In progress: Matters of confidence By Amal Choucri Catta Nader Abbassi, principal conductor and director of Cairo's Opera Orchestra since 2001, began studying bassoon, piano and composition at the Cairo Academy of Arts. He subsequently pursued his studies in Geneva where he was commissioned to write new works for the Geneva Ballet, the Geneva Chamber Orchestra and the Swiss Clarinet Players. He has been first bassoonist of the Cairo Symphony and the Geneva Chamber Orchestra and played regularly with the Lausanne Chamber Orchestra. As a singer he has performed opera, oratorios, baroque and contemporary music, and has worked under the baton of Pierre Boulez, Gyorgy Kurtag, Horst Stein and Kent Magano. He has recent enjoyed excellent reviews both in Egypt and abroad. When I took over the Cairo Opera Orchestra the ensemble was in a bad shape. Motivation had evaporated and the musicians felt stuck in the orchestra pit, their stage appearances being restricted to Arabic music at official events. The world over opera and philharmonic orchestras give symphonic concerts, which does not mean they are competing with the symphony orchestras. They are just adding another dimension to musical life. In a great many cities two or more orchestras give symphonic concerts and in Egypt we could well do with more than we have now. I decided to give the Opera Orchestra an opportunity to perform on stage, and not only in the framework of the Music for All concerts. Starting with musicals, operettas and lighter music, we are now going into somewhat heavier styles, dedicating each concert either to one composer or to one theme. I have limited my choice to music likely to be appreciated by local audiences, whose knowledge of symphonic music may be somewhat limited. Difficult or demanding composers we tend to avoid, giving audiences music they can easily assimilate. With regard to my other musical activities, I had to give up singing: with the artistic and administrative work I am doing I even have difficulty finding time for composing or for playing the bassoon. I remember, when I began my musical career in Switzerland, I loved the stage: I enjoyed singing and playing the bassoon as later I enjoyed conducting. As a singer I have performed as a soloist in opera and oratorio, and performed baroque and the contemporary music, experience that I draw on in guiding singers with regard to their technique, their diction, their voice and general performance on stage. I am very happy at the head of Cairo's Opera Orchestra: there are so many possibilities. I have worked with operas all my life. They contain all the difficulties one finds in the world of music: singing, dancing, instrumental music, acting and, as a conductor I must be master of these arts. In Germany, say, I would feel frustrated. As a young conductor I would only be permitted to conduct Mozart, Rossini, Monteverdi or similar composers whereas Cairo offers a greater range of opportunity. Here I conduct any kind of operatic repertoire whereas in Europe only the most celebrated batons would be permitted to conduct abroad. Aida at the Pyramids was an immense challenge: the stage, the singers, choir and dancers were so far away, the orchestra widely spread and no monitors available. It was an extremely difficult experience but I learned much and was happy knowing audiences appreciated my conducting. Now, when I am given Tosca, Carmina Burana or any other work from the more demanding parts of the repertoire I actively enjoy myself. That is, by the way, what my professor told me when I was hesitating over whether or not to accept the Cairo post. He said I'd enjoy it and he was right. There is, however, a darker side to my position: you see, as a musical director in Europe I would be responsible for the programming, for choosing the music, the composers, the instrumentalists, the singers, whereas here in Egypt several people are responsible for each department, which makes it sometimes difficult to establish a common understanding. I do sometimes ask myself where the limits of my responsibilities lie and at times feel at a loss. During travels abroad I have met many companies, singers and musicians who would gladly cooperate with us: Cairo Opera House is an attractive venue. But my hands are tied. I cannot bring about any kind of cooperation with foreign artists or companies. Hopefully, with time, we will find a modus vivendi, satisfactory to all parties. With regard to local singers, most are in need of adequate coaching: while working with them I discovered a lack of diction, inadequate vocal technique and an urgent need for guidance. They are generally left to themselves, given which their performances are real miracles. I cannot blame them for their shortcomings: they work alone, no one really helps them. I therefore try to assist them as much as possible: they are all really very promising and with the right coaching they could be excellent. I do not see why we need to mix foreign and local casts: we should, instead, supply singers with foreign coaches to guide them to success. On the other hand I believe we have too many singers eager to sing the same parts: recently we had three different sopranos singing the same role over three nights which is really too much. With regard to future plans, I must admit to having a number of interesting propositions from abroad but I do not feel I want to live in Europe again: having lived 17 years in Geneva I became exhausted by the cold, grey weather. Here in Cairo life is much more colourful and the best thing for me to do is perhaps to do regular work in Europe while remaining based in Cairo. The only thing I require and am hoping for is a little more faith and greater confidence from Cairo Opera's leading personalities. I am giving all I possibly can to my work at the opera, with the orchestra and the singers. We are all willing and eager to work in order to present excellent performances. Excellence, though, needs time and space and a greater number of rehearsals on stage. Cairo Opera stage is the most important in the country, and the opera the most important theatre: it is therefore entitled to have the best technology and the best performances. We are ready to give the best of ourselves. We still, however, need the Opera's confidence and trust.
