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tv   Take Me to the Opera  BBC News  August 7, 2021 9:30am-10:01am BST

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the south—west city of zaranj, the first provincial capital to fall to the militants for five years. during a un emergency meeting to discuss the worsening violence, its envoy to the region demanded the militants end their offensive. the greek government has put almost half of the country's regions on high alert as wildfires continue to spread. huge clouds of smoke are billowing over the outskirts of athens. a man's been killed in a village north of the city after being hit by a falling electricity pole. at the olympics, there's been another gold medal for team gb as galal yafai beat carlo paalam of the philippines in the flyweight boxing. in the men's solo 10m diving, it was a china one—two, with britain's tom daley taking bronze. now on bbc news, zeinab badawi meets two sublime young opera
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stars who are grappling with a new world of opera. south african soprano masabane cecilia rangwanasha, and french tenor benjamin bernheim. i have been an opera fan i have been an opera fan for i have been an opera fan for decades i have been an opera fan for decades and i want to share my passion with you. so i am on a mission to tell you. so i am on a mission to tell you about some of the names in opera who are making it fit for the future. meet south african soprano masabane cecilia rangwanasha, who loves song contests, and is tipped to become a superstar. i contests, and is tipped to become a suerstar. . , ., , ., superstar. i was in love with opera from the beginning _ superstar. i was in love with opera from the beginning but _ superstar. i was in love with opera from the beginning but i _ superstar. i was in love with opera from the beginning but i actually i from the beginning but i actually did not know there was opera, ijust thought it was music. and, exciting french tenor benjamin
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bernheim on the thrill of live performances.— bernheim on the thrill of live performances. bernheim on the thrill of live erformances. ~ . ., , ., performances. what we want is for eo - le to performances. what we want is for peeple to dress — performances. what we want is for people to dress up _ performances. what we want is for people to dress up and _ performances. what we want is for people to dress up and come - performances. what we want is for people to dress up and come to . performances. what we want is for| people to dress up and come to see us, and _ people to dress up and come to see us, and come to the opera house and the concert_ us, and come to the opera house and the concert hall.— the concert hall. what does the future hold _ the concert hall. what does the future hold for— the concert hall. what does the future hold for young _ the concert hall. what does the future hold for young singers i the concert hall. what does the future hold for young singers in the concert hall. what does the i future hold for young singers in an opera world that has been transformed by technology, social media, and demands for greater diversity? and, could the changes make opera better and more popular? let me take you to the opera. passionate singing.
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south african soprano masabane cecilia rangwanasha was born in johannesburg in 1993, and has come a long way in a short time. cecilia is a protege of the royal opera house where i am on the board of trustees, so i have come along to find out more about how she made it to one of the world's leading opera houses. i was singing as a child. my mum said i was a singing baby, so i would sing my name as i was growing up. and then ijoined the church choir, and ijoined the school choir. i took part in the singing
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competitions and that when my mum saw that i actually loved singing. when i finished, she asked what i wanted to study and i said law. and she said why not music because you are already singing? and i said actually this is what i wanted to do but i was afraid to say it because, you know, they are going to say, what is opera? you know, they are going to say, what is opera?— what is opera? cecilia, as her mother called _ what is opera? cecilia, as her mother called her, _ what is opera? cecilia, as her mother called her, studied i what is opera? cecilia, as her- mother called her, studied music at the university of technology in pretoria, and then at cape town university, where she joined the opera company in the city, and that is when the competitions got serious. after an audition in 2019, she won a coveted place on the young artists programme here at the royal opera house. many hundreds applied, but only a handful are successful for each programme.—
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but only a handful are successful for each programme. many of those sin . ers for each programme. many of those singers who — for each programme. many of those singers who come _ for each programme. many of those singers who come from _ for each programme. many of those singers who come from all- for each programme. many of those singers who come from all over - for each programme. many of those singers who come from all over the | singers who come from all over the world _ singers who come from all over the world are _ singers who come from all over the world are in — singers who come from all over the world are in london _ singers who come from all over the world are in london for— singers who come from all over the world are in london for the - singers who come from all over the world are in london for the first - world are in london for the first time, _ world are in london for the first time, so — world are in london for the first