Interview with Gregory Batsleer (Chorus Master of the SCO Chorus)

Way back in March, I had the chance to interview Donald Runnicles and it marked the launch of the Where's Runnicles podcast.  I said at the time that I hoped it would be the first of many.  The second has been a little while coming, but I hope you'll agree it's worth the wait.

Back in August, I met the Scottish Chamber Orchestra's new Chorus Master, Gregory Batsleer.  In the interview, he talks about topics including how he got into singing, how he works with the choir and other ensembles, outreach, the choir's programme for this season and more.  There's also some interesting discussion about their superb performance in Idomeneo at the Festival (the interview was recorded on the morning of the concert).

Tomorrow and Friday, those in Edinburgh and Glasgow will have the chance to hear the results of Batsleer's work when the SCO Chorus perform Handel's Messiah with the orchestra, conductor Andrew Layton and soloists including Christine Rice and Matthew Rose, so what better time to get an insight into what goes on behind the scenes.

Runnicles speaks to Where's Runnicles

A little unbelievably, today marks the third birthday of Where's Runnicles. What better then, by way of a birthday present, than the following article, describing my recent attendance at a BBC SSO rehearsal and subsequent interview with the man himself. And, more excitingly still, the launch of the Where's Runnicles podcast.


I'm sitting in row J of the stalls, in the Usher Hall, one seat in from the aisle in the left hand block. In truth, though, I could be sitting anywhere because the auditorium is all but deserted, but then concert doesn't start for a few more hours. From the stage above, the rich textures of Richard Strauss's songs are emanating from the instruments of the BBC Scottish Symphony Orchestra. I'm not watching them though, instead, my head is buried in my notebook as I jot down a few witty comments the maestro has just made.

Suddenly there is there a loud crash. Nothing has gone wrong. The instruments continue to play, but Donald Runnicles has leapt down from the stage and is now strolling past me, up the aisle, to get a proper idea of how Christine Brewer's voice is balancing throughout the hall. It has to be just right and the Usher Hall has a very different acoustic to the equally wonderful City Halls or Music Hall in Aberdeen where they have already performed this programme.

The episode is preceded by the exchange I was noting. Runnicles had remarked to the effect he wished Brewer could hear herself in the auditorium. This in turn led him to recount the faint praise a conductor can give to a singer who has not performed well:

Fabulous isn't the wordI've never heard it sung like that

And, of course, the one that's brought these to mind:

You should have been in the audience

Of course, he quickly assures Brewer that none would ever apply to her. Certainly they wouldn't. Still, it is remarkable to watch them play, following the leader in the absence of the conductor. Had I taken it, it might have been a perfect Where's Runnicles? picture. Some might, at this point, wonder whether this means a conductor is utterly superfluous, given how fine they still sounded. Not so.