- Really?- Yeah.
0:15:49 > 0:15:52But I learned to kind of regulate them.
0:15:52 > 0:15:56You know, you do need your kind of adrenaline, I don't know...
0:15:56 > 0:16:02There's a sudden build-up to having a certain kind of nerves,
0:16:02 > 0:16:05but to be able to use it to your advantage -
0:16:05 > 0:16:10that's what you have to maybe teach yourself, or I did.
0:16:10 > 0:16:11Later in my career,
0:16:11 > 0:16:16I think I'm enjoying my singing much more than I did when I was young.
0:16:18 > 0:16:21I think more about my music.
0:16:21 > 0:16:24I embrace it more.
0:16:24 > 0:16:27When I know I've got big operas coming up,
0:16:27 > 0:16:29I look forward to them now.
0:16:29 > 0:16:30Whereas before, it was...
0:16:32 > 0:16:33..making a living, you know?
0:16:33 > 0:16:35But now it's...
0:16:35 > 0:16:38I've got Wagner's Ring coming up in Covent Garden.
0:16:38 > 0:16:43I can't tell you how much I'm chomping at the bit to get it done
0:16:43 > 0:16:46because I controversially pulled out when The Ring was there
0:16:46 > 0:16:51a couple of years ago because my son had an accident with his finger.
0:16:51 > 0:16:54And, you know, I've got three boys,
0:16:54 > 0:16:59so whilst my wife was looking after one child who was having a couple of operations,
0:16:59 > 0:17:01I had to be home to look after the other two,
0:17:01 > 0:17:04and that's the first time, really,
0:17:04 > 0:17:09that I made a decision that was primarily for my family.
0:17:09 > 0:17:15Of course people were disappointed that I pulled out of six shows, in essence.
0:17:15 > 0:17:18But I've got the chance now to repay them
0:17:18 > 0:17:21with three Cycles coming up in the autumn.
0:17:23 > 0:17:24What have you got there?
0:17:24 > 0:17:28- The Royal Festival Hall visiting artists book.- Oh!
0:17:28 > 0:17:31I know you signed a previous one when you did your Bad Boys concert.
0:17:31 > 0:17:35- Yes.- But could you sign these? - Do I sign it again?- Yes, please.
0:17:35 > 0:17:38And you can write something in Welsh, if you like.
0:17:38 > 0:17:41- You're after Harry Belafonte. - Harry Belafonte! Well, well.
0:17:41 > 0:17:44Do you lift weights?
0:17:44 > 0:17:48- No, I don't.- You just naturally seem very strong, then.
0:17:48 > 0:17:54I don't know. Maybe I've got the size of a rugby player from the '70s.
0:17:54 > 0:17:58I wouldn't even get into the Welsh team now. I'd be too small.
0:17:58 > 0:18:01What about the acting? Where do you learn to act?
0:18:01 > 0:18:04I... I couldn't answer you that question
0:18:04 > 0:18:09because I've always made the distinction that you should always
0:18:09 > 0:18:12trust what the director says.
0:18:12 > 0:18:15And if he says for me to do something, then I listen,
0:18:15 > 0:18:18and I write it down in my score, you know.
0:18:18 > 0:18:19I might disagree sometimes,
0:18:19 > 0:18:22but I've learned not to disagree in this profession,
0:18:22 > 0:18:25because the road ahead of you is much clearer
0:18:25 > 0:18:31and people seem to react better to you if you say yes.
0:19:08 > 0:19:12When you trained as an opera singer, did you also train to act?
0:19:13 > 0:19:16Yes, when I was at the Guildhall we had acting lessons.
0:19:16 > 0:19:18We had everything at the Guildhall,
0:19:18 > 0:19:21- jazz, blues, tap dancing - can you imagine that?- No!
0:19:21 > 0:19:25Fencing, opera, oratorio, lieder,
0:19:25 > 0:19:27so it was like a big tree
0:19:27 > 0:19:32and all the branches were there to guide you in a given way.
0:19:32 > 0:19:35I went to the operatic branch.
0:20:12 > 0:20:15I think it's fair to say that there's a stigma attached to Wagner.