time, so of— world are in london for the first time, so of course _ world are in london for the first time, so of course we - world are in london for the first time, so of course we have - world are in london for the first time, so of course we have to l world are in london for the first - time, so of course we have to make them _ time, so of course we have to make them settled — time, so of course we have to make them settled in _ time, so of course we have to make them settled in in _ time, so of course we have to make them settled in in london _ time, so of course we have to make them settled in in london and - them settled in in london and comfortable, _ them settled in in london and comfortable, and _ them settled in in london and comfortable, and feeling - them settled in in london and comfortable, and feeling safe| them settled in in london and . comfortable, and feeling safe in them settled in in london and - comfortable, and feeling safe in the environment — comfortable, and feeling safe in the environment that— comfortable, and feeling safe in the environment that they _ comfortable, and feeling safe in the environment that they are _ comfortable, and feeling safe in the environment that they are in, - comfortable, and feeling safe in the environment that they are in, which| environment that they are in, which may be _ environment that they are in, which may be very— environment that they are in, which may be very new_ environment that they are in, which may be very new to _ environment that they are in, which may be very new to them. - environment that they are in, which may be very new to them. over - environment that they are in, which may be very new to them. over the j may be very new to them. over the course _ may be very new to them. over the course of _ may be very new to them. over the course of the — may be very new to them. over the course of the two _ may be very new to them. over the course of the two years, _ may be very new to them. over the course of the two years, its - course of the two years, its combination— course of the two years, its combination of— course of the two years, its combination of training - course of the two years, its combination of training and course of the two years, its - combination of training and coaching which _ combination of training and coaching which is _ combination of training and coaching which is often — combination of training and coaching which is often intense _ combination of training and coaching which is often intense and _ which is often intense and concentrated _ which is often intense and concentrated in _ which is often intense and concentrated in that - which is often intense andj concentrated in that time. which is often intense and - concentrated in that time. the sin . ers concentrated in that time. the singers train — concentrated in that time. the singers train in _ concentrated in that time. singers train in master concentrated in that time.- singers train in master classes concentrated in that time— singers train in master classes with the very best, such as the world renowned music director of the royal opera house, sarah antonio. —— sir. yes, you have got tojoin the ideas.
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the way he has invested in the story, the way so much knowledge, how he knows of the voice, how it should sound, what vowels to use, it is amazing. 50 should sound, what vowels to use, it is amazing-— is amazing. so he puts you through our is amazing. so he puts you through your paces — is amazing. so he puts you through your paces with _ is amazing. so he puts you through your paces with the _ is amazing. so he puts you through your paces with the italians - rolling their rs. how warm is your voice now customer could you give us a part of any song?
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what a treat that was. # now is the night...# emotion is very important because you are telling a story stop like, i will be telling a story of this person that people don't know, or sometimes they do not understand the language, but they should feel it. they should feel what i am saying. they should feel what i am saying. they should feel my emotion, my journey. you never really know whether singers — you never really know whether singers will make the superstar status— singers will make the superstar status because of course there are so many _ status because of course there are so many elements of being a star
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singer~ _ so many elements of being a star singer~ you — so many elements of being a star singer. you have to have the musicianship, you have to have the voice. _ musicianship, you have to have the voice. but — musicianship, you have to have the voice, but you also has to have the personality — voice, but you also has to have the personality. you have to have that warmth, _ personality. you have to have that warmth, the ability to engage with audience _ warmth, the ability to engage with audience members, and you have to be distinctive _ audience members, and you have to be distinctive and cecilia has those in spades— distinctive and cecilia has those in spades so— distinctive and cecilia has those in spades so i— distinctive and cecilia has those in spades so i think she has a good chance _ spades so i think she has a good chance of— spades so i think she has a good chance of going to the very top. getting — chance of going to the very top. getting to — chance of going to the very top. getting to the top is tough. the opera world is highly competitive. injune opera world is highly competitive. in june 2021, opera world is highly competitive. injune 2021, cecilia took part in one of the most prestigious contests, the bbc �*s cardiff singer of the world. cecilia made it to the finals. if she is nervous about appearing before the three judges, well, she certainly doesn't show it.
