Today marks the first day of December and soon I will begin rehearsals for the Christmas Elf with Northern Opera Group in Leeds. With this in mind I thought I would share with you how I prepare and learn a new role.
After receiving the music I try to read the libretto (sung text) to get an idea of the overall story. This helps me to understand my character’s arc, their basic relationships with others, how people discuss and describe them and their key moments in the production.
If I am working on a piece that is in a different language to my own. I will take time to translate the libretto. This can be quite a time-consuming task. I aim to source/create a word-for-word translation. I often consult Nico Castel’s libretti Series, which can be found in music libraries such as at the Royal College of Music. This series contains a word-for-word translation, a phonetic translation and a poetic translation.
This series often helps speed up the process but I try to cross-reference with a dictionary to make sure I really understand what is being said and how it progresses the action of the story.
For each role, I often have a different time scale as I have to juggle all the projects that I have on the go along with other personal tasks so I try to work out a schedule for my learning. I try to break up the role, so as opposed to one big task I have several smaller goals. I use post-it notes to show different Acts, Scenes, and dialogue. If I am working on an opera by Mozart or Handel I will use different colours to differentiate between Recitatives, Arias, Duets , small ensembles, and Finales. These sections then make the overall task more approachable and easier to schedule.
I will then highlight my text and the music. Whilst I am doing this I create a list of the pieces that I am in, I acknowledge if there are any moments of tricky coloratura and harmonies as I personally make them a priority when scheduling in time for memorising. I always like to learn the first entry at the start and then move on towards the more difficult areas as I like to have a small victory to keep my motivation simmering.
After some careful planning, I will work out when to
schedule singing lessons and coachings, so that I can work on the role with my
teachers who know my long term goals or coaches who have expertise in a particular
language or period of music.
I will then sit down with my score at the piano and note-bash, and learn the melody methodically. Sometimes I create learning tracks that I can use whilst travelling on the tube, or in between singing practise.
Then with my schedule set, I make sure that I keep to it and with my fingers crossed and hope that nothing unforeseen turns up. Once I have the music underway I then have to start work on learning the words. But I will save how I do that for another time 🙂
This week I have had some time to reflect on my near year and a half since I left six years of conservatoire education. I also set some goals for the future and caught up with some household chores! It reminded me that I was recently asked, by my friend Ruth Hallows, to participate in a graduate interview for her blog. Ruth is a cellist, who also studied at the Royal College of Music. We met at a Freshers event which I recall as being a Wine and Cheese night, we both lived in the student halls and quickly became great friends.
The main focus of the interview was to give insight to newly graduating students on how I have navigated through my first year after achieving my master’s degree. I wanted to be honest, but I didn’t want to discourage people. It has been a challenging year but I try to look for the positives and for solutions to problems. In my profession, one encounters a considerable amount of rejection and like all musicians, I am constantly working on my craft and identifying areas for improvement. It takes a lot of personal strength and the support of family and close friends. A quote that motivates me and which is attributed to Winston Churchill:
“Success consists of going from failure to failure without loss of enthusiasm.”
I think this would be my main advice to anybody transitioning to a new phase in life, or in fact just working hard on your chosen path. As Dory said in the Disney Film Finding Nemo: “Just keep swimming.” Stay focused on your goal and work hard. Acknowledge your weaknesses and practice with scrutiny to better them.
I have included below what I sent to Ruth in response to her questions. I hope that you find it helpful or interesting to read. If it sparks any questions please don’t hesitate to comment and ask.
My first year after graduating with a Master of Performance (Voice) from the Royal College of Music in July 2018 has been a bit of a whirlwind. I have sung in nine operatic productions, performed recitals alongside my duo partner George Todica and entered competitions within the UK, Ireland and South Korea.
The first week after graduating I was thrilled when I won the ‘Pendine International Voice of the Future’ at the Llangollen International Eisteddfod. This prize gave me some breathing space for a couple of months and the opportunity to travel to competitions. Following this achievement as part of my prize I was asked to sing alongside Rolando Villazon and Rhian Lois in Llangollen International Eisteddfod’s Opera Gala in July 2019.
