Archives For Charlotte Hoather

I am excited to share some wonderful news with you all, last December I was invited by Scottish Opera to participate in a week of exploration and development for a new project they were hoping to produce.  It was very hush, hush and I wasn’t able to share the experience with you at the time so that the concept could be fully developed before announcing their plans.  All I can say is that I had a fabulous week and enjoyed every minute of it.  I returned to London happy that I had been involved and excited for the production team as they had some wonderful ideas, I had no idea what was to happen next.  After a couple of months, I was contacted and asked to be part of production, and tour as one of the cast members this summer and autumn.

Bambino

Here is the press release that I was sent which explains a little more:

The long-awaited follow-up to Scottish Opera’s hugely successful BabyO performances, BambinO is a pioneering and unique piece of music theatre for infants aged 6 to 18 months.

A new co-production with Manchester International Festival and Improbable, the show premieres at Manchester International Festival in July, before traveling to Edinburgh as part of Edinburgh Festival Fringe, then to Glasgow for performances in Scottish Opera’s Production Studios.

Written by Scottish Opera’s Composer in Residence Lliam Paterson and directed by Improbable’s critically-acclaimed Phelim McDermott, BambinO will be a celebration of the possibilities of music and the power of the infant imagination.

The show reinvents operatic language and traditions for children at an age when their minds are wide open to new sounds, images, and experiences. Babies are free to explore during the performance and to interact with the singers, musicians and each other.

Programme Bambino

Director, Phelim McDermott, said: ‘It is inspiring to create a new opera for what is possibly the most discerning – and important – audience there is. We all know that babies respond to music and we want to nurture and stimulate that relationship through their very first opera.’

Scottish Opera’s Composer in Residence, Lliam Paterson, continued: ‘BambinO will bring an operatic experience to a little audience with ears open to discovering new sounds. It is so exciting to create a colourful and vibrant work that can engage both babies and adults fully while conveying the drama and passion of opera. The opportunity for me to work with as imaginative a director as Phelim McDermott is fantastic and truly inspiring. He and design team Giuseppe Belli and Emma Belli will bring a beautifully crafted operatic world to a whole new audience!’

Scottish Opera’s Director of Education and Outreach, Jane Davidson, said: ‘Incorporating rich, exuberant colours and images – both musically and visually – we’ve created the perfect miniature opera. Complete with percussion, cello, and tiny pianos, all four performers fashion a magical soundscape that will enthrall and challenge both the babies and the adults who come along with them. This is not a ‘baby’ show in a traditional sense; this is baby baroque as you’ve never seen it before!’

BambinO is commissioned and produced by Scottish Opera, Manchester International Festival and Improbable.  It is supported by Scottish Opera’s New Commissions Circle and Scottish Opera’s Education Angels.

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Cast and Creative Team
Composer           Lliam Paterson
Director              Phelim McDermott
Designers           Giuseppe Belli & Emma Belli
Soprano              Charlotte Hoather
Baritone              Timothy Connor
Cello                     Laura Sergeant
Percussion          Stuart Semple
Stage Manager   David Sneddon

I can’t wait to join everyone on the 8th June when we start rehearsals and I will keep you posted as we progress and the tour gets underway.  It will be great to work with Stuart Semple again who I toured with last year in the Scottish Opera production of “ The Little White Town Of Never Weary”

I must admit that it was quite a buzz to see the production listed on the Scottish Opera website in this season’s events and to have the opportunity to work on this new composition which is to Premiere at the Manchester International Festival on 4th July.

Season 2017 2018

 

This week I had the pleasure of performing at the Britten Theatre alongside my friends in a set of Opera Scenes produced by the Royal College of Music, London. The scenes were directed by James Bonasconducted by Christopher Middleton and accompanied on piano by Ian Tindale.