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applause. is it your ambition to move people to tears with your performances? yes, you know, it makes me very happy-- yes, you know, it makes me very happy... to make somebody cry! to cry in a good way. to cry in a good way because then you know that you have done something with your music. i am delighted to say that the winner— i am delighted to say that the winner of— i am delighted to say that the winner of the _ i am delighted to say that the winner of the 2021 _ i am delighted to say that the winner of the 2021 cardiff - i am delighted to say that the . winner of the 2021 cardiff singer i am delighted to say that the - winner of the 2021 cardiff singer of the world — winner of the 2021 cardiff singer of the world is— winner of the 2021 cardiff singer of the world is a _ winner of the 2021 cardiff singer of the world is a unanimous - winner of the 2021 cardiff singer of the world is a unanimous choice, i winner of the 2021 cardiff singer of| the world is a unanimous choice, it is to— the world is a unanimous choice, it is to the _ the world is a unanimous choice, it is to the singer— the world is a unanimous choice, it is to the singer who _ the world is a unanimous choice, it is to the singer who reached - the world is a unanimous choice, it is to the singer who reached out. the world is a unanimous choice, iti is to the singer who reached out and moved _ is to the singer who reached out and moved as— is to the singer who reached out and moved as most _ is to the singer who reached out and moved as most. from _ is to the singer who reached out and moved as most. from south- is to the singer who reached out and moved as most. from south africa, | moved as most. from south africa, masabane _ moved as most. from south africa, masabane cecilia _ moved as most. from south africa,
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masabane cecilia rangwanasha. - iam very i am very happy. i am very happy to be part of this amazing contest. i am going to be honest, the main thing, yes, is to win. but am going to be honest, the main thing, yes, is to win.— am going to be honest, the main thing, yes, is to win. but how! go to the competition _ thing, yes, is to win. but how! go to the competition is _ thing, yes, is to win. but how! go to the competition is to _ thing, yes, is to win. but how! go to the competition is to learn. - thing, yes, is to win. but how i go i to the competition is to learn. most of the time in these big competitions there are people who are established singers, so you learn how they behave on stage. but winnin: learn how they behave on stage. but winning is important, right? winning is also important! _ cecilia �*s talent shines through, and is bringing her recognition. but
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it has not been an easy path for black opera singers. the royal opera house is one of the busiest theatres in the world, and it is also leading in its drive for greater diversity and inclusion. black opera singers, mostly african—americans, are among some of the best—known names in opera history. but over the decades, the former is of colour have faced major obstacles in securing big roles. for man , obstacles in securing big roles. for many, many years it was very hard for black— many, many years it was very hard for black and — many, many years it was very hard for black and singers to make it in opera, _ for black and singers to make it in opera, and — for black and singers to make it in opera, and particular through the 50s and — opera, and particular through the 50s and 60s, when suddenly there was some reat— 50s and 60s, when suddenly there was some real talent coming out. these amazing _ some real talent coming out. these amazing sopranos, like marian anderson— amazing sopranos, like marian anderson who was a real pioneer. she had to— anderson who was a real pioneer. she had to eye _ anderson who was a real pioneer. she had to eye on — anderson who was a real pioneer. she had to eye on her own clothes before going _ had to eye on her own clothes before going onstage because nobody would do it for— going onstage because nobody would do it for her. it was seen as beneath— do it for her. it was seen as beneath people to service somebody
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from that _ beneath people to service somebody from that background. but she created — from that background. but she created such a stir when she was on stage _ created such a stir when she was on stage and _ created such a stir when she was on stage and broke through many barriers — stage and broke through many barriers. it stage and broke through many barriers. , , ., ., barriers. it is very important that we embrace _ barriers. it is very important that we embrace diversity, _ barriers. it is very important that we embrace diversity, not - barriers. it is very important that we embrace diversity, not least. we embrace diversity, not least because it sits within a tradition of diversity on our stage. we are proud of the fact that singers of colour were performing on our stage right back to the 19505, 1960s, colour were performing on our stage right back to the 19505, 19605, 705, some really famou5 names in there. grace bunbury being just one. it's important we carry on that tradition. i important we carry on that tradition-— tradition. i met grace at a competition _ tradition. i met grace at a competition and - tradition. i met grace at a competition and we - tradition. i met grace at a competition and we didn't tradition. i met grace at a - competition and we didn't have tradition. i met grace at a _ competition and we didn't have much time, _ competition and we didn't have much time, but _ competition and we didn't have much time, but we did take pictures and she did _ time, but we did take pictures and she did give a talk to encourage everyone — she did give a talk to encourage everyone to say how well we are doing _ everyone to say how well we are doinu. ~ ~' ., everyone to say how well we are doinu. ~ ~ ., ., everyone to say how well we are doina.