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"No-one in my family had ever been theatrical or musical. My parents probably were slightly aghast." With a perfectly secure job in a warehouse training to be a company representative, and aged 23, Clive Harré decided he was irretrievably hooked on singing opera. He progressed from the chorus of Woodford AO & DS in Essex to the Royal College of Music, where he was taught by Redvers Llewellyn. He studied at the London Opera Centre for three years, then freelanced, appearing with Phoenix Opera, Opera Rara and Opera Unlimited.
He toured Britain with Opera for All (sponsored by the Arts Council!), learning his trade by singing three roles, shifting scenery and looking after the costumes.
Clive joined the D'Oyly Carte Company in August 1979, rehearsing with Leonard Osborn before the start of the autumn tour. He sang four principal roles - the Sergeant of Police, Sir Richard Cholmondeley, Sir Marmaduke Pointdextre and Captain Corcoran (commanding HMS Pinafore).
He sees the roles as very sharply differentiated one from another. "Captain Corcoran is very demanding. He's on for virtually the whole of the Second Act. The only period of rest is Josephine's aria. And 'Never mind the why and wherefore' is very much encored - rightly and enjoyably so. The Captain is a military figure of course, but he's also very human. I believe that he is perfectly happy to relinquish his command and that he will settle down happily with Buttercup. I wish Gilbert had written a sequel to the opera - I should like to see how they get on together."
Sir Richard Cholmondeley was of course a real person. "I was fascinated to read about him in the history of the Tower. He was fairly young when he took over the position, and it was a post of great power and importance."
Sir Marmaduke requires a considerable vocal range, from top F sharp down to A. "He is very correct and strong on etiquette. Yet beneath his aristocratic exterior; I have to suggest real romantic passion. Sullivan's music for the part is rich in light and shade, varying swiftly from wildness to serenity"
The Sergeant of Police is demanding in a totally different way. "He is a humorous caricature. Yet he must also come across as a real human being - otherwise he's going to be terribly flat. He's quite a jolly little man. His beat is normally quiet and peaceful. He usually deals with children, scrumping apples and that sort of thing. Then suddenly he finds he's expected to do battle with a band of pirates. This makes him absolutely terrified. And that's why 'When the foeman bares his steel' is so funny. I think it's a tremendous role to play. I never got tired of doing it - each time, I found something different about him and the things he does."
Clive began as an opera fanatic. He remains one. "D'Oyly Carte was unique because we took our operas out on the road for such a long time. We were out on tour far more than anyone else. I am convinced we brought enormous enjoyment to many, many people!"
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