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Elizabeth
Wyly
Viola |
A headmaster's purchase of violins
set Elizabeth Wyly on the road to a career in music.
‘When I was eight our headmaster bought some violins,
called a few pupils to his office and offered us violin
lessons. I just thought, “Oh, ok!” I enjoyed it straight
away, despite one brilliant but volatile teacher who
reduced at least one of us to tears every week.'
Elizabeth
switched to viola at 15, after falling in love with
the sound of the instrument.
‘When
Chethams School of Music in Manchester offered me
a sixth form place, it was the one time I made a real
decision about my career. There I made viola my first
study, and had two years of really excellent musical
training. After Chets I spent four years at the Guildhall
School of Music and Drama, with Nannie Jamieson and
then Csaba Erdelyi, who were very different but very
inspiring. In 1990 I also took a sabbatical semester
in Bloomington, America.'
Elizabeth,
who was born in Kent, joined Opera North in December
1985, shortly after finishing college. Her parents
spotted the job advertisement and dispatched Elizabeth
to her first professional audition. ‘I very nearly
cancelled when I learnt what the train fare from London
was! Before my trial I hadn't been too keen on recorded
opera, but I found the orchestra very friendly and
welcoming, and I quickly got hooked on the thrill
of being part of such a total theatrical experience.'
That
friendliness continues to be one of the many highlights
of being a part of a professional orchestra. 'There's
a strong sense of community here, and some really
wonderful friends who have become like a second family.
Basically I just feel incredibly lucky to have a job
doing something I love.'
Being
a part of a small section in the orchestra also has
distinct advantages, says Elizabeth . 'When it works
as a team it's so exciting and because it's not very
big everybody can really contribute. I love our variety
of opera and concert work.
‘I
feel the main challenge for rank and file players
is balancing conviction with antennae waggling, because
we need to do a lot of stuff without having it spelt
out by the conductor or section principal, and often
without being able to hear ourselves. Weirdly, the
more closely you match your neighbour, the harder
it is to tell what you're doing. If you're doing it
really well you can end up apologising for each other's
mistakes. Which are rare of course!'
Elizabeth
's favourite operas are Wagner's Die
Walkure, Tristan und Isolde,
Die Meistersinger, all of the Janacek
tackled by Opera North; Britten's Billy Budd
and Peter Grimes and Debussy's Pelleas
et Melisande. Echoing those choices, her
musical idols include composers Wagner, Debussy, Britten,
Janacek while pianist Vladimir Ashkenazy's Rachmaninov
Preludes ‘have been life savers'. More inspiration
is drawn from viola ‘god' Thomas Riebl; viol expert
Jordi Savall; old bluegrass sung by Bill Monroe; “newgrass”
musicians Chris Thile and Bela Fleck; Piazzolla's
tangos; Stephane Grapelli and Django Reinhardt while,
Elizabeth adds, ‘this summer Edith Piaf has been moving
me to tears.'
Elizabeth
admits to being a part-time patchwork and quilting
fiend when the viola is not in her hands, although
her hobbies understandably revolve around music. She
formed the Café Band (pictured right), for
whom she also plays and arranges music, in 1996. The
formation of the band occurred after a trip to Italy.
‘I'd been to Venice and loved the little groups playing
outside the cafes in St Mark's Square,' she says.
'It struck me that some of my friends neatly played
the same instruments, and amazingly they were all
up for the experiment. We're especially lucky to have
David Greed on board and he's a terrific “pillar”
of the group. We dip into all sorts of light music;
we're very keen on tangos. But we can be more serious
and we do a version of the Liebestod. We play whatever
takes our general fancy really and it's great fun.'
Posted
28th August, 2007.
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