Sallitt, who lived for ten years in a stunning house in the Tarn, and who have been a constant source of information and inspiration.
On the music front, I am quite unable to express sufficient gratitude to Bill Holland, head of Polygram Classics and Jazz, easily the nicest and most generous man in the record business, who not only lent me numerous books and plied me with the relevant CDs, but also endlessly answered my questions, waded through the chapters on recording and finally produced a glorious double CD of the music featured in Score!
Bill also invited me to a miraculous production of Berg’s Lulu at Glyndebourne. Again I am extremely grateful to the then General Director Anthony Whitworth-Jones for letting me wander everywhere, and to Humphrey Burton and Sonia Lovett and their crew at NVC Arts, who were filming Lulu for Channel 4, for allowing me to attend production meetings and sit in the control room and beside the cameramen during the performance.
Going back to the seventies, I must thank my friend Guelda Waller for first taking me to Don Carlos at the Royal Opera House, thus igniting a passion, which has grown with the years. It was therefore a colossal thrill to be allowed to sit in on Phillips Classics recording sessions of Don Carlos in Walthamstow Assembly Rooms in 1996. I would especially like to thank the executive producer, Clive Bennett; the legendary Christopher Raeburn, who produced the record; the mighty Bernard Haitink; the sublime chorus and orchestra of the Royal Opera House, Covent Garden; the beguiling language coach, Maria Cleva; the endearingly laid-back orchestra manager, Clifford Corbett; and the magnificent cast, including Richard Margison, Robert Lloyd, Galina Gorchakova, Robin Leggate and Roderick Williams. I also had particular help from Patricia Haitink, Jan Burnett, the co-ordinator, James Jones, in charge of publicity, and the PA James Ross, a rising young conductor, who talked to me for hours about the opera and made some excellent suggestions when the book was in synopsis stage.
My characters sing a lot in the book. I am therefore extremely grateful first to Theodore Lap and Hugh Graham and secondly to Avril Bardoni for permission to quote from their excellent English translations of the Don Carlos libretto, which in Hugh’s case was for the 1997 EMI recording conducted by Antonio Pappano, and in Avril’s for the programme when Don Carlos was performed at a 1997 Promenade concert.
I must thank Ingrid Kohlmeyer of English National Opera and Helen Anderson and Rita Grudzien of the Royal Opera House, who were constantly helpful. I am also indebted to Katherine Fitzherbert, who runs English Touring Opera, which brings such joy to music lovers around the country. Katherine allowed me to sit backstage with the DSM Helen Bunkall at a production of Rigoletto and work the lightning flashes. She also invited me to Werther followed by a riotous, end-of-tour party. Here I had the luck to meet the conductor Alistair Dawes, then Head of Music Staff at the Royal Opera House, and his wife Lesley-Ann, a singer and teacher, who have since become extremely close friends, letting me sit in on lessons, taking me through the Don Carlos score and answering endless questions.
Other singers who have given me wonderful advice include Susan Parry, Penelope Shaw, Andy Busher, Christine Botes, Joanna Colledge and John Hudson.
I must thank my musician friends, who sometimes have rather trenchant views on singers. They include Chris and Jacoba Gale, Ian Pillow, Diggory Seacome, Luke Strevens, Jack and Linn Rothstein, Lance Green, who thought up the title Score!, and his wife Justine, Richard Hewitt and Steena and Marat Bisengaliev.
I have also been royally entertained and enlightened on the subject of opera by dear Sir Ian Hunter, Nicholas Kenyon, Michael Volpe, George Humphreys and Paul Hughes.
As Don Carlos in my book is set in modern dress, I spent an utterly magical two hours recce-ing the state rooms at Buckingham Palace for ideas. This was kindly organized by Claire Zammitt. These rooms are only open to the public from early August to early October. My director in Score! , however, visits the rooms in early spring, which was the only time it could be fitted into the plot. I hope Her Majesty will forgive the poetic licence.
St Peter’s Grange, a beautiful fifteenth-century retreat nestling in the wooded grounds of Prinknash Abbey, Gloucestershire, is the model for the abbey, around which filming and murder take place in Score! . I was very privileged to have Father Damien of Prinknash and Peter Clarkson to show me repeatedly over the house and garden and to answer endless questions on its dark and romantic history.
