0:00:02 > 0:00:04The Royal Opera House, Covent Garden.
0:00:05 > 0:00:08Here, four novices have been competing for the ultimate prize.
0:00:08 > 0:00:10Buum!
0:00:10 > 0:00:13The opportunity to conduct in front of 2,000 discerning opera-lovers.
0:00:13 > 0:00:15Ooh!
0:00:15 > 0:00:19I can't remember which instruments are involved in this piece!
0:00:19 > 0:00:22Their first challenge was to perform an operatic aria.
0:00:22 > 0:00:24Fabulous!
0:00:24 > 0:00:27And that was followed by a fully staged scene.
0:00:27 > 0:00:30You are a math man, you think methodically,
0:00:30 > 0:00:32and you didn't miss a beat.
0:00:32 > 0:00:35But these proved to be Trevor and Josie's final bows.
0:00:35 > 0:00:40You just flowed, but you didn't always flow at the right moments.
0:00:40 > 0:00:42If you're really happy with musicians,
0:00:42 > 0:00:46to give them the thumbs-up, it's best to do afterwards, not during!
0:00:46 > 0:00:50It's now the final stage of the battle between the technique
0:00:50 > 0:00:53of mathematician Marcus du Sautoy...
0:00:53 > 0:00:57Making live music has to be one of the greatest things on the earth.
0:00:57 > 0:01:01..and the flamboyance of choreographer Craig Revel Horwood.
0:01:01 > 0:01:04I don't know this piece - that's my biggest issue.
0:01:04 > 0:01:07- But there can only be one winner. - Come on!
0:01:07 > 0:01:10There can only be one maestro at the opera.
0:01:10 > 0:01:17This programme contains some strong language
0:01:28 > 0:01:31Craig and Marcus have been summoned to the Royal Opera House
0:01:31 > 0:01:33to discover their final challenge.
0:01:36 > 0:01:37Oh, my God.
0:01:37 > 0:01:40Oh, no! Oh, no!
0:01:40 > 0:01:42BOTH LAUGH
0:01:42 > 0:01:44- La Boheme.- Act two. Conducted by...
0:01:44 > 0:01:46- Craig Revel Horwood!- Or...
0:01:46 > 0:01:48Marcus du Sautoy!
0:01:48 > 0:01:51Oh, what a fantastic opera!
0:01:51 > 0:01:53- Puccini!- Puccini. At last.
0:01:53 > 0:01:55In one months' time,
0:01:55 > 0:01:57either Craig or Marcus will be conducting act two
0:01:57 > 0:02:00of La Boheme, right here.
0:02:00 > 0:02:02I'm loving the whole idea and concept
0:02:02 > 0:02:04that I'm wedded to the Royal Opera House.
0:02:04 > 0:02:06I can't tell you what a buzz that gives me,
0:02:06 > 0:02:11seeing my name on a place that I've come to ever since I was a kid.
0:02:11 > 0:02:15And to have my name on the front of the Royal Opera House,
0:02:15 > 0:02:16it's just extraordinary.
0:02:16 > 0:02:19And La Boheme. I mean, what a gorgeous opera.
0:02:20 > 0:02:21THEY SING
0:02:23 > 0:02:26Set in Paris in the 1830s, La Boheme
0:02:26 > 0:02:30follows the lives and loves of a group of poverty-stricken friends.
0:02:32 > 0:02:36In act two, it's Christmas Eve and the friends are celebrating in a cafe,
0:02:36 > 0:02:40where temptress Musetta is trying to win back her ex-lover.
0:02:43 > 0:02:44Outside, the streets are bustling,
0:02:44 > 0:02:47children crowd around a toy-seller
0:02:47 > 0:02:50and a military band plays in the distance.
0:02:50 > 0:02:53It's a complex act and notoriously hard to conduct.
0:02:53 > 0:02:57There's choral singing, there's soloists singing.
0:02:57 > 0:03:00It's a big street scene with people moving, selling things.
0:03:00 > 0:03:02The second act of La Boheme
0:03:02 > 0:03:05is one of the worst - be careful!
0:03:07 > 0:03:10To decide who will be conducting the whole act,
0:03:10 > 0:03:13Marcus and Craig will be judged on a five-minute extract.
0:03:13 > 0:03:15- Right, what have we got? - Yeah, well, we've got...
0:03:15 > 0:03:18- So, this is our five minutes. - What does it say here?
0:03:18 > 0:03:20BOTH: "Extract starts here".
0:03:20 > 0:03:24Coaching them are mentors Paul McGrath and Michael Rosewell.
0:03:24 > 0:03:27Oh! Ooh! It looks busy!
0:03:27 > 0:03:30Look how big this orchestra is compared to the ones
0:03:30 > 0:03:32you've conducted so far.
0:03:32 > 0:03:36- Look! Flutes, piccolo...- The score is laid out like any other opera.
0:03:36 > 0:03:38Every instrument has its own line,
0:03:38 > 0:03:42from the high piccolos to the low double basses.
0:03:42 > 0:03:46Over 80 players, as well as soloists and a chorus.
0:03:46 > 0:03:48There are lots of technical challenges in this,
0:03:48 > 0:03:51but some of them we've already begun, so how lucky have we been?
0:03:51 > 0:03:54Yeah. No, we are. We're going to have a ball.
0:03:54 > 0:03:58So, how do we beat Marcus? That's the ploy, darling.
0:03:58 > 0:04:01He'll have all this down pat. He knows it.
0:04:01 > 0:04:04Well, we need it down pat. We need to do that, and then some.
0:04:08 > 0:04:11Someone who knows La Boheme well is Maestro judge
0:04:11 > 0:04:13and renowned conductor, Sir Mark Elder.
0:04:13 > 0:04:15In this extract,
0:04:15 > 0:04:19Marcus and Craig have got some very severe challenges.
0:04:19 > 0:04:20It's extremely difficult
0:04:20 > 0:04:24to control the way the ebb and flow of the music happens.
0:04:24 > 0:04:27Some bars slow down and others then go forward.
0:04:27 > 0:04:29Sometimes the singer needs time to take a breath,
0:04:29 > 0:04:31then she holds her top note
0:04:31 > 0:04:34and you've got to bring in everybody after it.
0:04:34 > 0:04:35The music never stands still.
0:04:36 > 0:04:39This challenging extract requires practise.
0:04:39 > 0:04:41So, two days after getting the score, Marcus tackles
0:04:41 > 0:04:45his first orchestral rehearsal with the Chelsea Opera Group.
0:04:45 > 0:04:47ORCHESTRA PLAYS
0:04:54 > 0:04:56One chord.
0:04:57 > 0:05:00Yeah!
0:05:01 > 0:05:04I just got through the piece. It was amazing.
0:05:04 > 0:05:06When you get it right,
0:05:06 > 0:05:09that kind of trust, you can see the faces lighting up.
0:05:09 > 0:05:12An amazing experience. I can go home now!
0:05:12 > 0:05:16When the orchestra's all playing together, it's like Christmas!
0:05:17 > 0:05:20Marcus has successfully navigated the score.
0:05:20 > 0:05:24Now Craig has a chance to identify what his difficulties will be.
0:05:25 > 0:05:28- You wanted to keep it a bit smaller. Remember?- Yeah.
0:05:30 > 0:05:33It's important that Craig looks at the challenging corners,
0:05:33 > 0:05:36that he listens to the various colours,
0:05:36 > 0:05:41cos there's a whole gamut of colours and wonderful instrumentation.
0:05:41 > 0:05:44- Ah... No, no. - I'm supposed to do a two, though.
