In the 13th installment of our blog about Luke Bedford's new opera, Through His Teeth, he tells us about the latest scene.
“The scene I’m currently working on, scene 13, is kind of a bit like a showdown, although I don’t really want to use that word. But it is the sort of point where the various plots come together.
The scene is about five or six minutes long. It actually has a bass drum, which starts very slowly, but is almost imperceptibly getting faster over the course of about five minutes.
So at the beginning it’s only playing every couple of seconds, it’s just this very distant sort of thud. And as the scene builds up, you might become gradually aware of this kind of undercurrent, there’s something pulling you, as you move towards the key moment at the end of the scene. And I like this idea. A lot of the scene is very quiet, there are long pauses between what is said.
The text is actually quite short, it’s barely a side of A4. And this is something that is quite interesting about the pacing of things: sometimes you need gaps there, so that the music can spell out the tension in a scene.”