Elizabeth Soderstrom

Forty years ago, a boy soprano who had achieved some success was summoned by Pierre Boulez to play the not inconsiderable part of Yniold in Debussy's magical opera "Pelleas et Melisande". This was to be a seminal production at the Royal Opera House - Boulez had not long previously pronounced that all opera houses should be blown up, so goodness only knows how Sir David Webster, the outgoing boss at Floral Street managed to persuade him to enter the enemy encampment.

To be sure, Monsieur Boulez attached tough conditions to the engagement - he demanded a full week of orchestral rehearsals during the ROH orchestra's summer break - ( The orchestra were a pretty uncompromising lot at the time and guarded their time away from the house.) M Boulez also insisted that the part of Yniold - son of Golaud, Melisande's dysfunctional husband, must be played by a boy, which was never done, because the part was considered too difficult, musically and emotionally.

The great bass-baritone, Owen Brannigan suggested that the boy who had played Sam the sweep with him in "Let make an Opera" and Sem - or was it Ham - or Japhet in "Noyes Fludde" might fit the bill. The boy became part of what is still considered one of the ultimate casts and productions of "Pelleas". This lucky child was coached by Norman Feasey - the legendery ROH repetiteuir and also by a young, shy pianist - Roger Vignoles. (The boy's parents thought that Roger was the nicest person they had met in the classical music world because he took personal charge of them on the opening night).

The boy worked diligently, enough to secure the approval of his stage father Golaud - Donald Macintyre would unfailingly apologise to him every night after he threw him down onto an unforgiving, steeply raked stage. But the boy's favourite times were spent in Melisande's dressing room, where the impossibly beautiful Elizabeth Sodestrom would encourage, amuse and mother him.

Bronchitis meant that the boy had to miss two performances and the recording of the opera, produced by the legendary Paul Myers for CBS. But he was encouraged to visit Abbey Road studios, with his parents, on the final Sunday of the recording sessions. Reeling from bumping into Paul McCartney outside studio 2, he was spotted by M Boulez, who promptly stuck him in front of a microphone. The orchestra were asked to do an extra session, (CBS must have been furious) and the recording was made. Yniold has no scenes with Melisande and Ms Soderstrom was on her way back to her hotel. But she stayed for the evening, sending little parcels of peeled oranges into studio 1 for the boy, because he was still suffering, not only from bronchitis, but a suddenly accelerated puberty. The boy only saw her once more, at the press launch of the record, but he never forgot her, and never will.

Elizabeth Soderstrom was one of the truly great singers of the last century. She had a perfect voice, was beautiful and could really act - at a time when operatic sopranos generally contented themselves with standing and delivering, always centre stage. She was witty, charming, sexy and, above all, radiant with happiness. Maybe she was too nice - I only heard about her death on the 20th November from a friend, the obituaries have been too slow to appear. As they do, it will be a timely reminder that true artistry does not revolve around marketing teams, outlandish press stories and spurious record contracts.

The boy, by the way, was me. I am sad that Elizabeth has gone, but very happy with the brief memories. Sometimes one gets very lucky.