0:20:15 > 0:20:20He had extreme views and Hitler used some of his music.
0:20:20 > 0:20:24As a performer, do you leave that to one side or does it trouble you?
0:20:24 > 0:20:26Certainly, I'll leave it to one side.
0:20:26 > 0:20:28Look, I've got enough on my plate to think about,
0:20:28 > 0:20:33especially when you're singing such an important vehicle as Hans Sachs, for instance,
0:20:33 > 0:20:37and the music that you refer to was taken from the Meistersinger.
0:20:37 > 0:20:41It comes up in rehearsals, you talk about it with the director
0:20:41 > 0:20:45but, in essence, once that overture starts,
0:20:45 > 0:20:47there's only one thing on your mind -
0:20:47 > 0:20:51to be concentrated, your style, your interpretation,
0:20:51 > 0:20:53and that's what's really important.
0:20:53 > 0:20:57Other views you can leave to yourself when you close that door when you're at home.
0:20:57 > 0:21:01- Good luck, Bryn. - Thank you, sir.- Enjoy.
0:21:03 > 0:21:06Bryn Terfel, thank you very much.
0:21:06 > 0:21:07APPLAUSE
0:21:15 > 0:21:28# When other helpers fail and comforts flee
0:21:28 > 0:21:34# Help of the helpless
0:21:34 > 0:21:43# O, abide with me
0:21:43 > 0:21:56# Hold thou thy cross before my closing eyes
0:21:56 > 0:22:10# Shine through the gloom and point me to the skies
0:22:10 > 0:22:24# Heaven's morning breaks and Earth's vain shadows flee
0:22:24 > 0:22:40# In life, in death O, Lord, abide with me
0:22:40 > 0:23:10# In life, in death O Lord, abide with me. #
0:23:10 > 0:23:12APPLAUSE
0:23:16 > 0:23:17Wow!
0:23:24 > 0:23:26There we go. A little song.
0:23:26 > 0:23:29- How did that go, Bryn? - That? Oh, excellent!
0:23:30 > 0:23:31Wow!
0:23:33 > 0:23:39Does the voice become more powerful as you get older? Or richer?
0:23:39 > 0:23:41No. No, I don't think so.
0:23:41 > 0:23:44Maybe there are tricks of the trade
0:23:44 > 0:23:49that you are content to use later on in life, I don't know.
0:23:49 > 0:23:51Ask me in about ten years.
0:23:51 > 0:23:55But, at the moment, I'm enjoying my singing,
0:23:55 > 0:23:58and you can't beat that -
0:23:58 > 0:24:01to walk into your office with a smile on your face.
0:24:03 > 0:24:04CHEERING
0:24:04 > 0:24:07The day concludes with the big sing,
0:24:07 > 0:24:10where members of the public can join with Bryn
0:24:10 > 0:24:12and the choirs in a medley of songs.
0:24:12 > 0:24:14# Can you hear me? #
0:24:14 > 0:24:16- AUDIENCE:- Yes!
0:24:19 > 0:24:22Let me sing some Wagner first to just warm the voice up.
0:24:22 > 0:24:24LAUGHTER
0:24:24 > 0:24:28# Abendlich strahlt die Sonne... #
0:24:28 > 0:24:29Yeah, that's OK.
0:24:29 > 0:24:31LAUGHTER
0:24:35 > 0:24:40# I am weak, but thou art mighty
0:24:40 > 0:24:45# Hold me with thy powerful hand
0:24:45 > 0:24:48# Bread of heaven
0:24:48 > 0:24:51# Bread of heaven
0:24:51 > 0:24:54# Feed me till I want no more
0:24:54 > 0:24:56# Want no more
0:24:56 > 0:25:03# Feed me till I want no more. #
0:25:03 > 0:25:09# Agor y ffynhonnau melys
0:25:09 > 0:25:14# Sydd yn tarddu or Graig i maes
0:25:14 > 0:25:20# 'Rhyd yr anial mawr canlyned
0:25:20 > 0:25:25# Afon iachawdwriaeth gras
0:25:25 > 0:25:30# Rho im hynny, rho im hynny
0:25:30 > 0:25:35# Dim i mi ond dy fwynhau
0:25:35 > 0:25:42# Dim i mi ond dy fwynhau
0:25:42 > 0:25:48# I will ever give to thee Give to thee
0:25:48 > 0:26:00# I will ever give to thee. #
0:26:00 > 0:26:02CHEERING
0:26:07 > 0:26:11There are plenty of autographs to sign and photos to be taken
0:26:11 > 0:26:13when the music stops.
