The place was crowded but I found a seat at one of the little tables and the coffee was very good indeed. Some of the people there were clearly bound for Nabucco; a few even had programmes. Most of the ENO opera-goers don’t dress up as much as the punters at the Royal Opera House; I remember from the past that they tend to laugh very loudly at the feeblest joke or any naughty word and to shout ‘Bravo!’ as much as possible, even to the women. At the table next to mine there was a couple talking about Nabucco. The woman was a handsome lady in her fifties with hennaed hair; the man was in his seventies, short and bearded, with spectacles; they had a married air.
‘This is a David Pountney production,’ said the man. He had an American accent.
‘I know,’ said the woman. ‘There’ll probably be trench coats.’ Very slight German accent.
‘What do you think,’ he said, ‘Berlin or Moscow in the thirties? Beijing in the eighties?’
‘Whatever. Plus lots of children in smaller trench coats. Have you looked it up in the opera book?’
‘No. I’ve heard the chorus of the Hebrew slaves at one time and another but that’s all I know about Nabucco. I was just now trying to remember which Orpheus had the naked dancers standing on rocks and turning around slowly.’
‘Not the Monteverdi; that was the one with the twitchers.’
‘I know that. Was it Gluck? Orpheus and Eurydice?’
‘That’s the one. I don’t think you’ll get any naked dancers tonight.’
‘You win some, you lose some. Read any reviews?’
She looked thoughtful. ‘Yes, and I think somebody loved it and somebody hated it but I don’t remember who said what. Any idea what time it’s over?’
‘The brochure said five past ten, so figure it’s always a little later plus curtain calls — we might get out of there by ten-twenty, and with luck we’ll be home before eleven-thirty. I’m looking forward to the herring salad.’
‘Me too. Have you finished your coffee?’
‘Yes, let’s go so there’s time for the loo before we take our seats.’
They got up, took their shoulder bags, and made for the door. He was in jeans, large autonomous-looking black boots, black polo-neck, blue crocheted waistcoat, a scruffy green anorak, and one of those little tweed hats old duffers wear; she was taller than he and more elegant in a beaded fifties cardigan, a narrow snakeskin-patterned coat, a long black skirt, and black boots. I wondered what their life was like. He was not an impressive figure but despite his age he didn’t seem retired. How did they get together? When I see a good-looking woman with a much older man I tend to assume that money or fame must have been the attraction. Why do any two people get together? What about Giles and me? I still remember that he looked at me the way a man who knows horses looks at a horse; and how did I see him? As a man who needed to be improved by me. Oh dear.
The scaffolding on the outside of the Coliseum darkened the entrance and made it seem a place where a password might be required; the lobby was thick with people queueing for tickets while others went inside. At the Jubilee Market and other venues I find crowds invigorating but elsewhere they make me uncomfortable. Not reasonable of me but there it is. I bought a programme and made my way past various knees to the centre of the first row of stalls, seat A15; Linda is very short and doesn’t like to sit behind people who block her view.
The interior of the Coliseum was in the grip of scaffolding that seemed to have paused in the act of consuming the place. There were elevated walkways on both sides and behind me, with ladders and planking for ascents and descents, entrances and exits. There was a platform over the left side of the orchestra pit with chairs and music stands on it. The curtain was painted to resemble a torn scroll with Hebrew lettering. The house was filling up rapidly with the usual sound of a swarming audience: people with tickets on the right started from the far left and worked their way east past all the knees, handbags, umbrellas, canes and coats between them and their seats, while those with seats on the left started from the far right and worked their way west.
Having squashed my coat and hat under the seat I opened my programme at random and found Psalm 137 staring me in the face:
By the rivers of Babylon, there we sat down, yea, we wept when we remembered Zion.
We hanged our harps upon the willows in the midst thereof.
For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying: Sing us one of the songs of Zion.
How shall we sing the Lord’s song in a strange land?
If I forget thee, O Jerusalem, let my right hand forget her cunning.
If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.
Remember, O Lord, the children of Edom in the day of Jerusalem; who said, Rase it, rase it, even to the foundation thereof.
O daughter of Babylon, who art to be destroyed, happy shall he be, that rewardeth thee as thou hast served us.
Happy shall he be, that taketh and dasheth thy little ones against the stones.
There were tears rolling down my face. I dug a tissue out of my bag and wiped my eyes and blew my nose. Years ago when I read straight through the Old Testament and the New I did all of the psalms at one go, since when I’ve looked at a few now and then, but the only one that sticks in my mind is 137. It isn’t associated with any person, place, or event in my past — it’s just that it gets to me in various ways at various times; there is a kind of spell in those words. ‘By the rivers of Babylon …’ Yes! Who has not been captive in some kind of Babylon and hanged his or her harp on a willow, unable to sing in a strange land? The psalm begins with lyrical lamentation and ends with a bloodthirsty cry for vengeance; the exiles so full of pity for themselves have none for the infants of Babylon whose brains they hope will be spattered on the stones. And yet! And yet words have an amoral power: put certain ones together in a particular way and people will weep or dance or pick up a paving stone or a gun or whatever comes to hand.
When had my Zion been? I saw afternoon sun slanting on the grasses of Maiden Castle; there were sheep safely grazing; the grasses stirred in the winds of the long past and the footfalls of ghosts. ‘These Iron Age earthworks,’ Giles had explained, ‘were made to conform to the shape of the hills they were on, to make use of the earth forces. Speaking of which, in the aerial photographs, the system of ramparts and ditches in the eastern entrance remind me of a vagina.’ ‘So many things do,’ I said. The sun was behind him, and his wind-ruffled hair had a golden penumbra.
‘Nebuchadnezzar,’ said an American accent to my left. It was the man from Aroma. ‘Nabucco is the Italian version.’
‘You needn’t shout,’ said his wife, ‘I can hear you quite well. Nebuchadnezzar had the feet of clay?’
‘The idol he dreamt of,’ said the man as the lights dimmed. The curtain had gone up without my noticing and there were musicians on the platform over the orchestra pit and other musicians on the stage, not exactly trench-coated but in grotty combinations of outdoor wear and military surplus. The conductor had forgone the usual spotlit entrance and was onstage in his shirtsleeves conducting the overture. Were there already other people onstage? I can’t remember — the whole thing had taken me unawares and I hadn’t even looked at the cast or the synopsis in my programme. The overture was a take-charge affair that affectingly foreshadowed, from mood to mood, what was to follow; as it went on I was startled to realise that I knew the part I was hearing: it was an instrumental version of the chorus of the Hebrew slaves. I suppose it’s one of those things that everyone knows without necessarily knowing what opera it’s from.