By Joana Patacas, on March 15, 2024*
In the creative labyrinths of theater and opera, figures emerge whose vision redefines the spectrum of artistic possibilities and shapes the future of the performing arts. Director and designer Pedro Ribeiro is one of these visionaries, whose multifaceted artistic journey reveals a rare talent capable of intertwining different forms of art and creating experiences that transcend the conventional and captivate both the public and critics.
"(...) stunning staging by Pedro Ribeiro (...) selling out two sessions at the Coliseu do Porto months before the premiere, (...) the surprising result was three standing ovations that shook the north of Portugal. (. ..) Critics agree that this show proved Portugal’s ability to produce great productions.” in Broadwayworld.com , 2019 (about the production «The Phantom of the Opera»).
Throughout his training and career, he has demonstrated exceptional versatility and commitment to his vocation. This commitment, combined with his unwavering dedication and meticulous perfectionism, are characteristics that define his creative genius and his ability to execute artistic visions with unparalleled precision. The passion and rigor with which he approaches each project make his work unmistakable, to which no one remains indifferent.
"(...) tonight was mouth-watering (...) fans of obscure operas came to El gato con bots de Montsalvatge (...) Pedro Ribeiro's slightly surrealist production and Warren's lighting Letton convey a twilight vision of a fairy tale. (...) El Gato con Botas has to be seen to be fully appreciated. in Seen & Heard International , 2013 (about the production « El Gato Con Botas »).
"The playful design is by Pedro Ribeiro, who also directs, and suits an evening that is, in part, a bold experiment in scale - the opera lasts just over an hour, but feels epic." in The Guardian , 2018 (about the production «Goldilocks and the Three Little Pigs»)
In this exclusive interview with ProART , conducted by Joana Patacas (JP), we uncover the contours of Pedro Ribeiro 's fascinating personality , exploring not only the defining moments of his career, but also his reflections on the current state of the arts in Portugal and his aspirations for the future.
JP: How did you discover your passion for art?
Pedro : My passion for art was instilled by my mother. She was the one who educated me in the arts - theater, music, visual arts. From the age of 5, I signed up for practical classes, both inside and outside of regular education. She always told me that I had to learn how to do everything and that included knowing how to hem or listen to classical music.
JP: Who were your main family references or idols that inspired you?
Pedro : I can't say that I had “idols” that inspired me. It was my parents who “injected” me with a love for the arts, even though they did not work in artistic or even related areas.
JP: Tell us about your background.
Pedro: It's funny to reflect on this and realize how submerged I was in almost all artistic areas. From a very early age, both in kindergarten and primary school, we constantly performed theater plays. At that time, my mother signed me up for piano lessons. Next, I entered the Harp Course at the Porto Conservatory of Music. In the 2nd and 3rd cycles, I did the extracurricular project “From practice to theatrical experience” with the Pé de Vento Theater Company. In secondary school, I enrolled in the General Visual Arts Course at Soares dos Reis, opting for a “general” course because I wasn’t sure which art I would choose. When it came time to apply to universities, my application form was very peculiar. We had six options to choose from and mine were all different: architecture, design, fashion, photography, sculpture and graphic design. At the same time, I signed up for auditions in Theatre/Performing at the Escola Superior de Música e Artes do Espetáculo and ended up choosing theater. This choice proved to be the right one, as I realized that, within this artistic area, I could continue working with other artistic areas. After graduating, I began my professional career as an assistant to João Paulo Seara Cardoso, the artistic director of Teatro de Marionetas do Porto. I had a very memorable experience. One day, when we were working on an operetta, João Paulo pointed to the wall where there was an advertisement for registration in the Opera Directing Course at the Calouste Gulbenkian Foundation. It was a moment of revelation: it became clear that my path was to unite all the arts into one.
JP: How did your artistic career begin?
Pedro: Throughout my training, I started by participating in national arts competitions, having immediately had incredible opportunities. I did fashion design shows, photography, painting, sculpture exhibitions, and concerts with orchestras. When I left university, I started staging plays and musicals. From then on, I started teaching Harp and Theater. It was such a natural and intense journey that it is difficult to identify exactly the starting point.
JP: And what were the biggest challenges you faced?
Pedro : The biggest challenge was finding what really defines me as a director and designer. When creating a production, I always start from the basic idea of asking: “Why this work, why now, in this place and for whom is it intended?” I can't dissociate myself from the fact that I'm creating for someone. I ask myself what the public wants to see and what needs to be conveyed to them in the present moment. I don't like to assume that audiences are the same everywhere, because they aren't. The second biggest challenge has been understanding how I can contribute, as an artist, to the evolution of my country in the areas of theater, musical theater and opera, both at a productive and participation level.
JP: As artistic director of the Os Quatro Ventos Theater Company, do you see your role as a way of contributing to the evolution of theater in Portugal?
Pedro: The Os Quatro Ventos Theater Company is a project of love. Through it, I had the opportunity to experiment and learn. For almost 20 years, we have been fighting in Santo Tirso to present quality projects to a specific audience, in a city that has not had a municipal auditorium since the 1950s. We try to serve the community, offering them artistic works that challenge them without alienating them. , bringing it closer to Portuguese drama theater. We consider it essential that the show is perceived as the art of doing well, where interpretation is inseparable from the other artistic areas that share the stage and backstage with it. I reflect on the impact that the arts in Portugal could have on job creation, if each theatrical production managed to hire professionals for all the artistic areas involved.
JP: What was your first major achievement or recognition in the artistic world?