What did you find particularly challenging?
After finishing studies, I found a few things challenging. Whilst studying I lived in the Halls of Residence and I missed the daily close and regular contact with other musicians that this provided and the availability of soundproofed practice spaces with pianos. Living with non-musicians in a shared home (so that I could afford to stay in London) doesn’t work when you have a 09:00 audition on a Saturday morning and you need to warm-up. My coaching and singing lessons became less frequent than I like and the opportunities to create video recordings when you need them disappear.
Was there anything you found you were particularly strong at?
Picking myself up and remaining positive. I try to blog weekly which helps me to remember that even the smallest achievement or recalling how I have relaxed with friends and family in my downtime is worth celebrating. I have a great support network; who I know I can turn to when I need advice and encouragement, including my very generous blog friends. For this, I will be continually grateful. I just haven’t had enough time to read blogs that I like as the professional work takes up such a lot of time to prepare to be ready for short rehearsals, so I hope that you forgive me if I’ve not been able to visit you all as often as I like.
“There is more honour
in defeat than in unused potential.”
What is your top tip for people in their first year out who may be hitting a wall?
There are lots of occasions where your confidence will be knocked and lots of rejections. You may question your dreams and whether you are talented enough to achieve your hopes. The best advice I received was not to measure my current success on my ambitions but on smaller goals that I could control. Such as learning a particular aria or role. I found this far more motivating and it kept me positive during quieter months. Also, don’t feel like you are failing if you have to take on other work to cover your bills. A forward diary of empty spaces is simply opportunities that have not yet been fulfilled.
To close the year, I will be performing as a Christmas Elf, but not with a bubble gun outside Hamleys on Regent Street, but as part of a production with The Northern Opera Group. Their Christmas production of Hans Pfitzner’s opera Das Christ-Elflein (The Christmas Elf), will be sung in English using a translation by Ben Crick and Nicola Whatmuff. I am thrilled to be a part of the opera and will be taking on the role of Elflein (The Christmas Elf).
This opera was new to me and for anyone else unfamiliar with the story it is based on a children’s fairy tale. It tells the story of an encounter on Christmas Eve between a local Christian family and Pagan characters, from German Folkore. Scroll down this post and sprinkle some fairy dust to find a more detailed synopsis.
The music composed by Hans Pfitzner to a German libretto by Pfitzner and Ilse von Stach was originally premiered in 1906. It was later revised by the composer into a two-act opera which premiered in Dresden on 11 December 1917
During the summer of 1917 Pfitzner revised the work as a two-act Spieloper (comic opera). He shortened the play by adapting some of the speaking and silent roles into ones for singers. The revised version continues to be performed occasionally in German-speaking countries and I can’t wait to be a part of this English adaptation in Leeds at Christmas. The opera will be directed by Davis Ward under the baton of conductor Ben Crick. Illustrator Sophia Watts has been commissioned to create some amazing images to accompany the opera and I cant wait to see them.
A forest in midwinter
Elflein, a little elf living in the forest, asks his friend Tannengreis, an old tree spirit, why humans ring bells and sing at Christmas and what it all means. Tannengreis expresses his dislike and mistrust of humans. Frieder appears in the forest on his way to the village doctor. His sister Trautchen is dying and he no longer believes in God. He tells the elf that he too has no time for his questions about Christmas.
Franz and Jochen, servants of Frieder and Trautchen’s father, enter the forest to cut down a Christmas tree and end up having an encounter with Knecht Ruprecht whom they initially assume is a toy seller and then a warlock.
The Christ Child appears and announces that he will bring Trautchen the Christmas tree this year. Elflein is fascinated by him, but Tannengreis warns him to stay away from humans and their religion. After a dance by young men and forest maidens prevents the servants from cutting down a tree, angels appear to announce that it is Christmas Eve, a holy night. The Christ Child leaves for the von Gumpach house. Elflein goes with him.