0:05:44 > 0:05:47So, I'm hoping that if things go well
0:05:47 > 0:05:50that it will only add to Craig's confidence
0:05:50 > 0:05:52going into the next few days.
0:05:56 > 0:06:00- Sorry. I'll go back. Sorry. Thank you.- Just calm down a little bit.
0:06:00 > 0:06:03- It's that bit.- No, no, no. It's absolutely fine.
0:06:03 > 0:06:05I'm not used to the instrumentation. That's why.
0:06:05 > 0:06:07So, every moment is another shock.
0:06:07 > 0:06:11Be calm and not suddenly jump in, cos they won't be able to follow.
0:06:11 > 0:06:15'Craig is still dealing with, you know, where he is in the bar'
0:06:15 > 0:06:17and remembering to count three and all of that.
0:06:17 > 0:06:19So, it's a very basic level.
0:06:19 > 0:06:20I'm just trying to encourage him
0:06:20 > 0:06:24that with this fantastic opportunity that he takes on board
0:06:24 > 0:06:26the qualities of the sounds and the instruments.
0:06:26 > 0:06:27That's all.
0:06:27 > 0:06:29Two, three.
0:06:29 > 0:06:31One, two, three.
0:06:31 > 0:06:33One, two, three.
0:06:37 > 0:06:39One, two, three.
0:06:39 > 0:06:42One, two, three.
0:06:42 > 0:06:44BLAST OF BRASS INSTRUMENT
0:06:46 > 0:06:49ORCHESTRA RESUMES
0:06:52 > 0:06:53Right.
0:06:53 > 0:06:56That was a really bad experience.
0:06:56 > 0:07:01I really don't know this piece - that's my biggest issue.
0:07:01 > 0:07:04- You know, I hate going out there...- Yeah.
0:07:04 > 0:07:07..in front of people, not knowing it. I never do that, you know.
0:07:07 > 0:07:10- Onwards and upwards. - It's sent to try us.
0:07:10 > 0:07:13- Yes, well, it can't really get any worse than that, can it?- No.
0:07:18 > 0:07:22To help Craig and Marcus get to grips with the music,
0:07:22 > 0:07:25they're being sent to the very heart of Puccini country.
0:07:25 > 0:07:29My slightly skewy baton that seems to do the magic at the moment.
0:07:29 > 0:07:33It's important to look stylish while you're there, definitely.
0:07:33 > 0:07:35I don't want to look, you know, like Marcus,
0:07:35 > 0:07:37wearing mustard trousers all the time.
0:07:39 > 0:07:43So, I'm going to try and out-fashion him.
0:07:43 > 0:07:47You know, the glitz, the glamour - Italy.
0:07:53 > 0:07:59Craig and Marcus are heading to the Renaissance city of Florence in Tuscany,
0:07:59 > 0:08:02where, 400 years ago, opera was born.
0:08:06 > 0:08:10- Buongiorno. I think "buongiorno" is hello.- Yes, it is.
0:08:13 > 0:08:17They're heading to one of the world's leading conducting academies,
0:08:17 > 0:08:18where, for the next two days,
0:08:18 > 0:08:21they'll be immersed in the world of Puccini.
0:08:22 > 0:08:25Usually when I go to a centre of excellence,
0:08:25 > 0:08:27it's one I'm excellent at!
0:08:27 > 0:08:29So, I am a bit frightened.
0:08:36 > 0:08:40- It's a bit posh, isn't it, darling? - Look at that view.
0:08:40 > 0:08:44The academy is named after the legendary Hungarian opera maestro,
0:08:44 > 0:08:45Sir Georg Solti.
0:08:45 > 0:08:50- I love an entrance! I love an entrance.- This is some entrance.
0:08:50 > 0:08:52I can see myself living here!
0:08:54 > 0:08:56WOMAN SINGS AN OPERATIC PIECE
0:08:56 > 0:08:58This year's course is held at the Villa San Michele,
0:08:58 > 0:09:01where Craig and Marcus join their singers to rehearse.
0:09:05 > 0:09:08Here, they both hope to perfect their extract
0:09:08 > 0:09:10in time for the competition back home.
0:09:12 > 0:09:14First, can you just conduct anything,
0:09:14 > 0:09:17but play around with the air...
0:09:17 > 0:09:19For the moment, just don't use this hand.
0:09:19 > 0:09:21Craig is being coached by Anthony Legge,
0:09:21 > 0:09:24one of the academy's top conducting teachers.
0:09:24 > 0:09:25What you have to imagine
0:09:25 > 0:09:28is that all the electricity is coming out of the tip, like it has...
0:09:28 > 0:09:30HE MIMICS CRACKLE OF ELECTRICITY
0:09:30 > 0:09:34- Your focus in your mind has to be at the end.- Yes.
0:09:34 > 0:09:37- Cos I'm so used to stopping at my fingers.- Of course.
0:09:37 > 0:09:39- Because of dance. - Some people don't use a baton.
0:09:39 > 0:09:41You can do that, if you want.
0:09:41 > 0:09:43I sort of like using the baton,
0:09:43 > 0:09:47- I think because it stops me from doing...- Yes.- ..all of that.
0:09:47 > 0:09:51- You know, it makes me a little bit more controlled and concise.- OK.
0:09:51 > 0:09:55HE SINGS IN ITALIAN
0:09:55 > 0:09:59Marcus is working with the academy's artistic director, Jonathan Papp.
0:10:01 > 0:10:03OK, so that moment, which was a little eggy earlier,
0:10:03 > 0:10:05- you knew exactly what you wanted.- Yeah.
0:10:05 > 0:10:09- Your arms went with it.- Yeah.- So, do that in there.- Yeah.- Listen to her.
0:10:09 > 0:10:13- Yeah.- Don't go with her. Do you.- OK. All right.
0:10:13 > 0:10:17During their stay, they do far more than just conducting.
0:10:17 > 0:10:20HE ENUNCIATES ITALIAN
0:10:20 > 0:10:21Good!
0:10:21 > 0:10:24They read through the text to get to grips with the meaning
0:10:24 > 0:10:26and interpretation of each Italian line.
0:10:29 > 0:10:31HE ENUNCIATES LINES IN ITALIAN
0:10:41 > 0:10:44They also get a chance to explore Florence,
0:10:44 > 0:10:47to put their highly advanced language skills to the test.
0:10:47 > 0:10:50- Pizza.- Oh, sorry.
0:10:50 > 0:10:53- Scusi. Scusi!- Scusi.
0:10:54 > 0:10:57And they even visit the place where it all began.
0:10:57 > 0:11:00It's actually quite a quaint sort of place.
0:11:00 > 0:11:04- I was expecting like a great big palace.- It's got a Puccini plaque.
0:11:04 > 0:11:08- The house where Giacomo Puccini lived for most of his life.- Lovely.
0:11:10 > 0:11:11- Watch the palm tree.- Wah!
0:11:11 > 0:11:14Sorry, I'm doing everything I can to destroy you!
0:11:23 > 0:11:26Puccini wrote some of the most famous operas there are,
0:11:26 > 0:11:28here in Tuscany.
0:11:28 > 0:11:30Not only La Boheme,
0:11:30 > 0:11:32but at this very piano
0:11:32 > 0:11:35he composed Tosca and Madame Butterfly.
0:11:39 > 0:11:40Oh, how lovely.
0:11:43 > 0:11:46Oh, look. This is the piano he composed on.
0:11:46 > 0:11:48- You're going to sit down.- Oh, yes.
0:11:48 > 0:11:50I'm going to get some inspiration from...
0:11:50 > 0:11:51Ooh!