Pedro : I don't really know how to answer this question... I have so many achievements that I cherish, but it's impossible to name them all. But I recognize that when the public discovers my journey, they usually point to my entry into the Royal Opera House – Covent Garden as being "recognition" or a "great achievement". And it's true, but the recognitions I appreciate most come from small moments that happen with the public, or with the teams I work with.
JP: Was joining the Royal Opera House a defining moment in your career? Tell us what this experience has been like.
Pedro: Yes. It was thanks to the Jette Paker Young Artists Program (JPYAP), where I worked with other Portuguese artists such as sopranos Susana Gaspar and Luís Gomes, that my career as an opera director was internationally recognized. It was decisive, because I had the opportunity to see and work with the best that is being done worldwide. After the program's two-year contract, I was invited to return to perform there and began a regular collaboration, which continues to this day, where I am called to restore works on the main stage. At the same time, the program's alumni receive free, lifelong training in any area related to opera, which gives us endless opportunities for growth. It will always be an honor to be associated with the Royal Opera House.
JP: And have you always liked opera?
Pedro: Until I finished university, I had never seen a “real” opera, that is, an opera with all the necessary elements on stage. Although I had already listened to operas on record and had played with orchestras, I had never seen one as a spectator. In the city of Porto, where I grew up, there were never opera shows that served as an introduction to this world for children or young people. The first time I saw an opera, around 20 years ago, was in Porto. It was an incredible experience and an eye-opening moment. I remember thinking: "How can a show that brings together so many forms of art be so boring!?" It was precisely at that moment that I decided I wanted to work in opera, challenging myself to do better.
JP: Is there any performance, work or project that you feel particularly proud of?
Pedro : All. I admit that I am obsessive about all the most minute details – from the initial sketch to the rehearsals, including the technical part and construction, etc. I never let a project of mine be presented to the public without making sure I'm proud of the result.
JP: He was an assistant to some of the most important directors in the world. Were there any that particularly marked you?
Pedro: It would be strange to say that one impacted me more than the other, because everyone, each in their own way, influenced me positively. Robert Carsen is the one I identify with in detail; Laurent Pelly in terms of group movement and creation of comic characters; Kasper Holten in terms of his dedication to the concept; the duo Moshe and Leiser impress me with the way they surrender to the character's intention; while John Copley and Elijah Moshinsky have incredible wisdom that covers all areas. And so many others who gave me so much. In fact, there was no one who didn't leave an impression on me. The reality is that whoever gets into this position, in an art form that is at risk and extremely expensive, has to be incredible.
JP: Who are your biggest artistic influences? What are you inspired by?
Pedro: My biggest inspiration comes from my family and friends. It is my personal history and my experiences that I turn to when I cross references to create a new staging or a new design.
JP: How would you describe your philosophy or unique approach as a director and designer? Is there a principle that always guides your work?
Pedro: I will be repeating myself, but it is, without a doubt, the thought of “why this work, today and for whom”.
JP: He is an “acting through song” coach with the JPYAP singers. What has this experience been like?
Pedro: JPYAP participants can request training in areas that need further development, requesting to work with directors on specific material, ranging from characters to concert repertoire. For me, it is always fantastic to analyze works at the level of the musical network and, within them, discover the storytelling that makes communication captivating between the performer and the audience. I also find great pleasure in finding ways to connect with students and understanding which direction serves them best.
JP: You have experience in teaching. Do you like being a teacher? What is the best advice to give to a student aspiring to a career as a director and designer?
Pedro: I really like. Before going to London I taught regularly in several schools. Now, I prefer to carry out specific training activities as these do not require me to have a contract to stay in a single location. I can give so much advice to young students, which isn't difficult considering there are a lot of people in rehearsal rooms. It is important to be active, enjoy studying, participating and being inquisitive. It is also essential to be professional and maintain a high level of demand for yourself and others. Finally, it is very important to be honest in all initiatives you participate in, maintaining honesty both with yourself and with others.
JP: What are your hobbies or leisure activities?
Pedro: Work and sleep. Fortunately, my work includes all the activities and hobbies that I love, such as reading, drawing, painting, sewing, dyeing, building, talking, analyzing, visualizing, studying, among many other things. I can't stand still! Sleep is a necessity because the body demands it, but deep down I feel like it's a waste of useful time. Oh, and I love being silent! Especially when I can have my hands in the dirt or look at nature, which, despite our presence, continues its cycle every second.
JP: What do you hope to achieve in the coming years?
Pedro: I am extremely happy to be able to say that my country is full of cultural production, that salary tables finally exist and precariousness in our sector has been eliminated.
JP: In your opinion, what is missing in Portugal to approach the level of cultural production of other countries, such as the United Kingdom?
Pedro: What do we lack? We have excellent artists and artisans, in addition to the necessary human material. However, otherwise, we still have a long way to go to reach the level of cultural production in the United Kingdom. We lack the basics, such as work spaces with minimum conditions, efficient cultural policies and education focused on the arts, in addition to adequate and supervised financing. Therefore, it is not possible to make a direct comparison. We can look to the UK for inspiration, but trying to compare ourselves directly only leads to frustration.
JP: What advice would you give to emerging artists who dream of pursuing a career in theater and opera?
Pedro: I used to say that, “if you feel good doing anything else in life, don’t go into the arts in Portugal”. This is because the path in the arts can be so bumpy and even aggressive, that it is only intended for those who cannot imagine living any other way. I recognize that several professions in non-artistic areas could claim the same. However, opera, which I consider a rare animal on the verge of extinction, demands iron resilience from those who dare to dream about it.
Profile photo of Pedro Ribeiro by Susana Neves
Interview with director and designer Pedro Ribeiro originally published in www.proart.art
* Joana Patacas - Communication and Content Consultancy
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