The von Gumpach house on Christmas Eve
Herr von Gumpach scolds Franz and Jochen for not having returned with a Christmas tree. They protest that they have seen the living Christ Child, but he doesn’t believe them and Frieder openly mocks them. Tannengreis comes looking for the little elf and is hidden behind the stove by Frieder. Trautchen is brought into the room, and Knecht Ruprecht arrives with village children to explain the tradition of the Christmas tree.
The Christ Child appears with the little elf bringing the tree for Trautchen but tells everyone that he has also come to bring the sick child to heaven. The elf takes pity on Trautchen and offers to take her place. The Christ Child agrees, grants the elf a soul, and gives permission for him to come back to earth every Christmas to visit Tannengreis. His new name will be “Christ-Elflein” (Christ’s Little Elf).
Christ-Elflein is brought up to heaven by the angels. Trautchen is cured, Frieder regains his belief in God, and Tannengreis is reconciled to humans. All present join in the Christmas celebrations.
There will be two performances on Saturday 21st December at 2:00 pm and 7:00 pm at the Northern Ballet Stanley & Audrey Burton Theatre, Quarry Hill, Leeds, LS2 7PA. You can get tickets here :
If you live in the Leeds area and want to take part come and join in on 18 November at 7:15pm to sing in the chorus of the Christmas Elf. The first rehearsal will be at the Quaker Meeting House at 188 Woodhouse Lane, Leeds LS2 9DX.
Key things to note:
1) It costs NOTHING to take part! 2) You don’t need to have sung opera before and we don’t audition. 3) There will be rehearsals on the following dates:
Mon 18 November 7:15pm
Mon 25 November 7:15pm
Mon 2 December 7:15pm
Mon 9 December 7:15pm
Thur 19 December 6 – 9pm
Mon 16 Dec 7:15pm
Sun 15 Dec 2 – 6pm
Fri 20 December 6 – 10pm
Sat 21 December – Show Day 2pm and 7pm
Any questions, email firstname.lastname@example.org
Charlotte Hoather shone as Pandora, here presented as the Presidential Aide who resigns and joins Epimetheus’ gang of rebels. Her clear soprano was especially suited to the nature of the score, and her dramatic performance was strong yet subtle.
Pandora (a very impressive Charlotte Hoather), clad in statuesque white, is Zeus’s much put upon ‘chef du cabinet’:
There are many poignant moments. I will mention a ‘Queen of the Night’ moment for Pandora.
As The Fire of Olympus draws to a close George and I are looking forward to returning to the North West of England to perform a lunchtime recital at Bamford Chapel and Norden United Reformed Church, Norden Road, Bamford (near Rochdale), OL11 5PQ. If you missed our recital in Warrington then this is a great opportunity to hear our program of music inspired by English texts.
We originally designed the program to celebrate English and American composers and how the music is affected by the different styles and cultures vary. We begin with songs inspired by the English Countryside, local folklore, and Poetry that focuses on Nature‘s connection to love and human emotion. We then decided to throw in a wild card by including the two arias from Gounod’s Romeo and Juliet, sung in English translation. This meant our musical cruise could take a detour to France. Since we were stopping in Paris, George decided to include a piece by one of Paris’s favourite salon players, Frederick Chopin. The piece is called ‘Rondo a la Mazur’ and is one of Chopin’s earliest piano works that showcase his talent of making the piano sparkle. The journey continues as we embark to the New World with musical flourishes of Copland and how his music drew inspiration from American folk songs and finishing off with more glitter with a sprinkling of Bernstein’s.
We really hope you can come along and board our transatlantic musical adventure.
Here is a couple of clips from our performance in Warrington last week:
The weather is changing and you can feel that Winter is approaching. The heavens opened yesterday morning just as we were preparing to leave for our concert in Warrington. But undeterred, umbrella in hand we set off in good time to make it to the concert.
Bold Street Methodist Church was a lovely venue and we were made to feel very welcome by the organisers of the concert, Brian, Irina, Sharon, and Dianne who had arranged the event with the support of WACIDOM.