Score! is my first and almost certainly last whodunit. After battling with the complexities of murder, I rate the genius of Agatha Christie and P.D. James even higher than that of Einstein. I would have given up altogether had it not been for the kindness and co-operation of Gloucester and Stroud Police. No matter what hour I rang, no matter how fatuous the query, they entered into the spirit and never failed to provide an answer. Their only disagreement was whether the male member remains erect after the moment of death, Stroud maintaining it did, Gloucester it didn’t. Other police officers beguiled me with thrilling tales of murder and later waded through the manuscript for errors. They know who they are and the extent of my gratitude.
Gloucester Fire and Ambulance Services were just as helpful, particularly their assistant divisional officer, Graham Jewell. Gloucester Reference Library kindly checked names for me. The British Polio Fellowship, the British Film Industry and Weatherbys were also always ready with answers.
A writer does not automatically expect kindness from her own profession, but few could have been more welcoming and generous with their time than David Fingleton, Mel Cooper, Charles Osborne, Michael Coveney, Malcolm Hayes, Norman Lebrecht, Keith Clarke and Richard Fawkes of Classical Music, and James Jolly and Christopher Pollard of Gramophone.
I must also thank the authors of five books which were invaluable in helping me to understand my subject: The Colin Clark Diaries: The Prince, the Showgirl and Me; Ring Resounding, the marvellous account by the late John Culshaw of the first recording in stereo of Wagner’s Ring; The Jigsaw Man, a study of criminal psychology by Paul Britton; John Baxter’s wonderful biography of Steven Spielberg; and the late Sir Rudolph Bing’s Five Thousand Nights at the Opera.
My friends as usual came up with endless ideas. They include Teddy Chad, Vanessa Calthorpe, Flavia Cooper, Val Hennessey, Huw Humphreys, Annabel Dinsdale, Richard Stilgoe, Graham Ogilvie, Harriet Capaldi, Godfrey Smith and his grandson, Max Cordell-Smith, Louise Naylor, Michael Cordy, Simon Craker, Marjorie and Peter Hendy, Jill Reay, Lizzy Moyle, Rowena Luard, Sarah King, Claire Williams, James and Georgie Carter, Maurice Leonard, Maria Prendergast, Philip Jones, Rob and Sharon Morgan. Alistair Horne and General Sir Peter Davies were brilliant on French soldiering; Peter Davies, the art writer, on French painters; Micky Suffolk on helicopters. Andrew Parker Bowles, Charlie Mann, Charlie Brooks on racing, Astrid St Aubyn and Zahra Hanbury on ghosts, my doctors Graham Hall and Pat Pearson and their staff at Frithwood surgery on medical matters and our vet, dear John Hunter, on animals.
Animals play a hugely important part in Score!, particularly the heroine’s dog, James, who is based on a shaggy red rescued lurcher of the same name, the adored pet of Alan Little of Gardners. No-one else in the book, however, is based on anyone, unless they are so famous — as David Mellor and Nigel Dempster are — that they appear as themselves. Score! I must emphasize is a work of fiction, and any resemblance to any living person or organization is purely coincidental.
I wish I had space to thank everyone who helped me. Those named were usually experts in their own field, but I took their advice only as far as it suited my plot, which in no way reflects on their expertise.
I am extremely grateful to Transworld for publishing Score! and to Broo Doherty for working so hard to edit it; to Neil Gower for drawing such a beautiful map; and to my agent Desmond Elliott and his assistant Douglas Kean for all their support and kindness. I’d also like to thank Jo Xuereb-Brennan, who provided marvellous advice when cuts in the original manuscript were asked for.
The real heroines of Score!, however, are my five friends, Pippa Birch, Annette Xuereb-Brennan, Anna Gibbs-Kennett, Mandy Williams and Caterina Krucker, who typed the huge manuscript in all its endless drafts and rewrites. I cannot thank them enough for their enthusiasm, industry and advice on everything from polo backhands to pregnancy kits.
I must especially thank my dear PA, Pippa Birch, for looking after me so beautifully, and my cleaner, Ann Mills, to whom Score! is dedicated, who has restored our house to order for the last fifteen years and is simply one of the nicest people I know.