I had a wonderful time performing the role of Aminta alongside the talented Yiwen Su as Elisa. We performed the opening scene from “Il re Pastore” by Mozart. For the performance, I had to wear a period wig, this was a completely new experience for me and I really enjoyed learning about the process and watching Shauna, the talented makeup and hair professional as she managed to hide all my hair under a cap ready for the powdered wig. To help me feel even more like a character from the 18th century, Shauna applied a layer of white foundation to my face which made me look quite pale. This was because in the 18th century both men and women would wear cosmetics to show social status. However, I wasn’t allowed to wear the fashionable bright pink rouge and lip colour as this would have been considered beyond the social ranking of my character for the scene. I found this really interesting and added another layer to my character profile and allowed me to explore how my character Aminta would react to meeting Elisa who in the first scene would have been considered higher than Aminta in social ranking. The performance was so much fun and I can’t wait to get back on a stage soon!

 

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On Friday evening I had arranged to go and watch the RAMBERT ballet company perform “Ghost Dances” at Sadler’s Wells Theatre in London. Because I could not get a student ticket my brother Matthew offered to pay half as he knew how much I wanted to go which was lovely of him and appreciated by me 🙂  This performance was really special for me because I analysed Christopher Bruce’s “Ghost Dances” for my Dance A level. Whilst writing my analysis I was only able to watch video recordings of the piece but enjoyed the dance so much that I fell in love with the chilling choreography and the powerful storyline of the dance. So, when Matthew told me that it was to be performed at Sadler’s Wells I did not want to miss out on the chance to see it performed live. I enjoyed the performance thoroughly and the company used the original choreography, music, costumes, and set, so my memory of this beautiful dance was re-enacted live before my own eyes. The company takes the performance on tour very soon and if you get the opportunity to go and watch it I would recommend the show thoroughly!!

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I would also like to share with you all that I will be performing my year end recital on the 7th June in the East Parry room on the 4th floor of the Royal College of Music.  My recital will be at 2:40 pm and if you are in London and able to attend it would be lovely to see you in the audience.

Connections

May 14, 2017 — 51 Comments

I’ve been thinking all day about making connections with others and how important it is for people, and about pioneers, people that leave their homes and Countries to look for a new life.  My Dad purchased the film “Passengers” and this weekend I got to watch it on my iPad.

Passengers

Without giving too much away if you’ve not seen it, the adventure story is about a man called Jim (Chris Pratt) onboard a spaceship transporting him to a new planet to begin a new life.  The journey takes a bad turn when his hibernation pod malfunctions and he wakes up 90 years before the spaceship is expected to reach its destination.  The spaceship is in danger and the 5000 hibernating passengers on board are all in peril.  He is the only human awake on the vessel and he only has a low-class security pass on the ship which limits what he can eat and drink.  His only companions are the robot cleaners, waiters and a charming and witty android bar-steward.

How long do you think you could last without any other human contact at all? The computer message that he sends will take over two decades to reach earth, and another 30 years for the reply to reach him, he was 30 years into a 120-year voyage with no way of going back into hibernation.  Would you be pleased or sad if other hibernation pods malfunctioned?

In a way, it was a little like when I first moved down to London, so many people milling around but not knowing any of them. I am quite a confident person but I could see how for some that it could be quite a daunting situation, to feel alone and unconnected.  I had the added advantage of connecting with like-minded people in a similar situation to me but I have the utmost respect for people who move away from home and the familiarity that it brings to make a new life for themselves and establish new friendships.

For me, I regularly started asking lots of people how they were, even people who I didn’t know, it might have been someone at an exercise class, or when visiting the adjoining university, or even in a shop.  I just love to engage in conversation, it doesn’t need to be long or thought provoking just something inclusive. I also take the time to call loved ones on the phone, FaceTime, or Skype. Bringing ‘Home’ to my new home. I also have a lot of international friends that I keep in contact with regularly on WhatsApp and Facebook and I always try and make time for my blogging friends on WordPress, some of whom I have even had the pleasure of meeting in person. The world is a big place but we can use the amazing technology that is around us to connect with those we know, but sometimes taking the time to talk to a stranger can be just as rewarding.