~ ~' ., ., , ., , doing. we know that performers in the ast in doing. we know that performers in the past in opera, _ doing. we know that performers in the past in opera, that _ doing. we know that performers in the past in opera, that the - doing. we know that performers in the past in opera, that the males l the past in opera, that the males would have to blacken their face to play othello. how does that make you feel? , ., , ., feel? the stories we are telling does not discriminate, - feel? the stories we are telling does not discriminate, does - feel? the stories we are telling| does not discriminate, does not choose — does not discriminate, does not choose who or how you look like, where _ choose who or how you look like, where you — choose who or how you look like, where you come from, and it doesn't
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matter— where you come from, and it doesn't matter who _ where you come from, and it doesn't matter who is telling the story. it is the _ matter who is telling the story. it is the story— matter who is telling the story. it is the story of the character we are telling _ is the story of the character we are telling that — is the story of the character we are telling that should be important. # she wasn't wearing slack...# cecilia would like to be seen as a role model for black arti5t5 wanting to make it in opera. 50. role model for black artists wanting to make it in opera.— to make it in opera. so, i think slowly but _ to make it in opera. so, i think slowly but surely, _ to make it in opera. so, i think slowly but surely, we - to make it in opera. so, i think slowly but surely, we are - to make it in opera. so, i think| slowly but surely, we are going to make it in opera. so, i think. slowly but surely, we are going to have more people of colour singing in these big houses, so i think it is going there, and i think there is a future for young women like me, black women, in opera.— black women, in opera. would you like to see — black women, in opera. would you like to see centres _ black women, in opera. would you like to see centres of _ black women, in opera. would you like to see centres of opera - like to see centres of opera elsewhere in the world, in africa, for instance?— elsewhere in the world, in africa, for instance? yes, i know in south africa now — for instance? yes, i know in south africa now it _ for instance? yes, i know in south africa now it is _ for instance? yes, i know in south africa now it is getting, _ for instance? yes, i know in south
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africa now it is getting, people - for instance? yes, i know in southl africa now it is getting, people now know about it, than when i started. because we have the culture of singing, which is choral music and african music, which is actually not farfrom opera. in african music, which is actually not far from opera.— far from opera. in the autumn of 2021, cecilia — far from opera. in the autumn of 2021, cecilia is _ far from opera. in the autumn of 2021, cecilia is taking _ far from opera. in the autumn of 2021, cecilia is taking a - far from opera. in the autumn of 2021, cecilia is taking a major. far from opera. in the autumn of. 2021, cecilia is taking a major step in her career when she becomes a house soloist with the swiss national opera in the capital, bern. cecilia is a special talent, and it's not— cecilia is a special talent, and it's notjust because of her voice, which _ it's notjust because of her voice, which is — it's notjust because of her voice, which is of— it's notjust because of her voice, which is of course glorious, and especially— which is of course glorious, and especially for her age as well. she is an— especially for her age as well. she is an outstanding talent, considering how young she is. but it is also _ considering how young she is. but it is also the _ considering how young she is. but it is also the fabulous warmth she brings— is also the fabulous warmth she brings to — is also the fabulous warmth she brings to her performing. there is a real humanity and depth of experience which belies her age, and
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that's— experience which belies her age, and that's what— experience which belies her age, and that's what communicates to an audience, — that's what communicates to an audience, and why they are so excited — audience, and why they are so excited when they see and hear her on stage _ now meet french tenor benjamin bernheim, who has big ideas about the future of opera. he is already in great demand at opera houses all over the world. i think benjamin bernheim is one of the most exciting of our younger tenors and he is rightly making a name for him self all over the