The organisation supports many young artists, both singers, and instrumentalists and I have been proud to be associated with them since 2012.
The audience was so appreciative of the programme that George and I performed, and we were thrilled that so many people made the trip into Warrington to watch us especially considering the inclement weather.
Jake came along to our concert and is a regular supporter of the WACIDOM concert series and is a student of music himself. It was such a treat to have such an enthusiastic and supportive friend in the audience.
Following our performances of Romeo & Juliet for Arcadian Opera, last weekend in Stowe, we have kindly been given permission to share some of the photographs taken by James Gribble, who also played Mercutio. I hope the pictures give you a real flavour of the production. 🙂
Saturday 19th October at 19:30 pm, opening night, Sunday 20th October 15:00 pm matinee performance sees the culmination of three weeks of intensive but ever so enjoyable rehearsals for Arcadian Opera’s production of Gounod’s Romeo & Juliet. We are in the fabulous Roxburgh Hall Theatre, Stowe School, MK18 5EH a beautiful location mid-way between Banbury off the M40 J10 motorway and Milton Keynes M1 J14. (Tickets)
During the rehearsals, I have learnt so much working under the watchful ears and eyes of Justin Lavender and Alison Marshall and I can’t wait to take to the stage next Saturday to help bring this opera to life.
Some Pictures From One Of Our Rehearsals
The story is such a sad story. I remember as a teenager, about the age of Juliet in the story, traveling to Verona on a family holiday and visiting the site of Juliet’s balcony. At the time I just could not have imagined being in her position, a forbidden love with an impossible decision that brought with it unintended consequences.
The music is so beautiful and, in this production, we will be singing in English accompanied by the Arcadian Opera Chorus and Orchestra. Although current productions of Romeo and Juliet are more often than not updated, the set and costumes designed by Stage Director Ali Marshall, put the action back in the wild and dangerous times of fifteenth-century Italy, when gang warfare was also a fact of life.
James Hutchings (Tybalt) practicing swordplay with William Branston (Romeo)
Justin Lavender, Musical Director
Our Music Director is Justin Lavender, he was originally persuaded by Peter Pears and Benjamin Britten to abandon nuclear engineering for music. His international debut was as Nadir in Les Pêcheurs de Perles at Sydney Opera House. This success led to engagements with opera companies and orchestras throughout the world at the very highest levels. In 1990 he made debuts at the Royal Opera House, Covent Garden, singing the leading role of Arnold in Rossini’s spectacular masterpiece, Guillaume Tell, as well as at the Wiener Staatsoper as Tamino in Die Zauberflöte. His debut at La Scala, Milan, in the title role of Rossini’s Le Comte Ory came the following year, along with Demodokos in Dallapiccola’s Ulisse at the Salzburg Festival. (MORE)
Alison Marshall, Artistic Director
Alison Marshall initially trained for five years at the prestigious Tring Park School for the Performing Arts after which she studied for a further three years at the Royal Academy of Dancing. She then became a professional ballet dancer in Germany, rising to be a solo dancer, appearing in many of the favourite classical roles as well as several roles that were created especially for her. While there, ballet roles permitting, she would occasionally sing in the extra-chorus of the opera company resident in the same theatre. (MORE)
I do hope that if some of you are in the area you can come along to watch, I’ve advised my parents and grandparents to bring along their tissues. Yesterday I introduced my old friends and previous neighbours to come to watch the Fire of Olympus opera in York and they really enjoyed it, especially that for their first experience of opera it was sung in English and they could understand everything. So if you’ve never tried opera and always wanted to know what it is like I recommend Romeo and Juliet, a story you probably know, again sung in English. We’d love you to come along and support us. All my best wishes, Charlotte x
My Autumn will be spent touring around England and you will be able to hear me sing in York, Stowe, Warrington, Stoke On Trent, Todmorden, Bamford, and Leeds.
