Friedemann Riehle is a German conductor, co-founder of the Prague Philharmonic, and the driving force behind Rock the Opera. Fusing classical artistry with rock music certainly pre-existed the show’s birth in 2015, but whilst bands like Led Zeppelin have never shied from incorporating symphonic elements into their work, Rock the Opera trains the full power of a Philharmonic orchestra on the Rock genre entire.
The show will arrive in Edinburgh on Ma 7th, at the Usher Hall.
I was lucky enough to speak with Friedmann, and to ask him a few questions about this fascinating passion project. I begin by asking if he can tell me about his life before the Rock the Opera, and how the show was born…
I focused very much on the classical music, certainly I grew up in a time when Rock music was born. There were too many friends around me asking, “why don’t you play some of my favourite rock songs?”
So finally, I decided to start. The first was Kashmir [Led Zeppelin], we recorded this in 1999, and then we decided to out first concert in Prague with a mix of rock and classical music in 2001. Then we did several concerts under different names, and when I got the opportunity to do the first show in the Vienna State Opera, they asked me for a name.
I came up with “Rock the Opera”, they agreed: lucky me! This was in the Summer of 2015.
I asked how early audiences reacted to the rock inclusions…
They were always enthusiastic! It depends a lot on the sound guys, and the equipment involved. We are lucky that we found, in recent years, excellent guys from the Netherlands who travel with us and take care of the sound. For these kind of shows, it’s much more difficult than for a band, they have maybe 60 or more microphones to control, and combine in the right way. When it’s done right, you have a brighter sound feeling, and maybe the energy you feel from more musicians on stage is also, in my opinion different, from say 5 people.
Maybe Mick Jagger has that much energy, but when you have a large number of excellent musicians on stage, this is something an audience can appreciate a lot. Some of the people in the audiences have said our versions are better than originals, and though I don’t believe it, people keep saying it!
I point out that my Dutch/Irish wife will be very glad to hear her people are so integral to the show, and ask what he feels classical musicians, and their technical sensibilities bring to the rock genre…
Well, some of the classical musicians decline to play rock. They say they’ll stick with classical, and aren’t comfortable playing with such backgrounds with a drum set, or electrical guitars. For me it’s Ok, because we have in the orchestra, others who like to play something different.
I remember precisely 12 years ago in 2010, when I asked a Prague Oboe player, “How often have you played Dvorak’s 9th Symphony, The New World?” He told me, “Up to now, it’s 256 times!” This is 12 years ago, and he’s still alive!
I ask if any original rock artists, maybe the writers, have given any feedback on Rock the Opera…
Yes, they like it, they like it a lot. Now I cannot bring in famous rock musicians into every show, because the venues are often too small to finance their fees! When we’ve had the opportunity to play with them, they are often amazed, particularly by the sound.
At first they think it’s complicated to adapt to an orchestra, they think it might be difficult, or perhaps they are afraid to miss their entrance with the different sounds. It’s never a problem actually, never.
I next ask how he goes about selecting the pieces for the show…
I always try to select pieces which can be orchestrated. I think the acoustic guitar is difficult to translate into orchestral instruments, for example — well we can do this with a harp or piano — but there are not so many ways to do an acoustic guitar in a better way.
Take the Beatles, their songs sound to me like Chamber music, and this to me is difficult to make better in a symphonic way. However, take others like Pink Floyd, this is already a sophisticated orchestra. I read once an article, they used over 100 microphones to record one of their albums, and we finally have the 100 plus instruments to match this!
Queen have their album, A Night at the Opera, they recorded with an orchestra, also Led Zeppelin, Deep Purple, have also used orchestral backing. They already have within them, the imagination of the symphonic sound. Maybe their parents played, or took them to classical concerts, or perhaps they listened to symphonies when older.
Jon Lord from Deep Purple, always worked on symphonic pieces, as does their new organ player. Roger Waters wrote an opera…some rock musicians are simply connected to the classical world. I think it was Freddie Mercury’s dream to record with an orchestra, but he ran out of time sadly.