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world. one of the main reasons is because he combines an extraordinary vocal talent with a thoughtfulness on stage. when an opera singing is performer —— opera singer is performing on stage, there is so much they have to think about. the singing and breath control is paramount, but there are lots of other things they must get right. they are possibly singing in a foreign language, so they have got to get the correct pronunciations and stresses. they have got to look at the conductor for queues, and they must also act the part. between they must also act the part. between the performances i speak to benjamin at his home in paris. irate the performances i speak to ben'amin at his home in parisfi at his home in paris. we have a tonne of things _ at his home in paris. we have a tonne of things to _ at his home in paris. we have a tonne of things to do _ at his home in paris. we have a tonne of things to do on - at his home in paris. we have a tonne of things to do on stage. | at his home in paris. we have a i tonne of things to do on stage. we have to _ tonne of things to do on stage. we have to fall— tonne of things to do on stage. we have to fall in love, we have to lose _ have to fall in love, we have to lose our— have to fall in love, we have to lose our beloved ones, we have to die. lose our beloved ones, we have to die we _ lose our beloved ones, we have to
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die. we have to get out of the stage. — die. we have to get out of the stage. we _ die. we have to get out of the stage, we have to fall, we have to -et stage, we have to fall, we have to get hurt. — stage, we have to fall, we have to get hurt, stabbed, we have so many things— get hurt, stabbed, we have so many things that _ get hurt, stabbed, we have so many things that we have to be ready for and convincing at. the person benjamin regards as his mentor is his former vocal coach carrie ann matheson. she accompanies him on the piano at a recent recital that was streamed live. carrie ann is now artistic director at san francisco opera centre. ben'amin has one of the francisco opera centre. ben'amin has of the most * francisco opera centre. ben'amin has one of the most distinctive _ francisco opera centre. benjamin has one of the most distinctive and - one of the most distinctive and beautiful voices that i have ever
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heard. somehow you can hear his soul through his voice. it has got this raw intensity, and yet incredibly flexible. i raw intensity, and yet incredibly flexible. , ., ~ flexible. i consider carrie ann matheson _ flexible. i consider carrie ann matheson my _ flexible. i consider carrie ann matheson my coach - flexible. i consider carrie ann matheson my coach but - flexible. i consider carrie ann matheson my coach but also l flexible. i consider carrie ann i matheson my coach but also my flexible. i consider carrie ann - matheson my coach but also my ears because _ matheson my coach but also my ears because she is one of the people in the opera _ because she is one of the people in the opera world that knows my voice the opera world that knows my voice the best _ the opera world that knows my voice the best. ~ ., ., , the opera world that knows my voice the best. ~ . ., , ., the best. what was it about squashing _ the best. what was it about squashing a _ the best. what was it about squashing a mosquito - the best. what was it about squashing a mosquito thatl the best. what was it about i squashing a mosquito that she the best. what was it about - squashing a mosquito that she would tell you? it squashing a mosquito that she would tell ou? ., , ., tell you? it was about finishing a hrase on tell you? it was about finishing a phrase on a _ tell you? it was about finishing a phrase on a vowel, _ tell you? it was about finishing a phrase on a vowel, for _ tell you? it was about finishing a phrase on a vowel, for example, j tell you? it was about finishing a i phrase on a vowel, for example, and not closing _ phrase on a vowel, for example, and not closing my mouth. the phrase on a vowel, for example, and not closing my mouth.— not closing my mouth. the music should continue _ not closing my mouth. the music should continue after— not closing my mouth. the music should continue after they - not closing my mouth. the music should continue after they have l should continue after they have finished singing, and sometimes the release of the note is abrupt, and it sounds like the sound just goes bang, like that. so that's our shorthand for saying don't kill the mosquito, please.
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benjamin '5 fan base is growing and he keeps in touch with them through videos posted online. when he is not singing, benjamin enjoys a somewhat less delicate art of boxing. it enjoys a somewhat less delicate art of boxina. , ., ,., ., enjoys a somewhat less delicate art of boxina. , ., ., ., ., enjoys a somewhat less delicate art of boxin.. , ., ., ., ., ., of boxing. it is a solo game, a solo sort. of boxing. it is a solo game, a solo sport- you — of boxing. it is a solo game, a solo sport- you are _ of boxing. it is a solo game, a solo sport. you are alone _ of boxing. it is a solo game, a solo sport. you are alone with - of boxing. it is a solo game, a solo sport. you are alone with your i sport. you are alone with your gloves, — sport. you are alone with your gloves, and you are alone working on your body, _ gloves, and you are alone working on your body, on— gloves, and you are alone working on your body, on hitting the bag. this is extremely important for me, to find a _ is extremely important for me, to find a sport— is extremely important for me, to find a sport that goes also very well with— find a sport that goes also very well with my singing. so find a sport that goes also very well with my singing.— find a sport that goes also very well with my singing. so do you brina that well with my singing. so do you bring that competitive - well with my singing. so do you bring that competitive spirit i well with my singing. so do you bring that competitive spirit to l bring that competitive spirit to your singing on stage? i bring that competitive spirit to your singing on stage? i would say that we are _ your singing on stage? i would say that we are all _ your singing on stage? i would say that we are all in _ your singing on stage? i would say that we are all in competition i your singing on stage? i would say that we are all in competition in i that we are all in competition in the end — that we are all in competition in the end because we all want to be loved _ the end because we all want to be loved by— the end because we all want to be loved by the audience. we want, in a
