conductor for Les Miserables in Duisburg. After this, he became the music
director for the same musical in Belgium. Since then, he has been the music
director for The Phantom of the Opera (Belgium UK Tour and West End),
Les Miserables (West End and Belgium), Miss Saigon (Sweden),Cats
(Sweden), Fiddler of the roof (Belgium), The Wizard of Oz (Belgium) and
Chess (Norway).
He has conductd the City of Prague Philharmonic Orchestra and supervised
and conducted operettas such as The Zarewitsch, Spring Parade, Countess
Maritza and The Gypsy Baron.
Thank you so much dear Björn for your time, this interview and your work
in the Phantom musical.
Sandra - In your biography, I have read you have been musical director of
numerous musicals like The Phantom of the Opera, Les Miserables, Miss
Saigon, Cats, Fiddler of the roof, etc.; which one has had more difficulty to
direct and coordinate for you?
Björn - Each one really has it's own challenges, which makes it more
exciting to work on. I wouldn't call these challenges difficulties, especially
when you are lucky enough to work with the people I have been working
with. There is no such thing as individual departments like choreography,
direction, music, etc. You work within a team of highly skilled and
experienced people, and everything is about communication. When you get
that right, there are no problems that can't be solved.
Sandra - I guess every musical director has his own style, when you start to
direct a musical, what are the most important aspects for you to take into
account?
Björn - I try my best to get in the skin of the composer and the lyricist.
People easily forget that people like Andrew Lloyd Webber are not about
the hit shows and the money in their accounts. At some point, they sit down
and start writing these amazing musical stories. They struggle, write and
re-write whole sections, trying to make things work and fit. It's probably
like a very complicated puzzle that they have all these pieces of in their
head, and then they try their best to match it all up in real life. If you're able
to see where they started, and take that journey with them, you're 50% there,
because you find reasons for things being the way they are in the score.
Sandra - Concerning to the Phantom of the Opera musical, why do you think
it such an appealing show which is loved worldwide?
Björn - Empathy. Even though the story is a romantic fantasy, we can still
identify with Christine's ambitions and dreams, Raoul's warmth and
authority, and the rejection the Phantom has to suffer, in spite of being a
genius. This is not just a love story. It's about people reaching for happiness
and love, against the odds. That, and of course the tremendous score, the
way it is staged, the set and costumes give it a timeless appeal to all of us.
Sandra - Can you tell us any good anecdote directing the show?
Björn - On the last matinee in Belgium, during the auction, everybody on
stage started to bid for the monkey, when they weren't supposed to, of
course. It was a clever joke, and it meant that Raoul finally got the monkey
for around 100 francs instead of 30.Very funny.
Sandra - What is your favorite scene of the musical?
Bjorn - The end. The Phantom singing "Christine, I love you". When it's
done well, it still gets to me.
Sandra - What is the biggest difficulty that you have found directing the
Phantom play?
Björn - I can't really answer that, as it really comes down to the answer I
have given you before.
Sandra - Have you read the original Phantom book by Gaston Leroux or
have you been at the Opera Garnier?
Björn - I have not read the book, but I have been to the Garnier. I was
standing on the stairs when I received a text, saying that Maria Bjornson had
sadly passed away. To stand there at that time, on the stairs, which were of
course an inspiration to her for part of the design, was very poignant, to say
the least. There again, you see what an amazing team of people they pulled
together to stage this show. I would have liked to be a fly on the wall during
all the talks, fights, jokes and the laughter these people were sharing while
putting this together. It's history.
Sandra - Who are your favorite classic music authors? And modern music?
Björn - Two names: Puccini and Sigur Ros. It's too hard a question, because
there are too many out there that I really love. The names change constantly,
but right now, that would have to be the answer. If you have not heard Sigur
Ros before, do yourself a favor and buy all their albums. You will not regret
it.
Sandra - What musical play, not done yet, would you like to direct?
Björn - If you mean a show that I haven't conducted yet, than that would
have to be Jesus Christ Superstar. If you mean one that hasn't been written
yet, I would have to say that I'm still waiting for a good musical based on
"Faust". Or has someone written that without me having heard of it? Please
let me know.
Sandra - Tell us about your future projects.
Björn - I am supervising Les Mis in Holland in 2008, as well as Mary
Poppins in Gothenburg, Sweden. After that, Cats in Stockholm, and after
that, another musical in Gothenburg, which can't be named yet for
marketing reasons.
Interview Copyright by Ladyghost.