0:26:13 > 0:26:15I'm going to slip this inside.
0:26:15 > 0:26:20Bryn's first language is Welsh and he's got an interview with Welsh TV station S4C,
0:26:20 > 0:26:25before I get to ask some final questions in English.
0:26:25 > 0:26:27..stad y Faenol, yn yr awyr agored o flaen y Fenai.
0:26:27 > 0:26:31How do you actually deal with the celebrity side of things?
0:26:31 > 0:26:36Look, I have seen Placido Domingo,
0:26:36 > 0:26:39I have seen Jose Carreras sign
0:26:39 > 0:26:44signatures and books and scores and pictures till 3am,
0:26:44 > 0:26:48in a place called Peralada in Spain.
0:26:48 > 0:26:53And I was the last one in that queue, when I was 23 years old,
0:26:53 > 0:26:57for Carreras to sign my score and I said to him,
0:26:57 > 0:27:00"Jose, I've learnt something from you today.
0:27:00 > 0:27:05"You are the most gracious, most warm human being that I've ever seen.
0:27:05 > 0:27:08"And you only gave your time." You know, he signed for four hours.
0:27:08 > 0:27:11I signed for 30 minutes, so if Carreras can do it,
0:27:11 > 0:27:14then it's good enough for me to do it as well.
0:27:14 > 0:27:20I want to ask you what your top karaoke song is or,
0:27:20 > 0:27:22if you don't do it, what it would be.
0:27:22 > 0:27:23It would be...
0:27:23 > 0:27:26# I went to the desert on a horse with no name
0:27:26 > 0:27:29# It felt good to be out of the rain. #
0:27:29 > 0:27:30America.
0:27:30 > 0:27:34Here's, perhaps, a silly question, but do you ever have to audition for anything any more?
0:27:34 > 0:27:36HA! Huh!
0:27:36 > 0:27:38Erm, good question!
0:27:38 > 0:27:42- No.- No, I haven't auditioned for anything apart from one thing,
0:27:42 > 0:27:44which was a couple of years ago.
0:27:44 > 0:27:47I sang an opera that Roger Waters from Pink Floyd had written -
0:27:47 > 0:27:51Ca Ira it was called - and I auditioned for that.
0:27:51 > 0:27:54It was kind of a recording audition, though,
0:27:54 > 0:27:57in San Francisco, New York and Los Angeles.
0:27:57 > 0:28:00- I finally got to record the whole piece...- So you got it?
0:28:00 > 0:28:06I did, which was an incredible meeting of horns again,
0:28:06 > 0:28:09because I loved Pink Floyd when I was a teenager,
0:28:09 > 0:28:11and have since become friends with Roger.
0:28:11 > 0:28:14He's an avid golfer, fisherman,
0:28:14 > 0:28:18he's a big supporter of Arsenal and I'm a supporter of Manchester United.
0:28:18 > 0:28:21He loves his English rugby and I love my Welsh rugby,
0:28:21 > 0:28:24so it's just the perfect collaboration.
0:28:24 > 0:28:27But that was the only time, maybe the last time,
0:28:27 > 0:28:28I had to audition for something.
0:28:28 > 0:28:31What would you like your legacy to be?
0:28:32 > 0:28:37My legacy is that I tried my best.
0:28:37 > 0:28:41Bryn Terfel, thank you very, very much for letting me spend the day with you.
0:28:41 > 0:28:44Ah, it's been a pleasure! Thank you very much.
0:28:44 > 0:28:46# ..hoff bau
0:28:46 > 0:29:02# O bydded i'r heniaith barhau. #
0:29:02 > 0:29:05CHEERS AND APPLAUSE