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way, _ loved by the audience. we want, in a way, to— loved by the audience. we want, in a way, to bring — loved by the audience. we want, in a way, to bring the best experience to the audience, and to be recognised for it _ the audience, and to be recognised for it. ., ., the audience, and to be recognised for it. . ., ., ., the audience, and to be recognised forit. . ., ., ., , for it. there are a lot of stories about competitiveness - for it. there are a lot of stories about competitiveness on i for it. there are a lot of stories i about competitiveness on stage. one great tenor at the beginning of the 20th century, he loved the limelight. he would be on stage singing, and then the baritone would come on and have his big solo and he did not want to be upstaged. so when the baritone came on, he would do something like put an egg in his hand, so the baritone would then have to deliver his solo with his 9991 have to deliver his solo with his egg, not knowing what to do that. so he might not seem quite as well as caruso, so he was still the star of the show. �* ., caruso, so he was still the star of the show. �* . , ., caruso, so he was still the star of the show-— caruso, so he was still the star of the show. �* . , ., the show. ben'amin is from the next aeneration the show. ben'amin is from the next generation of— the show. benjamin is from the next generation of superstars, _ the show. benjamin is from the next generation of superstars, but - the show. benjamin is from the next generation of superstars, but he i the show. benjamin is from the next generation of superstars, but he is l generation of superstars, but he is concerned about the pressures of the internet age on opera singers. you know, internet age on opera singers. you know. today _ internet age on opera singers. you know. today we — internet age on opera singers. you know, today we don't have time any more _ know, today we don't have time any more. before, we used to have time. cell phones— more. before, we used to have time. cell phones exists, internet exists, streaming — cell phones exists, internet exists, streaming exist. we are in a hurry,
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i streaming exist. we are in a hurry, i am _ streaming exist. we are in a hurry, iam in_ streaming exist. we are in a hurry, iam ina— streaming exist. we are in a hurry, i am in a hurry. streaming exist. we are in a hurry, lam in a hurry. this is streaming exist. we are in a hurry, i am in a hurry. this is why i call the opera — i am in a hurry. this is why i call the opera business a jungle sometimes. the opera business a “ungle sometimes.i the opera business a “ungle sometimes. ., ., , sometimes. the opera world is evolvinu sometimes. the opera world is evolving rapidly. _ sometimes. the opera world is evolving rapidly. when - sometimes. the opera world is evolving rapidly. when a i sometimes. the opera world is i evolving rapidly. when a younger generation of artists have to embrace changes in the way opera is produced and enjoy. during lock downs, theatres were forced to close. after reopening, audiences have been cut back, production is pared down, and operas have been performed in concert form and a streamed online. will this usher in a new era of creativity post—pandemic? well, technology is already providing new creative possibilities for opera. i do believe that _ possibilities for opera. i do believe that both - possibilities for opera. i if believe that both digital and possibilities for opera. i an believe that both digital and the live experience can exist hand—in—hand. ithink live experience can exist hand—in—hand. i think the way in which the pandemic hit us, obviously so severely financially, meant that we had to embrace ways of doing
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things that were maybe not quite as expensive. i think some of those ways in which we do things, for example building sets that aren't quite so extravagant. behind—the—scenes, this is the beating heart of the props department that makes all sorts of things for the stage at the royal opera house here in covent garden in london. we opera house here in covent garden in london. ~ ., opera house here in covent garden in london. . . ., ., , opera house here in covent garden in london. e . ., ., , , opera house here in covent garden in london. . . . ., , , ., opera house here in covent garden in london. . . ., , , ., ., london. we are already seeing a lot of virtual reality _ london. we are already seeing a lot of virtual reality in _ london. we are already seeing a lot of virtual reality in opera, _ of virtual reality in opera, particular set designs. to actually do have these virtual sets, where you can design things, travel around, they are more flexible and versatile. a, ., , ., versatile. moreover, it is now easier and — versatile. moreover, it is now easier and easier _ versatile. moreover, it is now easier and easier to _ versatile. moreover, it is now easier and easier to watch i versatile. moreover, it is now. easier and easier to watch opera anywhere. i easier and easier to watch opera an here. ~' ., , anywhere. i think the development in social media — anywhere. i think the development in social media is _ anywhere. i think the development in social media is great _ anywhere. i think the development in social media is great because - anywhere. i think the development in social media is great because that i social media is great because that means my family from south africa can see my shows, and my friends from all over the world can see my shows. �* ., _, . , ., shows. but there are concerns that too much opera — shows. but there are concerns that too much opera is _ shows. but there are concerns that too much opera is being _ shows. but there are concerns that too much opera is being streamed | too much opera is being streamed will stop the big problem i see is