With the story and the dilemmas that it raised on my mind I was pleased that I’d planned to take a group yoga session at 10:30 am this morning and that I’d arranged to meet with two singer friends for lunch and a walk out in the sunshine, it’s been a beautiful day here in London and I’d spent most of yesterday practicing.

 

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Ida, Me and Sam

 

Sam Dewese is an American from Chicago on his first year Masters, his voice type is Baritone. Ida Ränslöv is a Mezzo-Soprano hailing from Sweden in her first year in the Opera School, she’s doing phenomenally well having just got through to the final of the Lies Askonas competition.

I’m sure you’ll hear their names again in later posts or in big bright lights in the future.

 

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We Found This Lovely Mews Street As We Walked Around

 

 

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Me, Ida and Sam

 

It is our penultimate rehearsals tomorrow for the performance in the RCM Opera scenes on Tuesday at 5:30pm in the Britten Theatre, my last chance to make a good impression in Opera scenes this year, I’m hoping I can get someone to take a couple of photos for you to see next week from the dress rehearsal.  I’m also busy preparing for my final examined performance singing recital for the first year, I’m learning a completely new program of music so that’s challenging.

 

Friday Concert 5th May 2017

Anna Cooper, Prajna Indrawati and Me

 

On Friday I had a wonderful opportunity to perform near home in Chester with my talented peers Anna Cooper (Mezzo-Soprano) and Prajna Indrawati (Piano). We have all become great friends over this past year whilst we have been studying at the Royal College of Music in London. It was a delight to work on this recital programme with them both.

The concert took place in the beautiful St. Werburgh’s RC Church. The church had recently invested in a wonderful grand piano, which had a brilliant tone to support the voice. We arrived in the early evening after driving up from London during the afternoon and we immediately began rehearsing and preparing for the concert. We tested the acoustics both for singing and speaking and adapted our performances to reflect this. In the concert, I performed a range of songs from my personal journey through the world of classical music, featuring songs that I felt represented key moments of my training and other personal favourites.

We had an absolute blast and I would love to go back. The audience were very friendly and welcoming, which is always a nice feeling for a performer! It means you can take risks and experiment with ideas that you have so that music is alive with spontaneity and imagination. I was especially pleased to see my parents and my good friends Gill and Terry Howard in the audience who had driven to Chester after work to catch the performance.

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On the 16th May, I will be participating in another set of Opera Scenes at the Royal College of Music under the baton of Christopher Middleton and the direction of James Bonas. We began rehearsals from the 24th April meeting twice a week for 90 minutes. I will be performing the opening scene from “Il Re Pastore” by Mozart as the character Aminta. The opera was first performed on 23 April 1775 in Salzburg, at the Palace of the Archbishop Count Hieronymus von Colloredo when Mozart was just 19.

Aminta is a young and impoverished shepherd boy who is in love with a shepherdess, Elisa. But as in all good operas, nothing is quite that straightforward. Alessandro the mighty King and ruler of Macedonia had just fought and defeated an evil tyrant, Stratone of Sidon.  Alessandro was determined to find the rightful heir to the throne of Sidon and sets out on a mission to bring order back to the city-state.

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You guessed it, Aminta is the rightful heir but initially, wants no part of it.  He is happy living the simple life of a shepherd and plans to marry his true love Elisa at the earliest opportunity. Aminta is convinced by Alessandro to return to Sidon to take up the throne and put aside his love of Elisa for his duty to his people.

Alessandro believes that it would be good for Aminta, and for Sidon, if he marries Tamiri the daughter of the deposed tyrant, Stratone.  But she loves another and Aminta’s heart lies with Elisa.  Elisa and Tamiri plead with Alessandro to change his mind and allow them to marry for love.  Realising how unjust his original proclamation would be he relents and allows Aminta to marry Elisa.  The story ends with Aminta being crowned King of all Sidon.

