The O Word · Welsh National Opera

How do you write a new opera? – The Music

June 24, 2020·30 min·2 clips

Will Todd reveals how the acoustic operatic voice literally vibrates through listeners, creating a unique human connection.

This episode of The O Word explores the process of writing a new opera, focusing specifically on the composition of the music. Host Gareth Jones speaks with librettist and director Emma Jenkins and composer Will Todd, both of whom are creating new works for Welsh National Opera. The discussion centers on the contemporary state of opera and the creative challenges involved in writing for the modern stage. Emma Jenkins argues that new opera is currently in a healthy period, with many emerging artists drawn to the form despite limited production opportunities. She cites her collaboration with composer Elena Langer on works like *Figaro Gets a Divorce* and *Rhondda Rips It Up*, which blend cabaret, vaudeville, jazz, and classical music into an accessible hybrid. Jenkins acknowledges that new music has traditionally been challenging for audiences but asserts the current aim is to create clear, entertaining, and communicative pieces. She believes the fear surrounding new work is breaking down as composers utilize more tonal and hybridized musical styles. Jenkins' upcoming opera, *Blaze of Glory*, with music by David Hackbridge-Johnson, is scheduled for 2021. Composer Will Todd, working on the multi-story opera *Migrations*, describes his compositional process as beginning with the libretto placed on his piano, where he experiments with chords and phrases to find music that tells a character's story. He emphasizes the need to identify powerful "song moments" or arias that allow singers to fully express emotion. Todd explains that a key difference from musical theatre is opera's acoustic nature, which often requires less text for clarity against an orchestra. For *Migrations*, his challenge was to give each character in the interwoven stories a distinct musical voice while layering themes from different narratives together. He plays an extract of Bridget's song of hope from the slave story and a final chorus that weaves together themes from five different storylines, including the First Nations narrative and the migrating birds. A surprising insight is Jenkins' contention that composers are now purposefully creating more accessible, tonal music without sacrificing integrity, directly countering the post-war trend of difficult modernism. Will Todd reveals that he actively collaborated with the librettists during the writing process, advising on where an aria might work best. He shares that his eclectic musical style stems from a childhood filled with opera, rock, folk, and choral music, as well as his professional work as a jazz musician. Todd describes the unique power of opera as the physiological impact of an unamplified voice vibrating directly with the listener, a tool he believes can translate to any story or genre. The episode maintains an educational and conversational tone, blending interview clips with the host's explanatory narration. It is structured as a deep dive into the artistic craft, featuring specific musical examples and personal anecdotes from practitioners. This episode would greatly appeal to classical music enthusiasts, aspiring composers, or anyone curious about the behind-the-scenes creation of contemporary opera. Listeners with no interest in the technical or artistic discussions of musical composition might find it less engaging.

As heard by us

A clear, craft-first look at how a new opera takes shape.

This episode keeps its focus on the music, using Gareth Jones's WNO commission as a way into how a new opera gets built. The best moments are the practical ones.

Read the full review in PlayNext →

Why you'd press play

Press play if you want to hear opera made from the inside out.

Read the full recommendation in PlayNext →

Listen to the show on

Apple Podcasts Spotify

Play clips from this episode More from The O Word