0:11:54 > 0:11:57- Gosh! - That's Puccini getting you back.
0:11:58 > 0:12:02- Do you want a go?- Yeah, well, we've come all this way.- Yeah, yeah.
0:12:02 > 0:12:05- Get that feel from the... - Hang on, darling.
0:12:05 > 0:12:07Oh...!
0:12:07 > 0:12:09It's amazing, actually, isn't it?
0:12:09 > 0:12:12I mean, just sitting here and thinking back,
0:12:12 > 0:12:16- that this is THE actual... - Yeah, look, he's got the desk here.
0:12:16 > 0:12:20- So, he goes, "Oh..."- Exactly! "That's great! Love that tune!"
0:12:21 > 0:12:23I don't know how he does it.
0:12:23 > 0:12:27I mean, it's just bizarre to think that entire score
0:12:27 > 0:12:30was in his head, and he heard the music.
0:12:30 > 0:12:35- Yeah.- I mean, that's what I find just fascinating.
0:12:35 > 0:12:37Yeah, to have that kind of vision to pull that piano apart
0:12:37 > 0:12:40- into full orchestra, choir, singers. - I know.
0:12:46 > 0:12:48What I will take away from this experience
0:12:48 > 0:12:52is a personalised view of his music.
0:12:52 > 0:12:58And that will, hopefully, inform how I conduct it.
0:13:05 > 0:13:08It's Craig and Marcus's final day at the academy.
0:13:08 > 0:13:10Oh!
0:13:10 > 0:13:13Puccini!
0:13:13 > 0:13:16And it's their last chance to finesse the skills they've learnt
0:13:16 > 0:13:19during their Italian trip.
0:13:19 > 0:13:20Oh...!
0:13:20 > 0:13:23I think we should skip this a moment.
0:13:27 > 0:13:28WOMAN SINGS OPERATIC PIECE IN ITALIAN
0:13:28 > 0:13:32For Craig's final session, Anthony wants him to conduct from memory.
0:13:33 > 0:13:37Craig is going to be working this session on internalising the music.
0:13:38 > 0:13:41In other words, not be tied to looking at the music
0:13:41 > 0:13:43and given more time to look at the singers.
0:13:43 > 0:13:46Stretch.
0:13:46 > 0:13:50So, the score's a map - you check it, make sure you're on the right route
0:13:50 > 0:13:53but you're not tied to it, otherwise you have a crash.
0:13:56 > 0:13:59- OK. You've forgotten the map, OK? - Yeah.- Let's look at the map.
0:13:59 > 0:14:02- Sorry.- No, it's fine. You couldn't remember your visual marks.
0:14:02 > 0:14:06- And then you did the stretch there. - Yes. I just couldn't remember what was coming up.
0:14:06 > 0:14:08You have to make the mistakes...
0:14:08 > 0:14:11- Next time, you'll remember what it is.- Yes.
0:14:11 > 0:14:13- It's the only way of memorising.- OK.
0:14:13 > 0:14:16I've been trying to write a little bit
0:14:16 > 0:14:19- just of my sort of mapping of this piece.- Good.
0:14:19 > 0:14:22- Will you conduct from your book?- I'm not going to conduct from anything.
0:14:22 > 0:14:26I don't want to be doing this, where am I now? I just think...
0:14:26 > 0:14:28- Just from memory?!- I-I... Yeah.
0:14:28 > 0:14:30As Marcus already has a firm grasp of the music,
0:14:30 > 0:14:34Jonathan wants his pupil to focus on emotional expression.
0:14:34 > 0:14:36PIANO PLAYS
0:14:36 > 0:14:40- Good. Sorry, I'm going to stop you there again.- Yeah.
0:14:40 > 0:14:43Are you getting "lurve" out of his arms?
0:14:43 > 0:14:47- ..I take that hesitation is a no. - No!- OK, yeah, Yeah.
0:14:47 > 0:14:52'What I'm aiming to do, is to really get all the feeling that he obviously has for the music...'
0:14:52 > 0:14:55I want it all to be expressed in the point of the baton.
0:14:56 > 0:14:58Yeah, shall we try that? Yeah.
0:14:58 > 0:15:01And as soon as he starts, this left hand,
0:15:01 > 0:15:03which is simply mirroring the right hand,
0:15:03 > 0:15:07we lose any expressive quality that's going on in that.
0:15:08 > 0:15:11PIANO PLAYS
0:15:12 > 0:15:16That's great, you just don't need the hip thrusts for the final emphasis.
0:15:16 > 0:15:18Yeah, sorry, yeah.
0:15:18 > 0:15:20PIANO PLAYS
0:15:20 > 0:15:24'It's been an important journey, I think, for me, in actually
0:15:24 > 0:15:27'bringing alive so many layers that are going on in this opera.
0:15:27 > 0:15:30'I mean, actually, it's got so much richer'
0:15:30 > 0:15:34from being immersed a little bit in Italian culture, immersed in the language...
0:15:34 > 0:15:39- THEY SING IN ITALIAN - 'And it's bringing that all together as a conductor into this moment
0:15:39 > 0:15:40'when it all fuses.'
0:15:40 > 0:15:42SHE SINGS SOLO
0:15:42 > 0:15:44It's stirred my emotions in a way.
0:15:44 > 0:15:47I've got to keep under control. I can't get lost in this music.
0:15:50 > 0:15:53'I think, technically, this weekend has been brilliant for me
0:15:53 > 0:15:55'because it's focused my movement,'
0:15:55 > 0:16:00and I've learnt to communicate, and pull people together.
0:16:00 > 0:16:03'Because they want it to happen.
0:16:03 > 0:16:05'They all want to make fantastic music.
0:16:05 > 0:16:08'You just have to remind yourself of that.'
0:16:08 > 0:16:12And when I get onto the podium, I think, let's make fantastic music.
0:16:12 > 0:16:15SINGING CONTINUES
0:16:15 > 0:16:20Oh, my God, it's Sir Mark Elder with one of our heads on performance day!
0:16:20 > 0:16:24- "You will not be conducting Boheme, I'm sorry!"- Ker-chunk!
0:16:24 > 0:16:26Love it!
0:16:26 > 0:16:29SINGING REACHES CRESCENDO AS PIANO PLAYS
0:16:36 > 0:16:39- No sooner have Craig and Marcus returned to London...- Ciao, bello!
0:16:39 > 0:16:44..than they make their way to Covent Garden for the final judgment.
0:16:45 > 0:16:50They'll be conducting the cast and the orchestra of the Royal Opera House.
0:16:50 > 0:16:53They'll then vote on the person they want to perform the entire act with.
0:16:53 > 0:16:58- OK, so, when you've done three... - 'I woke up, adrenaline pumping,'
0:16:58 > 0:17:01cos I'm, you know, just so close to that dream.
0:17:01 > 0:17:05It's a mixture of boyish excitement and total fear.
0:17:05 > 0:17:09- I think we're in spitting distance of nailing this.- Come on!
0:17:10 > 0:17:12Overseeing the contest is Sir Mark Elder.
0:17:12 > 0:17:15'I shall be very interested to see which of the candidates
0:17:15 > 0:17:19'has the best balance of competence and flair.'
0:17:19 > 0:17:22- I'm nervy. - This is the moment, isn't it?
0:17:22 > 0:17:26And this music needs panache, it needs spontaneity,
0:17:26 > 0:17:28it needs brilliance and bravura.
0:17:28 > 0:17:32It needs somebody throwing care to the winds with one part of their brain,
0:17:32 > 0:17:35and yet with the other part, being cool enough to control it.
