Kevin Thraves, who is a repetiteur, accompanist, and teacher, has enjoyed a highly successful career. Here he writes an illuminating article on the prerequisites of this demanding role.
As Head of Music Staff in the School of Vocal Studies and Opera at the Royal Northern College of Music in Manchester, one of my main responsibilities is to oversee and tutor the postgraduate repetiteur students.
Many concert pianists, accompanists and piano teachers often do not know what the job of an operatic repetiteur actually entails. Even regular audience members who attend the opera might not fully appreciate what the job of a repetiteur actually involves. There is little information and practical advice available regarding the training and the skills required to work as a repetiteur, and many musicians do not fully realise that the role of a repetiteur is one of the most varied, enjoyable and gratifying areas of all musical activity.
A repetiteur is a highly skilled pianist whose main work generally takes place in a rehearsal studio of an opera house. Requiring a broad range of performance and musicianship skills, an operatic repetiteur not only needs to have a solid and confident keyboard technique (enabling them to play the most complicated operatic scores), but they also require a good working knowledge and have the confidence to coach singers in a variety of languages – English, Italian, German and French (and sometimes Russian and Czech). A repetiteur is required to offer historically correct instruction in musical style during the rehearsal or vocal coaching process, correct musical and linguistic inaccuracies and often has to assist the conductor by taking notes on their behalf during the stage and orchestra rehearsals.
Repetiteurs are often required to play other keyboard instruments in rehearsals and performances, such as the harpsichord, fortepiano or celeste. They also need excellent sight-reading skills, and, more importantly, the skill to be able to learn music quickly with a good understanding of the full orchestral score they are required to play. It is not a career for concert pianists who are perhaps interested in public recognition and fame, but it is one of the most rewarding for those pianists who enjoy being involved in collaborative work with a dynamic and creative team, often working alongside more than one hundred people at a time. Repetiteurs need robust teaching principles and the skills to impart the necessary musical coaching, training and directional aspects of their job. They also need agreeable communication and interpersonal skills, patience, and the ability to stay calm in pressured environments.
Is work experience or learning on the job the best kind of training for a young repetiteur?
It can certainly be a very good way of getting a real and practical insight into the working life of a repetiteur, but I would encourage anyone who wishes to work professionally in this field to undertake a specific period of study on a dedicated repetiteur course, such as those on offer at many of the UK conservatoires. Although most of the UK conservatoires offer a postgraduate course in repetiteur studies, it seems that often the course information is not easily accessed and, in some cases, is not available at all. Many of the courses available do not appear to be entirely comprehensive and it seems that many repetiteur students are often left to their own devices to develop and enhance their skills without clear guidance.
Ideally, a good repetiteur course or training programme should contain the following elements (assuming the pianist is already at an advanced level): regular keyboard lessons (piano/repetiteur tuition with some dedicated time and tuition spent discovering the skills required to play the harpsichord and fortepiano); regular Italian, German and French language lessons (with the emphasis on comprehension, correct pronunciation and a clear understanding of the rules of singing in these languages); the opportunity to study, adapt and play a wide variety of operatic scores whilst following a conductor; mentored vocal coaching (one to one and ensemble); the experience of playing for opera rehearsals in a studio as well as in an orchestra pit; some involvement in orchestral keyboard playing and scheduled dedicated conducting tuition. The programme of study should be a very busy and full timetable. A course containing all of these elements would certainly give a talented young repetiteur the initial skills required and every opportunity to succeed in eventually securing employment in this fulfilling profession.
It is an extremely rewarding career. The variety of skills required make for an interesting time in the rehearsal room and opera theatre. The interaction between repetiteur, conductor, singers, directors and orchestras is nothing short of exhilarating.
Find out more about Kevin, by clicking here.
