A rousing chorus for music master Michael Black

Chorus Master Michael Black with the Opera Australia ChorusPhoto by: Ben Symons

Outgoing Chorus Master Michael Black has one piece of advice for the man that will step into his shoes: “Concentrate on the music. Don’t let all the peripheral things get in the way.”

That’s a harder command for Anthony Hunt than it appears: the role of the Chorus Master is a big one, and all the nitty-gritty of employing singers and maintaining a full-time Chorus takes up a fair amount of time between chorus rehearsals.

It’s a role Michael Black has performed with aplomb for 12 years. A dashing figure in a well-cut jacket and rehearsal blacks, it seems scurrilous to call him a veteran of the industry – he is still in his 40s. But veteran he is, having guided the Opera Australia Chorus through more than 100 operas and operettas in more than six languages, including three different types of English and three different incarnations of Latin.

He gets hold of the Chorus well before the director and the conductor get to town. Different operas require different periods of rehearsal: for Tosca, where the role of the Chorus is small and the music well-known, rehearsals started just a week before the rest of the cast arrived. The Force of Destiny is a different kettle of fish: rehearsals for Verdi’s masterpiece began months ago.

Michael looks after 40 full-time singers, along with a host of regular extras that get pulled in for big operas: Turandot requires 68, Lohengrinrequires 70. Every opera requires a different style from the Chorus, and it’s a big challenge, negotiating their ever changing role.

“The role of the Chorus has changed over the centuries. In some operas, they literally just comment on what is going on, like a Greek chorus. In other operas, they’re part of the action, they experience everything that happens on stage. They’re part of the fabric. Sometimes, they have a very small part in terms of time on the stage, but their role is integral.”

Chorus Master Michael Black  Photo by: Ben Symons

The job of the Chorus Master is to help them colour the music with meaning. “I have to make sure all of the words are in the right place, and it’s musically colourful and meaningful. It’s my job to make sure that the Chorus feel inspired to act through the music.”

For that reason, the big Chorus operas like Aida and Turandot are always a thrill to put on. But it’s when the group contributes to the emotion on stage that Michael feels proudest of his work. “It’s not the most impressive musically, but the Chorus did Neil Armfield’s production of Jenufa incredibly well. Their part isn’t large, but it was incredibly moving, night after night.”

Michael is off to take up the same role with the Chicago Lyric Opera in 2014. “I’d love to stay here for the next 20 years, I love Opera Australia. But I don’t think I’d be challenging myself if I did.”

The beloved chorus master has a few final notes to sing before he jets off to Chicago: preparing the small but haunting music of Tosca’s chorus, the hugely challenging music of Verdi’s The Force of Destinyand the uplifting music of Donizetti’s Don Pasquale.

There will be mournful tunes coming from the wings as the Chorus farewell their long-time leader, but they'll be singing their best onstage: it's the best bon voyage gift they can offer.