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Interview with Helen Wallace in “About the House” the magazine of the Royal Opera House,London
November 2007
My House: Gerald Finley Bass-baritone
Did you ever attend a production at the ROH while you were at the Royal College?
I went to Stockhausen's Donnerstag aus Licht, which was the most memorable new operatic experience I've ever had. It made me realise that opera is a living contemporary art form. I also remember a performance of Don Pasquale, with Russell Smythe's wonderful Malatesta - opera as fun!
The Friends of Covent Garden supported your study at the National Opera Studio - why?
Dame Eva Turner heard me at one of Dr Lee Minton's recitals at Kenwood House. She then went to the Friends and suggested I be a recipient of their support. I bought my first proper scores of the Mozart operas with that money, and a piano.
Do you recall your debut at the ROH?
My first appearance was at a joint Royal Gala concert with the Royal College of Music in 1983. Placido Domingo was the special guest, and he sang Hoffman's aria amongst others; my tiny solo bit followed immediately, but no one heard it because Domingo's applause carried on and on ... My stage debut was as a Flemish Deputy in Don Carlo - I was astonished to be cast with the wonderful baritones of the future.
What productions here have been particular highlights for you?
Every time is a complete joy. I suppose my debut as Figaro is a principal highlight. Thomas Allen, Stafford Dean and Felicity Lott were incredibly supportive as colleagues. Singing Don Giovanni was a dream come true, and I have enjoyed the Verdi and Tchaikovsky in recent years. Singing Golaud in Pelléas et Mélisande with Simon Rattle this year was a musical nirvana.
You sang Yeletsky in The Queen of Spades. What do you make of the character of Onegin?
Onegin will be a real treat to perform in the current production (I love the ice-skating!). Elements of his character I hope to explore are his apparent control of his emotional peaks, but he fails every time and doesn't understand. He is locked in an unloved, and therefore unloving, cycle. Unable to cope with feeling vulnerable, he slams the door on being loved.
What do you enjoy about working with Antonio Pappano?
Since we first met through a Don Giovanni project in 2000, he has been a real colleague, mentor and friend. We share a passion for Italian wine, and exchange new discoveries. Tony has had a huge influence on my singing and role choices in recent years.
What was the 'old' theatre like and how does it feel to work in the new facilities now?
Although the 'old' House was a rabbit warren backstage, there was a sort of club feeling when you knew how to navigate from the stage door to the dressing rooms along the 'green line'. I think it's great that in spite of the renovations, that is still what happens! Obviously the modern theatre is able to cope with a much tighter performing schedule, but it is still the incredible stage crew and managers that make the place work properly.
Is there a role you long to take on?
There are too many to list, but I would love to feel that Scarpia is not out of the question.
Which role in opera is closest to the real Gerald Finley?
Mercifully, I don't feel anyone character is representing my life journey, but each role I do will get a bit of me and my experience and imagination. That's the joy of performing! I can imagine one day an opera about the challenges of being a performer in the modern world