0:17:39 > 0:17:42APPLAUSE
0:17:43 > 0:17:48So, today, we are here to find out which one of you
0:17:48 > 0:17:53is going to take on the final challenge of conducting the entire second act of La Boheme.
0:17:53 > 0:17:57You have the very talented young soloists, this is your orchestra,
0:17:57 > 0:18:00and we're first of all going to start with Marcus.
0:18:11 > 0:18:14INSTRUMENTS STRIKE UP
0:18:14 > 0:18:17MALE SOLOIST SINGS IN ITALIAN
0:18:17 > 0:18:19FEMALE SOLOIST SINGS
0:18:30 > 0:18:34INSTRUMENTS PLAY IN BACKGROUND AND MALE SOLOIST SINGS
0:18:57 > 0:19:00- Think of it as the warm-up act. - Yeah, warm-up.
0:19:00 > 0:19:04- He's warming them up for me.- For the main attraction.- Perfect. Good idea!
0:19:04 > 0:19:07MUSIC CONTINUES
0:19:17 > 0:19:19MUSIC STOPS
0:19:19 > 0:19:20Great, well done.
0:19:30 > 0:19:33- What a cock-up!- Sounded great.
0:19:34 > 0:19:36- APPLAUSE - Welcome...
0:19:36 > 0:19:41It was amazing. My legs are just wobbling from the emotion of that.
0:19:41 > 0:19:44I mean, I almost cried at the end.
0:19:44 > 0:19:47ORCHESTRA PLAYS AND CAST SING IN ITALIAN
0:20:04 > 0:20:07MUSIC CONTINUES IN BACKGROUND
0:20:18 > 0:20:21- Wow, I was impressed.- Yeah, I mean, we actually got through it.
0:20:21 > 0:20:25- No, it went really well. It was way more than getting through it.- Yeah.
0:20:25 > 0:20:27I thought it was good. It was good.
0:20:43 > 0:20:45MUSIC STOPS
0:20:54 > 0:20:57Thank God that's over! Oh!
0:20:57 > 0:21:02You're going to vote now and think about which of the two candidates you would put your name to.
0:21:04 > 0:21:07You'll be completely honest and clear in your own hearts
0:21:07 > 0:21:10about who you think could take you through this performance.
0:21:12 > 0:21:14Marcus, I felt he was really genuine.
0:21:14 > 0:21:17I just liked his attitude.
0:21:17 > 0:21:22Craig has amazing passion that is absolutely necessary
0:21:22 > 0:21:24for conducting opera.
0:21:24 > 0:21:28It was really a choice for whether it was going to be intellect or passion.
0:21:28 > 0:21:31It was such a difficult decision.
0:21:33 > 0:21:35Well, here we are.
0:21:35 > 0:21:39Thank you so much for the incredible commitment that you've both shown.
0:21:39 > 0:21:41I'm very pleased to be able to announce
0:21:41 > 0:21:46that the person who the orchestra has decided should go through to the final round
0:21:46 > 0:21:51in the complete performance of the second act of La Boheme...
0:21:51 > 0:21:52is Craig.
0:21:52 > 0:21:55APPLAUSE
0:22:00 > 0:22:03Commiserations to Marcus, and we look forward, Craig,
0:22:03 > 0:22:05to you taking this experience to the final challenge
0:22:05 > 0:22:07in a performance here at the Royal Opera House.
0:22:07 > 0:22:10So, thank you. Thank you, Marcus. Thank you.
0:22:10 > 0:22:13APPLAUSE
0:22:20 > 0:22:23I'm really disappointed.
0:22:23 > 0:22:28I mean, I so wanted to do that, but, you know...
0:22:30 > 0:22:34I did my best, I put a lot of work into this,
0:22:34 > 0:22:37and you know, making music is brilliant.
0:22:37 > 0:22:41I just wish I could carry on. That's the kind of shame.
0:22:43 > 0:22:46- 'Hello?' - Hello, is that my lovely mother?
0:22:46 > 0:22:50- 'Hi, Craig, how are you?' - I'm good, I'm lovely!
0:22:50 > 0:22:54'There's an amazing thing at the end of this which Craig's got a chance to do,'
0:22:54 > 0:22:57and I'm bloody envious. I really am!
0:22:57 > 0:22:59We've just got the results... I won!
0:23:00 > 0:23:03- 'Ya-a-ay!'- Ya-a-ay!
0:23:03 > 0:23:07- 'Yes-s-s! That's FANTASTIC!'- I know.
0:23:07 > 0:23:09Marcus did well.
0:23:09 > 0:23:14He has a strength of purpose, and he has a natural feeling for
0:23:14 > 0:23:17standing in front of an orchestra and communicating with them.
0:23:17 > 0:23:21- Darling!- That's the result we want!
0:23:21 > 0:23:24- Well, you can't get better than that, can you?- No, fantastic.
0:23:24 > 0:23:27'I felt that Craig showed more feeling for the particular musical style.'
0:23:27 > 0:23:31He seemed more in touch with the beauty and the sensuousness of the music.
0:23:31 > 0:23:32We did it!
0:23:39 > 0:23:42Well, here it is. The stalls will be full, La Boheme, popular opera.
0:23:42 > 0:23:44The atmosphere's electric.
0:23:44 > 0:23:50- It's absolutely the most glorious, glorious space.- Isn't it?
0:23:50 > 0:23:56Now, Craig, come and take your first look at this special throne.
0:23:56 > 0:24:02- Oh, dear!- No, it's wonderful. - Oh, it is amazing.- On you go.
0:24:02 > 0:24:06- Onto the podium at the Royal Opera House.- Oh-h-h!
0:24:07 > 0:24:11And that's where you'll be when you start that second act.
0:24:11 > 0:24:14This is the Royal Opera House, Covent Garden.
0:24:14 > 0:24:16APPLAUSE
0:24:25 > 0:24:26Waking up this morning,
0:24:26 > 0:24:29it dawned on me that we'd actually won that prize,
0:24:29 > 0:24:32which is the chance to conduct Act II of Boheme.
0:24:32 > 0:24:37I don't think he quite knows how complicated it is going to be.
0:24:38 > 0:24:41So, fingers crossed, and we hold on for the ride.
0:24:41 > 0:24:45ORCHESTRA PLAYS AND CAST SING IN ITALIAN
0:24:45 > 0:24:49The Royal Opera House's production of La Boheme is considered a classic.
0:24:54 > 0:24:58For one night, world-class maestro Semyon Bychkov is allowing Craig
0:24:58 > 0:25:01to conduct Act II during his performance.
0:25:01 > 0:25:05INSTRUMENTS SLOW DOWN, THEN STOP PLAYING
0:25:06 > 0:25:09ORCHESTRA STRIKES UP GRADUALLY
0:25:15 > 0:25:18FEMALE CAST MEMBER SINGS
0:25:22 > 0:25:25He's just amazing. Incredible.
0:25:25 > 0:25:27How am I going to do that?
0:25:27 > 0:25:30- My name's Craig Revel Horwood. - Hello.
0:25:30 > 0:25:32You're a bit of a tough act to follow.
0:25:32 > 0:25:34Just don't follow.
0:25:34 > 0:25:36Go your way, you don't need to follow.
0:25:36 > 0:25:38What do you do in life?
0:25:38 > 0:25:42- Well, I'm a director/choreographer. - I see.- I was a dancer.
0:25:42 > 0:25:44We have to do the same thing that you do,
0:25:44 > 0:25:46because we have to express, tell the story,
0:25:46 > 0:25:48- through silent gestures.- Yes. - What do you do?