Next up I will be performing the role of Pandora in ‘The Fire of Olympus’ in York with Radius Opera. We will be appearing at the Joseph Rowntree Theatre on the 12th of October at 7:30 pm. ( Tickets Here )
Then the following weekend I will be appearing as Juliet alongside William Branston as Romeo in Arcadian Opera’s production of Gounod’s Romeo & Juliet at the Roxburgh Theatre, Stowe. ( Tickets Here ) Performances are at 7:30 pm 19th October and 3:00 pm 20th October.
Following Romeo & Juliet, I will be performing with pianist George Todica in a lunchtime recital at the Bold Street Methodist Church, 4 Palmyra Square N, Warrington on 26th October.
One of the highlights for me will be performing the role of Pandora in Stoke on Trent at 7:30 pm on Wednesday 30th October at the Repertory Theatre as my Grand Parents and their friends will be in the audience to watch. ( Tickets Here )
My last performance in the role of Pandora for Radius Opera will be at 7:30 pm on Saturday 9th November at the Todmorden Hippodrome, Todmorden. ( Tickets Here ) Although there will be a screening of the film of the opera that Tim Benjamin produced and directed that was so much fun to be a part of. The premiere will be at the Leeds International Film Festival at 7:30 pm on 16th November 2019 ( Tickets Here )
I have another lunchtime recital with pianist George Todica at the Bamford Chapel and Norden United Reformed Church at 1:00 pm on the 12th of November.
One of the great things about working as an opera singer is that I get to collaborate and work alongside so many amazingly creative and artistic people, who like me are passionate about what they do.
Whilst working on The Fire Of Olympus with Radius Opera this year I have had the opportunity to work under the baton of Ellie Slorach, a wonderful conductor who brought the opera’s music to life.
During a break in rehearsals, I asked Ellie if she wouldn’t mind answering a few questions so that I could share a little of her insight into the world as a conductor. I hope you enjoy what she had to say.
1 How did
begin training as a Conductor?
I began training aged 18 at University of Manchester because
they had a student conducting program and I auditioned for that and managed to
conduct all of the student music society ensembles in my time there, which was
amazing as the best way to learn is just to do it, with people in front of you,
much better than standing in front of a mirror or alone in your practice room. Then I went on to do my Masters at the Royal
Northern College of Music.
2 So how did you know you wanted to specialise in conducting before you started University?
I didn’t really know I thought it looked fun and I’d done a tiny bit at school with primary aged children, I’d led the rhythm sticks group rehearsals and warm-ups for chamber choirs, it was on my mind to do it as I really enjoyed it. I am naturally a leader so I thought that was a good aspect of it. When I got to University it had a great conducting program so when I auditioned for that at the end of my first year I didn’t look back.
I used to play the piano, the oboe and I sang, playing and
singing in ensembles – Mark Herron and Justin Doyle were my conducting tutors
at the time and they were the heads of choir and orchestra at the time and very
3 Who were
your musical influences?
My teachers at University I mentioned and definitely my teachers from where I studied at High School Anne Boult (Piano) and Jenni Phillips (Oboe) they were real influences on me at the time. I guess the big music world right now, we were really lucky at the RNCM to have Sir Mark Elder who came in to do masterclasses, he is very inspiring.
4 I saw on-line you were involved with New
Adventures can you explain your role in that company?
My role is for the production of Romeo and Juliet, a new production, I was the young associate conductor so I shadow the main conductor on tour to see how he worked with dancers and had little bits and bobs for myself, such as rehearsals, rehearsals with the cover Romeo and Juliet dancers in the different touring locations.
5 Now you are
working with Radius Opera on the Fire of Olympus what would you say are the
major challenges or differences between conducting for contemporary dance and
conducting for opera singers?
I think there are many similarities. For a start you are standing in the pit with the orchestra who can’t see the dancers or singers and you are the messenger. So the music isn’t the only focus of what is going on, it is the whole drama or the whole dance that is going on so the whole of the arts as a collaboration. So I feel that the role is similar in trying my best to accompany what is going on stage and equally, I have my own musical ideas to add to that and the dancers and singers bring their own ideas so I have to respect that too.
