Rebecca Lang is a female conductor of German-Australian descent. Rebecca is one of the most versatile and vivacious artists of her generation. Ms. Lang has held several positions as Conductor & Coach at theatres including the renowned Theater am Potsdamer Platz Berlin. Career highlights include Britten’s The Rape of Lucretia [Staatsoper Hamburg] and also Tchaikovsky’s Eugene Onegin. Musical Theatre highlights include Evita, My Fair Lady, Hinterm Horizont, Ich War Noch Niemals In New York & The Rocky Horror Show. Rebecca conducted La Boheme, directed by Cameron Menzies for Northern Irelands Opera, and our Editor at Large, Raj Gill had the pleasure to interview her and also attend the performance.
You are in the minority – a female conductor, how did you get into this line of work?
Having been a musician and empathetic with excellent peripheral ‘vision’ since the age of three and having grown up spending summers on stage in the theatre, I realized at high school that I had an affinity for and a love of languages – in addition to these qualities, it turned out that I am a great organizer and teacher – the decision to become an opera conductor was easy, the road there – not so much. I started out conducting choirs and then amateur musical theatre in Melbourne, I then worked a bit as an operatic repetiteur. After moving to Germany, I completed my master’s in Orchestral Conducting and started working as a Kapellmeister in the German House system.
And what obstacles have you overcome?
Misogyny, female misogyny, sexual harassment, bullying, being foreign, lack of self-worth, lack of self-confidence, fear, failure, disappointment . . . the list goes on
What’s your typical day like?
When I’m working on production it’s all go – I get up and have coffee and breakfast, and head to the theatre while listening to snippets of the previous day’s rehearsal or different recordings by my favorite conductors or going over corrections from the previous day in my head. Often, we’ll begin with a quick musical run-through of the scene we are about to stage. Then, between running sections, I will edit markings in my score, annotate orchestral parts, check details in the piano-vocal scores, give notes, etc. During the lunch break, I have time to check in with my pianist/assistants and the director and production team to organize and plan logistical requirements for the performances. Back into it for the afternoon/evening session, including establishing tempi, consolidating phrasing with the singers, etc. Quick planning meeting at the end of rehearsal to make sure the next day is ready to go before heading to any PR appointments or just home for dinner and a glass of wine. When I’m not working on a show, I am a university lecturer and a mum to 10-month-old twins!
There’s been a lot of talks lately about people wanting work/life balance, how do you manage it?
This is not something that I am good at. I am very much all or nothing – whatever is going on in my life gets almost all my attention. I have found that either walking or riding to work gives me fresh air, thinking time, and exercise – at this stage in my life, I consider this pretty good balance!
You have infant twins, a demanding job, that requires international travel, and yet you make it look so seamless, what’s the secret?
An amazing husband, a brilliant PA, wonderful colleagues, and happy babies! My husband is also in the theatre business so we both understand the demanding nature of production time. Getting used to having the little ones on tour is a process but they love music and the theatre and are very good little travelers. I think because they are always together and have each other they are okay with one parent coming and going – knowing this I can be somewhat at ease and enjoy working on a production.
What’s the craziest/most unexpected thing that’s ever happened to you while on the job?
I was conducting The Rocky Horror Show and our Columbia lost her voice, but she could still dance. So, the director, who was also my boss and the artistic director of the theatre, said the most elegant solution would be if I would speak and sing the entire role while conducting and playing keys in the band (which was on a mezzanine above the stage). By the time the third performance with this arrangement rolled around, we didn’t even announce that she would not be singing the role, I just did it and the audience was none the wiser! The looks on the faces of the guys in the band were priceless!
What makes for a really good day on the job?
When all the elements come together – great musicianship is useless without great acting and vice versa. Sometimes there’ll be a moment in rehearsal when suddenly everyone is ‘on’ and completely in the moment – time seems to stop and nothing else exists – there is only the piece – everyone is taking risks and listening so intently to one another – when this happens it feels like magic. Often, after one of these episodes, I will say ‘I don’t care what happens on opening night, I have heard it once perfectly and I am utterly happy.
What has been your biggest achievement to date?
In 2018 I produced and conducted the world premiere of HERAKLEITOS, an opera, composed by my wonderful friend and colleague Cyrus Meurant. We put it on at the Laeiszhalle in Hamburg with a stunning cast and my own orchestra, the Kreuzberger Kamerata. It was simultaneously an artistic triumph and a financial disaster. It was certainly an achievement!
What’s the biggest mistake you’ve made whilst on the job?
Not trusting my instincts, not speaking up, being afraid.
What might be your greatest fear when conducting a piece of music (e.g., is it failed to do justice to the piece?)
In opera conducting, there is so much ‘air traffic control’ that my greatest fear is being so much in the moment that I forget that I have to guide the airplanes to land – being swept up in the music is wonderful but if someone needs technical support or something goes wrong then all that matters is conveying of information.
Where do you draw your inspiration from?
The score. The story. The music.
In your opinion, who is the greatest conductor of all time?
Carlos Kleiber.
How can we encourage more women to become conductors?
Give us more work opportunities, not just degrees or courses or workshops. Stop glorifying young boys on the podium. Pay us more money.
What is next for you?
A couple of very exciting productions in 2022 – can’t say officially just yet! Until then, some lovely university concerts in Lüneburg in the north of Germany and our first Christmas with our baby twins!
And what is the one question you wish a journalist would ask you? … Would you like another glass of bubbles?
The Next Northern Ireland Opera offering will be La Traviata at The Grand Opera House from the 10th of September until 17 September. See more information here.