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that if we give to the audience everywhere in the world all the content that we have for the price of a cup of coffee, it devalues our work. i of a cup of coffee, it devalues our work. ~ , of a cup of coffee, it devalues our work. ,, , ,., ., ., of a cup of coffee, it devalues our work. ,, , ., ., ., work. i think it is important not to make it expensive, _ work. i think it is important not to make it expensive, not _ work. i think it is important not to make it expensive, not to - work. i think it is important not to make it expensive, not to make i work. i think it is important not to make it expensive, not to make itj make it expensive, not to make it out of— make it expensive, not to make it out of reach, _ make it expensive, not to make it out of reach, but do not go too far in a direction— out of reach, but do not go too far in a direction where you are not going _ in a direction where you are not going to — in a direction where you are not going to be _ in a direction where you are not going to be able to come back. increasingly, opera singers will be aware that this is a global art form, and that they need to embrace that. it has the potential to inspire singers from different parts of the world, so it is an exciting time. ., ., .,, ., , of the world, so it is an exciting time. ., ., ., ,. ., , time. the world of opera is clearly chan . in: time. the world of opera is clearly changing post _ time. the world of opera is clearly changing post covid-19 _ time. the world of opera is clearly changing post covid-19 for- time. the world of opera is clearly changing post covid-19 for both i changing post covid—19 for both audiences and artists. but nothing can ever beat that rush of adrenaline you get when performing in front of an audience, or the excitement of watching a live performance. some things will never change.
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hello, everyone. i hope you're doing all right. well, typically, just in time for the weekend we are joined by an area of low pressure which, in turn, will bring us some heavy, thundery unsettled conditions across much of the uk. heavy, thundery downpours, some of them slow—moving, but we will see some sunny spells, as well, so not a complete write—off. looking at the big picture, there is the area of low pressure. you can see these weather fronts swirling around it. not only will this introduce those downpours but also some breezy conditions at times. some heavy rain in wales.
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further north, a scattering of heavy showers. will anywhere avoid this today? i wouldn't hold your breath, really. eastern parts are more likely to get drier and brighter conditions. it is blustery at times. today's top temperatures, nothing too exciting, between 15 and 20 celsius. moving through towards this evening, those showers will continue. some of these will generate a lot of rainfall in a short space of time. tonight, many will tend to lose some of their energy. the low temperature tonight between 11—15. let's return to the pressure chart. this low is just creeping towards the north, so tomorrow it will bring further unsettled conditions at times, but hopefully we are tipping the balance toward something drier and brighter across many parts. you can see the showers are thinning out across parts of england and wales.
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these will continue across the north west and southern parts of scotland initially. we are seeing them across northern ireland, as well. the top temperatures tomorrow will be very similar to today, between 1a and 20. the low pressure will stay with us for the next couple of days. this low pressure will keep us company into next week, as well. but it is on the move, then hopefully we will have an area of high pressure building as we head through tuesday and into wednesday. that will bring something drier, brighter. temperatures potentially rising a bit in places, as well. but there are some yellow weather warnings in place for thunderstorms today. i will keep you posted and all the very latest is online and on the bbc weather app. stay safe.
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this is bbc news. i'm lucy hocking in tokyo on day 15 of the olympics. the headlines at 10.00am: the first gold of the day for team gb goes to goes to galal yafai, beating carlo paalam from the philippines in the flyweight boxing. success in the pool, with tom daley taking the bronze in the 10m platform diving — his second medal of the games. china's cao yuan took the gold. i'm ben mundy, back in london, with the day's other main news. the united states and britain urge their remaining citizens in afghanistan to leave immediately because of the worsening security situation. we are extremely concerned about the safety and security
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of people in cities under taliban attacks and what brutality

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