The opera that has swapped Seville for St Mirren

The Ferguslie Park area of Paisley was once home to those who worked in the textile mills.

When those industries closed down, the area became known for the deprivation it was plunged into.But one thing it was not famous for was opera - until recently.

Last year, Paisley Opera, whose slogan is "Passion not Posh" moved into the area's Tannahill Centre and put out an open call for new members.

Now the group has about 60 members in a community choir, and is undertaking its most ambitious production yet - a new version of Carmen that shifts the action from Seville in the 1800s to the thread mills of Paisley in the 1960s.

When the open call went out, Rashelle Reid was not convinced.

"I have to say my friend twisted my arm into trying it, because to me opera's a step too far," she told BBC Scotland News.

"I don't consider myself to be a decent singer in any way. However, when you sing with a group, magic happens."

That is what professional singer Simon Hannigan hoped would happen when he and his wife Anne set up Paisley Opera in 2017.

"We wanted to present opera for what it is, not what people think it is," said the 63-year-old, who has lived in Paisley since 2010.

Twenty seven people turned up for the first meeting.

"Most of them had not come from choral societies or choirs but just fancied giving opera singing a go," says Simon, who worked as a professional singer with Scottish Opera.

"A lot of them had been told at school you can't sing so stand in the back row. Most hadn't sung since school and virtually none of them read music. "

Productions are supported by the orchestra of Scottish Opera, Paisley based Right2Dance and professional soloists, helping the group achieve increasingly lofty goals - including adding local flavour to established opera classics.

For their take on Georges Bizet's famous tale, the bullfighter hero – who sings the famous Toreador Song – is now a St Mirren striker who arrives amid a throng of black and white track-suited supporters.

"What I was interested in doing was having a community company with roots in that community, " recalls Simon.

"From the first full opera we did, the ideal was not just to get new people to sing but also to make the shows as accessible as possible.

"One thing that helps with that is referencing local landmarks, St Mirren and things like that. It brings it alive to people - we want people coming up afterwards and saying they had no idea opera could be like this."

Despite the changes, Carmen is still the fiery, feisty heroine of the original, played by professional singer Rosie Lavery.

"She's a very different gal in some ways and yet she's still that very strong female character," says Rosie, who grew up in the town.

"Carmen is set apart from a lot of female roles from the same time period.

"Even though there's two men at the centre of the story, she is not defined by her relationship with men. She really marches to the beat of her own drum and follows her own rules."

Like all of Paisley Opera's productions Carmen is sung in a Paisley-Scots dialect, thanks to a specially commissioned libretti by Lindsay Bramley.

Rosie as Carmen and Don Jose, now named Joe and played by Xavier Hetherington, sing their duet with lines like "cause we're Paisley till we die" as a result.

Rosie says working with Paisley Opera has felt like a homecoming, while singing with amateurs is uplifting.

"It's inspiring to be alongside people who sing and it isn't their full time job.

"There are people in the chorus who'd only ever sung at a football match or in church or in the shower but they love the music so much that they will work nine to five and then come here just because they enjoy it."

For the amateur chorus, there is a thrill in getting to perform with professionals, not least the might of the entire orchestra of Scottish Opera.

"It may seem like a cliché but it does feel like a family," says Simon.

"There are people with all sorts of different issues in their lives who come here to sing together.

"Tea break is an incredibly important part of the rehearsal and for some people it might be the only time in the week that they get out and talk to other people.

"Singing together can be a very healing process."

The scale of the production means that while Kirstin Rodger designed costumes for soloists, the chorus were given a brief to create their own.

Jeannette Cameron and Eileen McCarten have their hair in curlers, and are sporting mill workers' overalls and colourful headscarves.

"People can relate to it," says Eileen.

"When people are prancing about singing in Italian in fancy costumes, they may think it's a bit posh, whereas with us it's definitely not posh."

"The idea that we're singing opera in Ferguslie Park is fabulous" adds Jeanette.

"It is exactly what Paisley Opera is all about".

Rashelle, meanwhile, is dressed as a security guard and ready for the dress rehearsal.

The centre begins to fill up with friends and family, babes in arms and curious onlookers.

Two young boys on bikes try to cycle indoors and are promptly put back out again, where they listen at the door.

Dogwalkers stop and stare. The combined force of the chorus and orchestra echoes across the estate.

"I grew up in Ferguslie Park and I would never have had access to something like this," says Rashelle.

"I think this is what Paisley is all about. It's a place that breaks barriers and pushes boundaries. I just feel so privileged and grateful to be part of it."

Paisley Opera's Carmen will be be performed on 21 May (evening) and 24 May (matinee).