I ask whether he gains enjoyment from touring the show to different countries, and cities…
That’s what we love actually, people performing with us. We’re not just making holidays in a place, but to be in contact with people to work together. If we have time, we stay one day longer, and enjoy the place if possible. It’s a lot of fun! There’s nothing better to do that go to different cities and make music there, and enjoy different people, different lifestyles and cultures.
I then turn to Rock the Opera’s approaching visit to Edinburgh, the show’s first venture into Scotland….
Yes, the first time. We tried 2 years ago, but of course we had to postpone but now we are lucky that the regulations are easing, and we won’t have all the paperwork either.
I ask what challenges arise when one begins to adapt rock music for a philharmonic orchestra…
Yes, first, it’s finding the right singer for the right song. There are many singers with good voices, but it needs also the…charisma of the person to fit the style of the band. We listen to many singers all the time, and find the excellent ones that fit our shows. We are very lucky now with our singers, Niki from Bulgaria, Alteria from Milan, and Leanne Jarvis from London.
I turn to Friedmann’s very impressive C.V. and ask what Rock the Opera has brought to his professional career…
I think there’s actually now, a bigger change coming. Older people for the last few years have not come to subscriber concerts. No doubt they were frightened of getting ill, and maybe this will continue for a few years yet. If you are 80, you don’t want to put yourself at risk, particularly in the cold seasons when things are at their worst.
Orchestras maybe have to do something for younger people who have a lesser risk from Covid. IT may be you have to put a programme together for people between 30 and 50. I don’t think you can put on a Shostakovich symphony…they will not come. We have to make newer music, choose music they know, and I think the future of many orchestras is that they will have to adapt. Not to abandon classical, maybe they stay with 90% classical, but perhaps in the cold season they have to attract a different audience.
I ask whether the programme changes depending on the countries, or cities that Rock the Opera is visiting…
Yes, mostly we change when we return to play a second time. Yes, we think for instance, we should not play German rock in Scotland for example! Rock music, in my opinion is a very specific music. It’s the same with German Romanticism, or French Impressionism. The real rock music, is only in the UK, maybe in Australia…but at least one came from Glasgow…if we have American rock music, this is a little different, as is say German rock. You might find that it’s not accepted as Rock in the UK.
I suggest Wind of Change by the Scorpions for a Scottish date, quite a challenge to this philosophy!
I don’t think we would play this in Glasgow…
I tell Friedmann to ignore me!
Maybe we can play this on our second visit?
I think this sounds fabulous!
If you’re wondering at the suggestion of Wind of Change by the Scorpions, you can lay the blame squarely at the podcast of the same title. If you haven’t heard it, it’s a fascinating, and sometimes quite barmy deep dive into an enduring conspiracy theory surrounding the iconic song. Was the song actually developed by the CIA as tool for regime change in end-stage Soviet Russia? You’ll have to listen and make up your own mind. Returning to the interview with Friedmann Riehle, impresario behind Rock the Opera, I ask what is occupying his professional time at the moment….
Yes, back in Prague at the moment, we’re recording the soundtrack for an American film today. This is actually very good music…which isn’t always the case with film work!
The end of chat approaching, I ask if there’s any particular Edinburgh residents he’s like to see attending the show, and his hopes for the show’s first night in Scotland…
Everybody who knows, and loves these songs. A lot of young rock musicians might enjoy the show. It’s certainly not a show for people who are only interested in symphonic music, they may not like the amplified sound. We find many couples work like this: one is a rock fan, and the other enjoys symphonies…our selling point is being able to offer a compromise event for both!
People will not only like the singers, but our rock musicians. We have a wonderful young drummer, Sina Doering from Germany. We also have Rony Janecek, who won several prizes for classical guitar when young, but who started with the electric. He keeps being told by famous musicians who hire him, that he should run away to New York!
And will Friedmann flee Prague, and set up in the USA? Not likely, but I do suggest that he could do worse than Scotland…
I ask if Friedmann has any particular favourites he likes to set on his musician’s stands…
Yes, I have many! From Pink Floyd, ‘Echoes’ is really very symphonic, but also ‘Highway Star’ by Deep Purple is excellent when arranged for orchestra. These are wonderful pieces for us. ‘Don’t Stop Me Now’, by Queen…the thing when you’re playing with many more musicians, you can put even more into it.
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