Obituary: Michael Geliot, opera and theatre director

Michael Geliot was a director of striking opera and theatre productions ringing a personal and strong sense of originality to all his work. He had an innovative mind that was reflected in the wide range of work he did – the world premiere of Peter Maxwell Davies’ Taverner at Covent Garden through the UK premiere for the Traverse Theatre of Brecht’s Happy End (also in London) to filling such prestigious appointments as director of productions at Welsh National Opera (WNO).

Throughout his career Geliot brought an energy to all his stage work. One critic once wrote: “Geliot is not a producer who opts for easy solutions,” and that sense of excitement and investigating new aspects of the standard repertory was a hallmark of all his stage work.

Scotland was a focal point throughout his career – indeed, he was invited by the publisher John Calder to take over a production of Pinter’s The Caretaker at the Traverse Theatre in 1963 when a director had walked out during rehearsals.

Geliot became closely associated with the Traverse, especially for his wonderful 1964 production of Brecht’s Happy End, which had never been seen outside Germany.

The musical was performed during the Edinburgh Festival and performed at the Pollock Hall and was an immediate hit. It was so successful, in fact, that the production moved to the West End in London. The following year Geliot directed at the Traverse a Samuel Beckett rarity, The Old Tune, with a cast led by Leonard Maguire, and the year after that an early play by John Mortimer, The Dock Brief, again with Maguire.

When the Traverse had a year as The London Traverse Theatre at the Jeanetta Cochrane Theatre Geliot mounted several productions including two by CP Taylor. Most notable was Bread and Butter.

Geliot was to return to Scotland to work with Scottish Opera (SO) and directed a memorable production of Boris Godunov, conducted by Sir Alexander Gibson with the Scottish bass David Ward making a strong impression in the taxing title role.

The grand production was often revived at SO and toured throughout Scotland.

Other operatic productions with SO included the world premiere in Perth of Robin Orr’s Full Circle (1968), a new production of Wagner’s Tristan und Isolde (1973) and Confessions of a Justified Sinner (1976).

The Tristan was a milestone in the company’s history and Geliot directed a superb cast (led by Helga Dernesch and Norman Bailey), which was seen in all the major theatres in Scotland and in London.

Geliot also worked for the adventurous Ledlanet Nights festival that John Calder mounted every year from 1962. It was situated in the baronial hall of a fine house near Milnathort, and Geliot returned for a decade to direct many operas for the festival – notably Handel’s Agrippina and Alcina.

Michael Geliot read English at Pembroke College, Cambridge, where he founded a drama society and displayed an early passion for contemporary music. He directed Carl Orff’s Catulli Carmina and Rolf Libermann’s School for Wives.

In 1958 he was an assistant at the Royal Court and became a staff producer at both Glyndebourne and Sadler’s Wells Opera. At the latter he directed the UK premier of Henze’s Boulevard Solitude conducted by Sir Colin Davis.

He first went to Welsh National Opera to direct Don Giovanni and Nabucco in 1968 and the following year was appointed director of productions.

He oversaw a host of ground-breaking productions of many of the classics such as Aida, Magic Flute (with the young Margaret Price), Don Carlos and Cosi fan Tutte, and lesser known operas such as the British premiere of the two-act version of Berg’s Lulu, Martinu’s The Greek Passion and Hoddinott’s The Beach of Falsea.

Before he left to become freelance in 1978 Geliot also directed an impressive account of Britten’s Billy Budd with the young Tom Allen in the title role. His work was often seen at English National Opera and at the Royal Opera. At the latter he directed the world premiere of Maxwell Davies’ Taverner in 1972.

It was a hugely complicated work to mount, with monumental sets by Ralph Koltai, but Geliot presented the work with great clarity and style. One a critic wrote: “One simply can’t imagine Taverner being done better.”

The next year he directed an acclaimed version of Carmen with Placido Domino and conducted by Georg Solti.

Geliot was a keen cricketer and a long time member of MCC. A decade ago he took issue that the club should allow Jeffrey Archer into the pavilion after he had spent some years in prison. Geliot was quoted saying: “He’s not the sort of guy we want around.”

Michael Geliot is survived by his wife Diana and their two daughters.

ALASDAIR STEVEN