THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
An exciting double bill by Pegasus Opera Company on April 21, 22 and 23 features two works by Philip Hagemann. The veteran American composer’s opuses include 75 choral compositions, ten one-act and two full-length operas, and one of his pieces was featured in the US television series Nip/Tuck.
The first opera in the double bill is The Six of Calais, adapted from George Bernard Shaw’s play, which in turn was inspired by Auguste Rodin’s sculpture The Burghers of Calais. It’s followed by Ruth, inspired by the Biblical story. Both have libretti and music by Philip Hagemann, and are at the Royal Academy of Music’s Susie Sainsbury Theatre. See below for booking details.
Philip Hagemann, now aged 90, has had a long and successful career in music, as well as a production company that has won many awards on both sides of the Atlantic, including several Tonys and an Olivier. He tells us about his life in music – and where to get the best Martini.
You play the piano and the saxophone. Were you tempted to play jazz instead of – or as well as – what one might loosely call classical?
I was never tempted to play jazz. My studies with the piano were classical. I played the alto saxophone in the army band in Europe and loved that music.
As well as 75 choral works (including a fun Christmas piece, Fruitcake, which readers may have seen featured in the TV series Nip/Tuck) you’ve composed one-act and full-length operas, and won two National Opera Association competitions in the USA. What is your favorite form of music to write?
As you can see, both opera and choral music are vocal. That is my pleasure – to write for the voice. I spent fifty years of my life as the choral director of the Rockland County Choral Society and wrote several pieces for this group. I have written some purely instrumental music but vocal music is my love.
Five of your operas are based on works by George Bernard Shaw; what is it about his work that attracts you?
I did not even consider using Shaw as a basis for my operas until I was directed to look at The Music Cure [a short piece by Shaw]. I found great potential for an opera in its wit, strong characters, and a rich story. After writing that and seeing how successful it was as a staged work, I explored many other Shaw one-act plays for the same characteristics. I immediately wrote operas for Passion, Poison and Petrifaction and The Six of Calais and presented them in New York receiving strong reviews.
Your work has been compared to Ravel. Melody and harmony are important parts of your music – maybe against the grain of some contemporary pieces. How would you describe what you do?
I create music for the words. The music must fit the what the words convey in terms of the dramatic situation, the personal emotion and the character. I speak the words and the music follows.
You have a production company, Hagemann Rosenthal Associates, which has won multiple Tony Awards on Broadway, as well as an Olivier Award in the West End. How is London different from New York in terms of work?
The major difference between producing shows in these cities is cost. In my experience, New York theater is far more expensive than London theater. Otherwise, working with producers and companies are very similar.
Are British and American audiences different?
That is a good question. In years past, I would say very different in that British audiences are more reserved. Today, they are very similar in that London audiences are just as effusive as American audiences with nearly as many standing ovations.
What do you like most about visiting in the UK, outside of work? And least?
I love being in the UK. I live primarily in New York which is the center of culture in America with its theaters, concerts, museums and that exciting life. London is the same for me. However, to London’s credit, I must say that I get a far better Martini in London than in New York. There is really no ‘least’ except for the train strikes.
You are (if you don’t mind me saying) 90 years old. What keeps you working?
I am now retired from work.
Do you still have any ambitions in music?
I refer you to my last answer!
Finally, what is the best thing about being Philip Hagemann?
At age 90, I can look back and relish the wonderful memories I have and know that I have contributed in some way to music and theater, and I have met so many wonderful people that I have shared my life with.
The Six of Calais & Ruth will be staged at Susie Sainsbury Theatre, Royal Academy of Music, Marylebone Road, London NW1 5HT on Friday 21 April 7.30pm, Saturday 22 April 7.30pm, Sunday 23 April 2.30pm. Tickets are £35, £25 concessions £15
Book here:
www.ticketsource.co.uk/pegasus-opera-company/e-gezpoo