This performance will be a first for me, as Aminta is a pants role, which means I will have to play a boy. The reason for this is because the role was originally written for a ‘castratto’, a male singer who has the range of a soprano or mezzo-soprano. From the middle of the 16th Century through to 1870 when it became illegal in Italy, young pre-pubescent boys would be castrated so that their larynx would not develop into that of an adult male.  This meant that they retained a childlike quality to their voices with an extended range.  Their bodies without the influence of testosterone developed in a unique way, their joints did not harden the same as an adult male and their bones would grow unusually long.  This often gave them a tremendous lung capacity coupled with a youthful-sounding voice.  As the practice fell out of favour the roles that had originally been written for their voices would then be performed by women.

 

The Role Of Observer

April 30, 2017 — 22 Comments

This week I had the pleasure to attend two musical events both of which allowed me to watch some outstanding singers.

On Wednesday I attended the semi-final for the 62nd competition for the Kathleen Ferrier Awards. It was held at the Wigmore Hall in London and the atmosphere felt full of energy and bursting with life thanks to the wonderful supportive audience. I attended the event with my dear friend Harvey, in which we were serenaded by 11 performances from young professional singers. They each had to prepare a varied program lasting up to 20 minutes, which included works from different periods of music. These 11 singers had been selected by audition following the preliminary round. From the 11 singers, the judges had to shortlist 6 for the final that was to take place on Friday 28th April. It was interesting to be able to observe these fine singers as I could relax and enjoy as they created beautiful music. I was thankful for the opportunity to show my support for these amazing young professionals as I know first-hand how important it is for the performers to have an enthusiastic audience in a competition such as this.

The singers selected for the final were:
Eduard Mas Bacardit, tenor accompanied by Dylan Perez, piano
Julien Van Mellaerts, baritone accompanied by Gamal Khamis, piano
Patrick Terry, counter-tenor accompanied by Somi Kim, piano
Francesca Chiejina, soprano accompanied by Dylan Perez, piano
James Way, tenor accompanied by Natalie Burch, piano
Daniel Shelvey, baritone accompanied by Dylan Perez, piano

Following the final on Friday the winners were announced as:
First Prize – Julien Van Mellaerts, baritone
Second Prize – James Way, tenor
Song Prize – Patrick Terry, counter-tenor
Accompanist’s Prize – Gamal Khamis, piano

Congratulations to them on their achievements and special thank you to all of this year’s performers

Exterminating Angel ROH April 2017

Then on Thursday, I was able to get a student ticket for the performance of “The Exterminating Angel” at the Royal Opera House. This performance was part of the UK premiere of the opera written by Thomas Adès. It was especially electrifying, as Adès conducted the music himself. The piece was written and sung in English which allowed me to understand the chilling story more easily. The house was very full of excited observers and before a note was played I was bewildered and amazed to see *SPOILER ALERT* real live sheep on the stage! I have no idea why this excited me so, especially after my recent trip home to the English countryside. I was intrigued to see if they would be used whilst the live music was blaring full thrust but just before the conductor took to the podium they were guided off stage.

The opera took place in a mansion in which sophisticated guests are expected for dinner. The large star-studded cast performed the dramatic music and remained on stage for the majority of the performance. Which was wonderful for a student of opera as I could watch the singers acting and analyse their performance throughout. This helped me to see all aspects of the on-stage skills of the performers, from how to draw focus in a busy scene, prepare an audience for a solo, to providing support and ambiance to another character. It was skilfully played throughout and very enjoyable. As the run is still taking place I will not discuss the plot too thoroughly in detail just in case any of you get to see it, but I just want to say that the technical singing of the performers was outstanding. The composer had written huge dynamic and pitch variety which was demanding even for these experienced professional singers. For example, one soprano was singing all of her lines at the extreme of her range – very very high! It was such a feat and I can’t wait to work technically in the practice room so that I may one day be flexible enough to performance pieces like this in the future.
All in all, it has been a fabulous week 😊

A Cracking Good Easter

April 16, 2017 — 51 Comments

This Easter Sunday we decided to get creative as the weather was too drizzly to go for a family walk.  We checked in the cupboard and the fridge to see what we had in and decided to make some Easter biscuits ( cookies ).  In the morning Matthew and I went down to one of the shops that were open, in order to treat ourselves to some fun cutters and extra food colouring.  We had a brilliant afternoon, the hardest part was waiting around:

Waiting for the dough to prove
Waiting for the biscuits to bake
Waiting for the icing to set to add layers

But in between, we managed to distract ourselves by playing board games with our parents.