The artists also have logistical things such as the singers need to breathe, dancers need to breathe too and sometimes they need longer to take a breath, the logistics are similar but the main difference is that in the opera world the music Director has a say about what the singers are doing and will coach the singers, in the ballet world the music director is not a director and I’m not expected to tell the dancers how to dance. So, in the contemporary and ballet dance world, I’m more accompanying the dancers in a helpful role as a vehicle to help them dance better without coaching them. I can breathe well like a singer and in the opera world, it is more of a coaching role I can feel when a singer needs to take a longer breath. To see if dancers are falling out of turns etc. ballet conductors sit in a studio and watch for weeks and weeks.
6. What is your view on this opera we are doing now,
what challenges did it bring and what do you like about it?
The challenge of a brand new opera is there are no recordings and no-one has ever done it before so the good thing about that is we have some ownership over it as the first people to do it. This Opera is a kind of pastiche of Handel’s operas. So there are stylistic traditions but we’re not quite sure what traditions to keep and what to break. From a musical directors point of view, the music is quite complicated and hard for singers to memorise so I am trying to be as clear as I can with queues and word entries and I have to think about that more than an opera people know such as the Magic Flute.
7. As a conductor how do you bring the story alive through the music?
I’m driven by the drama in Opera, so when the orchestra arrives I have already had the privilege of sitting through the three-week rehearsals so I know what the drama requires from the music. For example where I need to shorten notes because there is a bang on stage or we need to lengthen a note because the singer needs time at that point to express their feelings more slowly and so on. So when the orchestra arrives I have formed my opinion of the drama so I know what needs to be done. The orchestral rehearsals are actually quite practical and become expressive as we build on our understanding of the on-stage action.
8. To finish what is a fun fact about you?
My hobbies aren’t that cool I have very standard hobbies, running and I really enjoy baking. I’ve just started bread making so fresh bread each week is my new thing I love the smell of it. I guess that’s a fun fact to finish on.
Last night, Saturday 14th September, was the premiere of Tim Benjamin’s The Fire Of Olympus at the Burnley Mechanics Theatre. It was a lovely venue with a fabulous stage and a wonderful audience.
After all the hard work put in by everyone involved over the past few months it was such a thrill to finally bring the piece to the stage. It was a wonderful experience to perform such a different character role alongside the rest of the cast and the orchestra to bring Tim’s music to life.
As the tour is still ongoing, I don’t want to give too much away about the production and what we have in store for the audience. But if you can attend one of the shows I do encourage you to come along and witness the spectacle first hand.
With the ‘Fire Of Olympus’ opening in Burnley, Lancashire on Saturday 14th September 2019, this coming week is going to see all the hard work put in by the cast and creatives as all the pieces finally come together. There are still a few tickets left for the performance in Burnley if you want to be amongst the first to see this amazing production you can get your tickets here:
Following my interview with Tim Benjamin last week on my blog, Tim turned the tables on me with some questions of his own. He kindly allowed me to share them with you along with a short promotional video that he had filmed to help raise awareness of the opera.
1. Pandora is famous,
yet people don’t really know much about who she really is. Can you give us the
I discovered that Pandora was the first human woman on Earth. Zeus the leader of the Gods asked Hephaestus a fellow God to create her to go to Earth to be an evil thing for men to balance out the theft of fire for use by mortals by Prometheus his name meant ‘forethought’ he was as his name suggests a thoughtful Titan (one of the original supreme beings on Earth) 🔥.
During Pandora’s creation, the other Gods were asked to bestow gifts upon her. Hephaestus made her in the likeness of the goddesses, Athena dressed her in silvery robes and taught her feminine skills, Aphrodite gave her elegance and desirability, Hermes gave her a beautiful voice, but Zeus contrived within this to provide her with curiosity, a litany of lies and deceitful essence. She was also given a bottle/jar full of the ills of the World. She was told when she was sent to Epimetheus (Prometheus’ brother another Titan, his name meant afterthought) to be his bride not to open the bottle under any circumstances.