0:25:48 > 0:25:50- Tell stories through silent gestures.- Voila!
0:25:50 > 0:25:54- That's where it connects. - Yeah, it's true. It really is true.
0:25:54 > 0:25:57It's been such a gorgeous pleasure to meet you. It really, really has.
0:25:57 > 0:26:01ORCHESTRA PLAYS AND MALE CAST MEMBER SINGS
0:26:01 > 0:26:04It's three weeks to opening night.
0:26:04 > 0:26:07Over 100 stagehands are busy preparing the set.
0:26:11 > 0:26:14Built for its premiere in 1974,
0:26:14 > 0:26:19the same set is used each time the production is revived.
0:26:19 > 0:26:20Pick up the spoon.
0:26:20 > 0:26:25- Rehearsing the principal singers, is the production stage director, John Copley.- Got it?
0:26:28 > 0:26:30If the performance is going to be a success,
0:26:30 > 0:26:33it's essential Craig works closely with him.
0:26:33 > 0:26:37- Hello, sir.- Good evening. Congratulations, you've got the job!
0:26:37 > 0:26:39Hello, Michael.
0:26:39 > 0:26:42How long was that sequence you did? How many minutes was it?
0:26:42 > 0:26:45Five minutes and 12 seconds, something like that.
0:26:45 > 0:26:48Is that all? You've got 18 minutes, so that's quite a lot more to do.
0:26:48 > 0:26:50Yes.
0:26:50 > 0:26:53You must be scared out of your wits! THEY LAUGH
0:26:53 > 0:26:57What he did the other day was in a room, like a concert.
0:26:57 > 0:27:01It's very different when they're whizzing all over this great set.
0:27:01 > 0:27:04In Craig's Act, Musetta, played by Madeleine Pierard,
0:27:04 > 0:27:09sings a risque aria in an attempt to woo back her former boyfriend.
0:27:09 > 0:27:13The music is woven together with complex stage action.
0:27:13 > 0:27:15She's got quite a difficult time,
0:27:15 > 0:27:17because she's going to play billiards.
0:27:17 > 0:27:22So she comes up here and she takes a cue,
0:27:22 > 0:27:26- and somebody gives her the chalk... - Yeah.- ..and she just goes...
0:27:26 > 0:27:29CUE CLUNKS Oh, shit!
0:27:29 > 0:27:30LAUGHTER
0:27:32 > 0:27:34And then she does the aria up here.
0:27:34 > 0:27:39HE SINGS PART OF THE ARIA So you've got to be very clear.
0:27:39 > 0:27:43We don't want any of this... HE HUMS A TUNE
0:27:43 > 0:27:45Fantastic.
0:27:45 > 0:27:48Anyway, you've got to get going with them. There's lots and lots to do.
0:27:48 > 0:27:52John is a formidable director, and I can learn a lot from him.
0:27:52 > 0:27:53He's very, very funny.
0:27:53 > 0:27:56MALE CAST MEMBER SINGS IN ITALIAN
0:27:58 > 0:28:03Now the singers are acting on-set, they're trained to follow the conductor
0:28:03 > 0:28:06without appearing to look at him.
0:28:06 > 0:28:08MADELEINE SINGS THE ARIA
0:28:10 > 0:28:12As Madeleine goes to pot the ball,
0:28:12 > 0:28:15Craig has to negotiate a pause in the music.
0:28:15 > 0:28:17MUSIC PAUSES
0:28:17 > 0:28:21MUSIC STARTS UP GRADUALLY
0:28:21 > 0:28:23Fail to lead the orchestra in correctly...
0:28:23 > 0:28:26- I need to slow that down, maybe. - ..and breathing is an issue.
0:28:26 > 0:28:30I think Craig was waiting for me to look at him
0:28:30 > 0:28:33and wait for a note, but he has to really lead it.
0:28:33 > 0:28:36I had her bottom, you see, facing me, and not her mouth.
0:28:39 > 0:28:40- Maestro.- Darling.
0:28:40 > 0:28:43It really is boing...
0:28:43 > 0:28:46look, boing.
0:28:47 > 0:28:50- JOHN SINGS PART OF THE ARIA - Don't wait for me.
0:28:50 > 0:28:55I was sort of hanging there waiting, thinking, "Do I have to wait?"
0:28:55 > 0:28:59For me, personally, it is the biggest scene in the opera.
0:28:59 > 0:29:02You know, there are going to be people there in my industry
0:29:02 > 0:29:05who are looking and watching and wondering, and of course,
0:29:05 > 0:29:08as a young singer, that's incredibly important.
0:29:08 > 0:29:11So, if he screws it up, it really does make us look bad as well.
0:29:11 > 0:29:15MALE CAST MEMBER SINGS
0:29:15 > 0:29:19'The tension is different now, because it's for real.'
0:29:19 > 0:29:20Not just a little game.
0:29:20 > 0:29:24We're actually doing it for real, so everyone is getting a bit,
0:29:24 > 0:29:29"OK, well, it's my performance and I don't want it ruined by you."
0:29:29 > 0:29:32SINGING CONTINUES
0:29:41 > 0:29:43SINGING STOPS
0:29:43 > 0:29:45- I have something to say.- Yes.
0:29:45 > 0:29:48That's a line I would like to decide...
0:29:48 > 0:29:51If you are going to conduct me, or I am going to sing, and you are...
0:29:51 > 0:29:56I am going to conduct you, because what you tend to do is slow it down.
0:29:56 > 0:30:00By the time we get to the end of that first phrase,
0:30:00 > 0:30:03you've slowed down so much I have nowhere to go.
0:30:03 > 0:30:06I know. But...but...
0:30:06 > 0:30:12- What's your "but"?- It is my line. - Yeah?- Which otherwise, it becomes...
0:30:12 > 0:30:15HE SINGS
0:30:18 > 0:30:21But I'm not doing that, actually.
0:30:21 > 0:30:24- No, no, no. - I'm letting you breathe it.
0:30:24 > 0:30:25You know what I'm saying?
0:30:25 > 0:30:29But what you're doing is, you're staring at me, cos you want to go slower.
0:30:29 > 0:30:32If you want to pull it about, pull it about and I'll listen
0:30:32 > 0:30:34and go with you, and then get them back,
0:30:34 > 0:30:36but don't just stare me out, cos that won't work.
0:30:36 > 0:30:41You need to just express it, sing it as you want to sing it,
0:30:41 > 0:30:44and I will try and accommodate. Does that make sense?
0:30:44 > 0:30:47Be musical, and do what Puccini wrote.
0:30:47 > 0:30:49And don't glare.
0:30:49 > 0:30:51Same place, please.
0:30:53 > 0:30:56HE SINGS IN ITALIAN
0:30:58 > 0:31:01They're going to find it really, really tough, I think, to trust me, you know?
0:31:01 > 0:31:04This is the biggest issue I have.
0:31:04 > 0:31:07That was better. Much better. Well done.
0:31:07 > 0:31:10That was a very nice evening, and thank you, everybody.
0:31:10 > 0:31:12It really is coming on beautifully.
0:31:12 > 0:31:13You mustn't be frightened
0:31:13 > 0:31:18when you see 240 people, all waiting for your every beat.
0:31:18 > 0:31:21Thank you for that thought! I'll take that to bed with me tonight.
0:31:21 > 0:31:26He shows such a musical sense. There are some tricky bits to come.
0:31:26 > 0:31:29But he's got terrific courage, I think, you know?
0:31:29 > 0:31:31He's really a very brave man.
0:31:33 > 0:31:35Sam, lose a bit of upstage, please.