Whatever you did today  I hope that you all had as much fun as we did.

 

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Should we play catch ?

 

 

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Matt disapproving of my juggling  

 

 

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My first bunny

 

 

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On to the tray and ready for the oven

 

 

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Out of the oven and too hot to handle !

 

 

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Art attack

 

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Time-To-Decorate

 

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Guilty as charged ( caught in the act )

 

 

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Our finished biscuits

 

I read that Kasper Holten the Danish Director of Opera at the Royal Opera House, who left Covent Garden, London last month, claimed that the British are prejudiced against opera, perceiving it as elitist and not for them.  The new Director Oliver Mears agrees that the perception exists.  So how does my generation change and challenge this?

Lots of people I went to school and college with would never think to go to an opera, the State schools that my family attended never arranged trips to see an opera although there were trips to watch drama, dance performances, and musical theatre. It’s as though the State schools are keeping this perception going and not trying to make high art accessible to a wider audience if only to make a once in five year visit to the dress rehearsal of an opera performance so that each child has the opportunity to attend once in Primary school and once in Secondary education.

Although I’ve never been invited back to my High School to discuss training in a conservatoire, perform or undertake a demonstration with the music students I would be happy to,  the classical singing teacher that taught me at the school is no longer available to the students. Jayne led to several people in her short time teaching extra-curricular singing at the school to undertake classical training, and several of her students are now either working in the crossover industry or undertaking training at prestigious Conservatoires.  If she gave just ten of us this transformative experience that opened our minds and expanded our knowledge, then that’s a good thing, isn’t it?  Together we are all introducing new families to classical music, people whom prior to our involvement may have had no knowledge of this beautiful music other than the occasional advertisement on the TV, or when they are used in a film score they like.

Everyone talks about wanting social mobility for all, the chance to progress on merit and talent yet so many doors are kept firmly closed that I feel need to be opened.  Last summer in Scotland, Scottish Opera put on ‘The Little White Town of Never Weary’ for primary school children on a tour of Scotland, I can’t tell you how much it meant to me to see the children’s excitement and the smiles on their faces as they interacted with the performers. The Scottish Opera Education team also regularly put on Tours throughout Scotland, bringing pop-up operas to even the most remote areas, they are getting this right.  I’m excited to be part of a creative team on a new project with them again this summer.

In England, we read that music lessons are being cut out of the school curriculum in too many State schools thanks to the new requirements and testing to the EBacc formula that the schools are judged against, there was a controversial piece that I read, written by Charlotte C Gill in the Guardian “Music education is now only for the white and the wealthy”

I saw this at my own High School, they had too few students wanting to take A level Music at the start of my sixth form preferring to take the easier BTEC Music which wouldn’t have given me the skills I required for my next step of training and would have ended my progression were it not for the Head of Music and Music teacher agreeing to allow me to undertake it by self-study within the BTEC class with some extra support from Mr. Leigh. However, I found the breadth of the course really challenging to do on my own and I was so lucky to come into contact with a music teacher outside of school, Suzanne Harvey, a graduate of the Birmingham Conservatoire, who lived close to me and helped me so much.  With her help, I improved my understanding and appreciation of music plus the theory which gave me the foundation I needed to move on to a conservatoire. So, I don’t agree with the premise that the teaching of music should be dumbed down and made easier in every instance.

I would be interested to hear how the teaching of music is organised in different countries and if it encourages children to explore classical music and have a more open mind towards the beauty of opera and classical music.

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It was great to catch up with one of my friends today, Katie Oswell, from my time at the RCS, Glasgow. We had a lovely afternoon together and I enjoyed finding out about what she has been up to since I finished at the RCS last summer.

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Katie Oswell and Me