After they were married and had a daughter her curiosity got the better of her, she opened the bottle and unleashed the evils and sins on humankind, other than hope which some believe was trapped in the bottle when she hurriedly tried to put the stopper back in place.
2. Pandora is the
character who changes the most in the opera. How do you interpret and realise
In ‘Fire Of Olympus’ Pandora is a personal assistant to Zeus on Mount Olympus, she is extremely efficient and hardworking, promoted by him, a trusted and loyal worker who is very ambitious and driven to succeed and expects be respected. I believe in her mind she sees herself as one of the elites and wants to be accepted as an equal.
After the mysterious
‘Fire’ is stolen from Zeus’ office, Zeus is incandescent with rage, especially
when Epimetheus avoids capture and starts a people’s rebellion, a revolution.
Pandora is asked to report on the mob and the people’s uprising. Zeus has a
plan that changes Pandora’s outlook in an instance, he wants her to go to
Epimetheus and ‘allow him to do what he wants with you’ he wants her to give
him the bottle and be sure he opens it. Zeus just sees Pandora as a tool, a
nothing, a disposable pawn ♟ she finds this
impossible to accept, if she remained loyal to Zeus he would always just use
her as a girl and would never see her as she saw herself an equal.
She is disgusted,
drained and feels she is worth more. Without knowing what is in the bottle she
takes it from the office with the intent to work with the rebellion against
3. In what ways are this role and music like Baroque music and Handel? In what ways different?
The ‘Fire Of Olympus’ blurs the musical traditions of contemporary and baroque music. The singers are accompanied by a chamber orchestra, which is a large ensemble for various instruments that existed during the baroque era, such as the harpsichord. The opera presents its story-telling in a similar way to Handel and Baroque opera. The Recitatives move the story forward in a speech like manner and the Arias allow for dramatic soliloquies in an ABA format. (For context, in pop music you have typically verse chorus verse chorus. This can be called ABAB format.) The character’s initial emotions are presented in Section A, then explored further with new musical ideas in Section B and finally when section A is repeated, typically with ornaments, the character’s emotions turn into decisions which are then acted upon the scenes to follow. However, I would associate Tim’s use of syncopated rhythms and atonal harmonies in the recitative and melismas as a contemporary music tool to word paint.
4. Do you approach
roles in new opera differently from well-known roles from the operatic canon?
Yes, I approach roles in new operas slightly differently from well-known roles, for a start I can’t just watch other videos of fellow singers interpretations and I wouldn’t have studied the characters in scenes during my training or watched other people doing the roles in their scenes. However, that is what I also love about portraying characters such as Eve, Hero, Uccelina and now Pandora I have to breathe life into the character from scratch. I always try to interpret from the words and music what the composer and librettists intentions are for the character. I create a drawing and a storyboard of how I imagine the character to look and act. I get as much information in advance from the Director and I was also very pleased to meet the librettist during rehearsals last week to get his feelings and thoughts about my interpretation and make any changes from what he told me.
5. Everybody sings,
perhaps to their baby, in a choir, on the football terraces, or even in the
shower, but few people can sing like an opera singer. Can you explain in
layman’s terms how you make such an incredible sound?
I’ve always had a natural amplification. I was frequently told in school performances and choirs I sang with that I was “too loud”. Whilst at High School, I participated in musical theatre productions and often my microphone was turned down or completely off on stage to balance with my colleagues. When you’re told ‘your voice cuts through like a blade’ you think “Is that a compliment or not ?”😂. But in Opera this vocal quality is essential. When I began training professionally I found that operatic singing is dependent on three different categories: Support (Breathing / Posture / Muscular Activity), Phonation (the production of sound by the voice box) and Filtering of the Sound (resonance and the impact of the lips and tongue). Each category has lots of intricate layers, which is why operatic singing is an athletic art form that needs the training to maintain stamina and flexibility so the body can naturally and healthily produce sound that can sustain a three-hour performance over an orchestra that is both dramatic and pleasant to listen to.