0:31:35 > 0:31:40Now that Craig has worked with the principal singers on the set,
0:31:40 > 0:31:42his next step is to control the children's chorus,
0:31:42 > 0:31:45who, in this scene, cause mayhem in the street outside the cafe.
0:31:45 > 0:31:48Hello!
0:31:48 > 0:31:51If I was to think about the really tricky moments in La Boheme,
0:31:51 > 0:31:53the first one that comes to mind is the children.
0:31:53 > 0:31:56Wow. There's, like, loads of you.
0:31:56 > 0:32:00Many's the performance of La Boheme when the children,
0:32:00 > 0:32:03it's just chaos, because they don't know how to watch the beat.
0:32:03 > 0:32:07Well, welcome, everyone. It's lovely to see you.
0:32:07 > 0:32:12Right, why don't we have a look at it from that sausage - salami - darling?
0:32:12 > 0:32:15- Do you know where I mean? - CHILDREN: Yes.
0:32:15 > 0:32:17THEY SING IN ITALIAN
0:32:23 > 0:32:25I wanted to take it a little bit gentler,
0:32:25 > 0:32:28and they were just...boof, boof!
0:32:31 > 0:32:36Children, during a performance, will reproduce what they've rehearsed,
0:32:36 > 0:32:40so Craig's got to tap into that, be able to reproduce it.
0:32:40 > 0:32:43That will be the best way of it going well.
0:32:50 > 0:32:54Adapting to the children's hectic pace isn't Craig's biggest headache.
0:32:54 > 0:32:58DRUMBEATS
0:32:58 > 0:33:01Not only is he conducting the orchestra and singers,
0:33:01 > 0:33:04a military band also marches onto stage.
0:33:04 > 0:33:08It's Craig's job to merge the different rhythms.
0:33:09 > 0:33:14One of the most tricky things in opera is the last six or seven pages of the score.
0:33:16 > 0:33:20The business of co-ordinating this band, that gets nearer and nearer
0:33:20 > 0:33:24and comes marching onto the stage, and they've all got to be to be together,
0:33:24 > 0:33:26with the orchestra and with all the singers - that's hard!
0:33:26 > 0:33:29As the band starts playing offstage,
0:33:29 > 0:33:33an assistant conductor is employed to cue them at Craig's signal.
0:33:33 > 0:33:34- Hi.- I'm Alice.
0:33:34 > 0:33:37So I have a monitor. I watch the conductor
0:33:37 > 0:33:38and I listen on the headphones,
0:33:38 > 0:33:42and then I very slightly anticipate everything that you're doing.
0:33:42 > 0:33:45Once I start them off, they then march onto the stage,
0:33:45 > 0:33:48and it's no longer my problem.
0:33:48 > 0:33:49- Yes.- It's your problem.
0:33:49 > 0:33:54The capacity for this to go wrong is immense.
0:33:57 > 0:34:01With ten days to go before the performance, a full stage rehearsal,
0:34:01 > 0:34:05with piano accompaniment, has been organised for Craig.
0:34:05 > 0:34:10This has got to go well. It's really important that he comes out of this with some confidence.
0:34:10 > 0:34:14Oh, my God! Oh, my God! Oh, my God!
0:34:17 > 0:34:19I'm a nervous wreck.
0:34:19 > 0:34:21- Hi, Craig!- Hello.
0:34:21 > 0:34:25I'm actually terrified, but I'm not going to show them that.
0:34:25 > 0:34:28- I'm going to pretend that I'm fabulous.- And John...
0:34:28 > 0:34:33Ladies and gentlemen, it gives me the greatest pleasure to introduce Craig Revel Horwood, who's...
0:34:33 > 0:34:36CHEERING AND WHISTLING DROWNS SPEECH
0:34:38 > 0:34:43Remember, it's a rehearsal. You've got to just keep your head.
0:34:43 > 0:34:45I'll try and keep calm.
0:34:45 > 0:34:48And if there's a misunderstanding, we sort it out, remember?
0:34:48 > 0:34:52- Standing by for tab cue three and surtitle screen to come.- Thank you.
0:34:52 > 0:34:54Go.
0:34:54 > 0:34:57MUSIC STARTS
0:34:57 > 0:34:59200.5, go, please.
0:35:05 > 0:35:07THEY SING
0:35:07 > 0:35:12One of the hardest things that Craig will face in the second act
0:35:12 > 0:35:14is the music's changeability.
0:35:16 > 0:35:21Craig has to be alive to the tiny nerve-endings of how bars,
0:35:21 > 0:35:26phrases, pages change and settle,
0:35:26 > 0:35:30and the conductor has to be calm enough and yet passionate enough
0:35:30 > 0:35:32to master these changes of direction,
0:35:32 > 0:35:35these changes of character and mood.
0:35:39 > 0:35:41Can we try salami again?
0:35:43 > 0:35:45Ready?
0:35:45 > 0:35:47Try the salami...
0:36:07 > 0:36:09It just rests on your head.
0:36:09 > 0:36:13Just a complete fuck-up! That was hideous.
0:36:15 > 0:36:20Next, a chance to rehearse the band's entrance onto the stage.
0:36:22 > 0:36:26We hear in the distance a marching band.
0:36:31 > 0:36:35We've got this march that, against this passionate music,
0:36:35 > 0:36:38starts beating time absolutely strictly.
0:36:41 > 0:36:43# Dum-dum-te-dum. #
0:36:48 > 0:36:52And to meld from one type of music into the other type of music,
0:36:52 > 0:36:57and keep it together while the band walks on stage,
0:36:57 > 0:37:00this is a nightmare, and often goes wrong.
0:37:00 > 0:37:03It doesn't matter how experienced the conductor.
0:37:05 > 0:37:08< One, two! One, two!
0:37:12 > 0:37:14DRUMBEATS
0:37:17 > 0:37:19There we should...
0:37:19 > 0:37:22Thank you! Stop, stop, stop.
0:37:25 > 0:37:29Oh, my God! Oh, my God, I don't want to do it now. I don't want to do it.
0:37:29 > 0:37:32- < But we've got a chorus rehearsal. - I don't want to do it.
0:37:32 > 0:37:35< We've got a chorus rehearsal and a kids' rehearsal, too.
0:37:35 > 0:37:37- God, that was shit.- It wasn't shit.
0:37:37 > 0:37:40CRAIG SCOFFS
0:37:40 > 0:37:42< It was a stage and piano. It happens. Honestly.
0:37:42 > 0:37:45This is without the orchestra. This is with just the piano.
0:37:45 > 0:37:50I mean, you'd think that you'd be able to keep it in time. It's insane.
0:37:50 > 0:37:52OK. That's my career washed up.
0:37:52 > 0:37:56It was so stressful, because everything that could go wrong went wrong.
0:37:56 > 0:37:58I'm slightly concerned about myself, actually,
0:37:58 > 0:38:01whether or not I'm capable of doing it.
0:38:06 > 0:38:11With Craig's confidence shaken, Sir Mark steps in to help.
0:38:11 > 0:38:15Craig needs to learn how to lead the orchestra.
0:38:15 > 0:38:19So, before you start, just think of exactly how fast or slow you want to hear it.
0:38:19 > 0:38:22- They will play what you give them. - Hmm.
0:38:22 > 0:38:25So, just for your own confidence, your own experience,
0:38:25 > 0:38:27just do the last four bars,
0:38:27 > 0:38:31just to get the feeling of, what you do, they will play.
0:38:31 > 0:38:35- OK. - So do something different.- OK.
0:38:35 > 0:38:37Take them by surprise.
0:38:43 > 0:38:45Do you see?
0:38:45 > 0:38:48So, what I want you to feel is that, whatever you need to do, for the music,
0:38:48 > 0:38:52you can have confidence in them, that they will be with you and will read you.
0:38:52 > 0:38:55Do it once more, and do something different.
0:38:58 > 0:39:02ORCHESTRA PLAYS AT SLOWER PACE
0:39:07 > 0:39:09- LAUGHTER - See?
0:39:09 > 0:39:14- You see?- Yeah, I see, I see!- I think that's 15/40 to the orchestra.
0:39:14 > 0:39:16You can't catch them out, this lot.
0:39:16 > 0:39:20This has an enormous amount of power, this little thing,
0:39:20 > 0:39:23and it's not to be messed with! You know?
0:39:23 > 0:39:24Now, let's go back a little way.
0:39:24 > 0:39:30Sir Mark now decides to tackle the most challenging section of Act 2 -
0:39:30 > 0:39:32the arrival of the military band.
0:39:32 > 0:39:34MUSIC STARTS
0:39:45 > 0:39:47He's got to latch onto that tempo.
0:39:47 > 0:39:52However much he wants to be distracted by the sounds
0:39:52 > 0:39:56and people around him, he's got to concentrate on that drum.
0:40:01 > 0:40:03MUSIC AND SINGING DROWN OUT SPEECH
0:40:07 > 0:40:08My ears are bleeding.
0:40:08 > 0:40:13One of the reasons why I thought we should, like, lift the lid on this bit this morning
0:40:13 > 0:40:17is because this is really hard, because of the spatial elements
0:40:17 > 0:40:20and because he's done two things at the same time.
0:40:20 > 0:40:22- Yes.- But it's hard for everyone. All of us.
0:40:22 > 0:40:27You have just to do a military beat to make sure that, even if you can't hear the drums,
0:40:27 > 0:40:30you're still thinking about them. The problem is for the singers -
0:40:30 > 0:40:36they have to respect that, and they have to do all their lovely phrases exactly with you,
0:40:36 > 0:40:41- so that when the drums and trumpets arrive on the stage, it's still all together. OK?- Yes.
0:40:41 > 0:40:43Shall I just do it with...?
0:40:43 > 0:40:46You just stay here and you do it as well,
0:40:46 > 0:40:48- but let me just do it with you.- OK.
0:40:51 > 0:40:53Now it'll really fall apart.
0:40:53 > 0:40:55LAUGHTER
0:40:55 > 0:40:57I'll take a back seat on this one.
0:41:03 > 0:41:05HE SINGS IN ITALIAN
0:41:09 > 0:41:11So, we need one, two...
0:41:11 > 0:41:14BAND STRIKES UP
0:41:23 > 0:41:27Keep the beat close to your body.
0:41:27 > 0:41:29Now here they go.
0:41:29 > 0:41:31- I don't change. I don't change.- No.
0:41:33 > 0:41:36I'm just thinking about them.
0:41:38 > 0:41:40That session with Sir Mark and the orchestra,
0:41:40 > 0:41:44I've got to say was absolutely unbelievable.
0:41:47 > 0:41:49# Ba-ba-ba-ba-ba-ba-ba! #
0:41:57 > 0:42:00What do you think? Slow?
0:42:02 > 0:42:03LAUGHTER
0:42:03 > 0:42:07Just that one-and-a-bit hours
0:42:07 > 0:42:11has really opened my eyes to the world of conducting.
0:42:11 > 0:42:13It really, really has.
0:42:15 > 0:42:16As performance day approaches,
0:42:16 > 0:42:19Craig embarks on hours of endless rehearsal
0:42:19 > 0:42:23with singers, orchestra and chorus.
0:42:24 > 0:42:28The backstage crew go through final technical checks...
0:42:28 > 0:42:32- 514 is on here. - You need to spill over the side.
0:42:32 > 0:42:35..and the props department organise over 1,000 separate items,
0:42:35 > 0:42:38including real food for the cafe scene
0:42:38 > 0:42:41and even a pet dog for Musetta.
0:42:41 > 0:42:45Hello, Puffin. She's so cute.
0:42:45 > 0:42:49Upstairs, in the wardrobe department, there are over 350 costumes to be made
0:42:49 > 0:42:52or adapted for the current cast.
0:42:52 > 0:42:55I think these are the oldest costumes we have.
0:42:55 > 0:42:581902, from the Covent Garden Theatre.
0:42:59 > 0:43:02For every revival of La Boheme,
0:43:02 > 0:43:05over 500 people help bring it to the stage.
0:43:05 > 0:43:10But, on the night, the success of the performance itself
0:43:10 > 0:43:13will rest entirely on the conductor's shoulders.
0:43:24 > 0:43:28The day of the performance has finally arrived.
0:43:28 > 0:43:32At the beginning of my career at the Ballarat Lyric Theatre,
0:43:32 > 0:43:36in Australia, I never thought for one moment
0:43:36 > 0:43:39that I would be conducting La Boheme
0:43:39 > 0:43:43for the Royal Opera House.
0:43:43 > 0:43:45- A-ha!- How are we?
0:43:45 > 0:43:47- The big day!- The big day!
0:43:47 > 0:43:50'I really want it to go well for Craig.
0:43:50 > 0:43:52'He's worked so hard,
0:43:52 > 0:43:54'he deserves for this evening to go'
0:43:54 > 0:43:55not just well, brilliantly.
0:43:55 > 0:43:59I feel like a little boy about to go to school for the first time,
0:43:59 > 0:44:04where you have to leave your parents and then trundle in, all by your lonesome.
0:44:04 > 0:44:07Tonight is sold out,
0:44:07 > 0:44:12and over 2,000 opera-lovers make their way to their seats.
0:44:12 > 0:44:16The audience at the opera house, I think they are one of the best.
0:44:16 > 0:44:20They are very enthusiastic but in a very professional way.
0:44:20 > 0:44:24I think they are one of the best professional public in the world,
0:44:24 > 0:44:26I tell you!
0:44:26 > 0:44:29Among these are Craig's former classmates.
0:44:29 > 0:44:33I reckon he is going to be so nervous. This is the real deal.
0:44:33 > 0:44:35This is now about the audience.
0:44:35 > 0:44:38These are real opera fans that come to see a real show.
0:44:40 > 0:44:43If it was me tonight I would be a nervous wreck. But that is important.
0:44:45 > 0:44:48You need that kind of adrenaline to do a performance like this.
0:44:48 > 0:44:52I'm sure Craig is... The nerves are beginning to ramp up.
0:44:54 > 0:44:58ANNOUNCER: Good evening, ladies and gentlemen, and welcome to the Royal Opera House.
0:44:58 > 0:45:01Please take your seats.
0:45:01 > 0:45:04This evening's performance of La Boheme will commence in 10 minutes.
0:45:04 > 0:45:09Please take your seats. This evening's performance of La Boheme is about to commence.
0:45:09 > 0:45:11Please take your seats.
0:45:13 > 0:45:18The atmosphere is fantastic. All these people and this magnificent building
0:45:18 > 0:45:21and Craig there on that magic square.
0:45:21 > 0:45:24The opportunity to be standing there in front of all those people.
0:45:24 > 0:45:29I am dead envious. But also slightly relieved because it is terrifying.
0:45:29 > 0:45:30Look at it.
0:45:30 > 0:45:34- ANNOUNCER:- House lights to half. Go, please.
0:45:36 > 0:45:39And conductor's lights, go, please.
0:45:39 > 0:45:43LX cue one, tab cue one, surtitles screen in.
0:45:45 > 0:45:46Go.
0:45:46 > 0:45:48MUSIC STARTS
0:45:50 > 0:45:55While the Maestro Bychkov conducts Act One, all Craig can do is wait.
0:45:58 > 0:46:02'Ladies and gentlemen this is your Act Two beginner's call.'
0:46:02 > 0:46:06Mr Revel Horwood, your call to the pit, thank you.
0:46:06 > 0:46:12The journey to the pit is one of the most daunting, terrifying
0:46:12 > 0:46:14journeys that a conductor makes.
0:46:14 > 0:46:17You come out of the dressing room.
0:46:17 > 0:46:19Endless corridors, endless steps,
0:46:19 > 0:46:22you go down and down into the bowels of the building.
0:46:22 > 0:46:27You get to the pit door and you don't go in. You've got to wait for somebody to give you a signal.
0:46:27 > 0:46:29Oh, my God, it's actually happening.
0:46:29 > 0:46:34And all the time at the back of your mind you're thinking, "Have I got the tempo?
0:46:34 > 0:46:37"I must remember the tempo."
0:46:37 > 0:46:39I have to do it. I have to do it. I have to do it.
0:46:39 > 0:46:42APPLAUSE
0:46:45 > 0:46:48HE SIGHS
0:46:48 > 0:46:51I can't explain it. I cannot explain how terrifying it is.
0:46:56 > 0:46:59With the first act finally over the backstage teams
0:46:59 > 0:47:01spring into action for a rapid change of set.
0:47:05 > 0:47:09- Oh, darling! - They are hot and ready.
0:47:09 > 0:47:11HE BREATHES OUT
0:47:19 > 0:47:23I must remember to breathe. I have to breathe.
0:47:23 > 0:47:27- OK.- Thank you.
0:47:28 > 0:47:30CHATTER
0:47:34 > 0:47:37Standing by for tab cue three and surtitles for screening.
0:47:39 > 0:47:41- Thank you.- Good luck.
0:47:43 > 0:47:46APPLAUSE AND CHEERING
0:47:49 > 0:47:51Backstage Michael follows Craig's progress
0:47:51 > 0:47:55joined by the two Maestro judges, double bass player Dom Seldis
0:47:55 > 0:47:59and soprano Danielle Denise.
0:47:59 > 0:48:02APPLAUSE AND CHEERING
0:48:09 > 0:48:11OK, here we go.
0:48:22 > 0:48:23MUSIC STARTS
0:48:50 > 0:48:53- DOM SELDIS:- It's a lovely dancing movement that he has got.
0:48:53 > 0:48:55He's definitely with the singers. I can see him looking up.
0:48:55 > 0:48:59He's really... If he's nervous he's not showing it.
0:49:03 > 0:49:06Craig's first big hurdle is to keep the orchestra in time with
0:49:06 > 0:49:09the children as they surround the toy seller.
0:49:15 > 0:49:17Big moment. Now the kids.
0:49:17 > 0:49:19KIDS SING
0:49:27 > 0:49:30- Look at that.- Good, excellent. - Wonderful.
0:49:55 > 0:49:58- Now, kid's solo. - Here it comes. Stop.
0:50:02 > 0:50:06It feels slightly slower than normal, very slightly,
0:50:06 > 0:50:11but that's good because it means that he can react to everything, so it's in control. Really good.
0:50:15 > 0:50:21All very closed. All seems to be very rhythmical. Brilliant. There is a very, very strong beat.
0:50:21 > 0:50:22Bravo, Craig.
0:50:29 > 0:50:33With Musetta's entrance in the cafe, Craig's left-hand needs to
0:50:33 > 0:50:37convey a new mood while his right keeps tempo.
0:50:41 > 0:50:46DANIELLE DENISE: I am really impressed with how Craig is using both his hands differently.
0:50:46 > 0:50:50He's conducting proportionately sometimes. Other times, he's got one hand down. He's really in control.
0:51:08 > 0:51:14Just over halfway, and Craig has to nail the contentious tempo change for Pablo Bemsch.
0:51:14 > 0:51:16TEMPO SLOWS
0:51:27 > 0:51:32In the last rehearsal this was a big issue because the tenor had
0:51:32 > 0:51:36a different idea of what the pulse was supposed to be.
0:51:36 > 0:51:39But it was up to Craig to lead that more and he's done that now.
0:52:03 > 0:52:08Now Craig needs to set the right tempo and yet give Madeleine enough time to breathe.
0:52:15 > 0:52:17Contact is key.
0:53:17 > 0:53:23- That's fantastic. - You can really see the contact between the singer and Craig.
0:53:23 > 0:53:27Those little hip gives are absolutely appropriate.
0:53:27 > 0:53:30He is using more parts of his body than conductors...
0:53:30 > 0:53:33- It's fine, it's good.- Yes, why not? - Just not all the time.
0:53:49 > 0:53:52- He took quite a bit of time there. - He did. Too much.
0:53:52 > 0:53:56But he made contact with the singer so she was there when he finally decided to come in.
0:53:58 > 0:54:01- Huge build-up here.- Time to lift this.- Watch him now.
0:54:06 > 0:54:10- He takes a bit of time. They followed him.- Absolutely. - They were there.- Perfect.
0:54:38 > 0:54:40- In the bag.- Look at that posture. - Oh!
0:54:44 > 0:54:46- That couldn't have been more perfect. - Yes.
0:54:47 > 0:54:50Under three minutes to go
0:54:50 > 0:54:53and Craig still has the hurdle of the military band to come.
0:55:06 > 0:55:10Five, four, three, two, one.
0:55:10 > 0:55:12DRUMS START
0:55:20 > 0:55:23- He goes with them. He is with them. - He is beating in two.- Good.
0:55:30 > 0:55:33The next challenge is to keep the orchestra in that same tempo.
0:55:37 > 0:55:40- A little wide. A little wide.- He had a bit of a corner but it was OK.
0:56:02 > 0:56:06With the band onstage Craig must now keep control of over 170 performers.
0:56:52 > 0:56:54Look at that. That is a conductor.
0:57:20 > 0:57:23APPLAUSE AND CHEERING
0:57:28 > 0:57:30That surpassed our expectations.
0:57:30 > 0:57:35- Michael, you've got to be happy with that.- I'm absolutely delighted.
0:57:35 > 0:57:38- DOM SELDIS:- Michael, you have created a conductor.
0:57:38 > 0:57:41APPLAUSE
0:57:46 > 0:57:53'Craig was fantastic. He was in touch with the sentiment and the feelings of the music.'
0:57:54 > 0:57:56His focus was up to the stage.
0:57:56 > 0:57:59He really had... We've been talking about it. He's never achieved it.
0:57:59 > 0:58:05You really felt he was a proper conductor.
0:58:08 > 0:58:12'I am really impressed with the way he coped with the different aspects.'
0:58:12 > 0:58:16It is one of the most horrendous acts. It was fun. It went well. I'm happy for him.
0:58:21 > 0:58:26This has got to be my finest 20 minutes, I suppose, ever.
0:58:26 > 0:58:31'There's nothing that can sort of replace this feeling that I got from it.
0:58:31 > 0:58:33'I just think it's been phenomenal
0:58:33 > 0:58:37'in opening the doors to the most wonderful,'
0:58:37 > 0:58:42wonderful artistic life that I think you could ever possibly want.
0:58:42 > 0:58:44Opera.
0:58:44 > 0:58:49APPLAUSE AND CHEERING
0:58:55 > 0:58:58Subtitles by Red Bee Media Ltd