On Saturday I had the pleasure of attending the Royal Academy of Arts (RA) collaborative event with Royal College of Music (RCM) entitled ‘In Tune with Feminist Time’ held in The Benjamin West Lecture Theatre, at Burlington Gardens. It was a wonderful use of this space as the musicians transformed what is normally an intellectual venue into a room full of colour, texture and emotive sounds. Behind the performers were projected self-portraits from renown RA academicians, one that struck me in particular was the artist Angelica Kauffman. She was a prominent English Artist of the 18th century, one of only two founding female members of the Royal Academy of Arts and the last woman to be admitted until 1922.
In her self-portrait ‘Hesitating Between The Arts of Music
and Painting’ it revealed that she was a talented opera singer, struggling
between devoting herself to a career in music or art. I found this fascinating
and thought it was a wonderful link to International Women’s Day as women
are capable of possessing many talents and with the right opportunities can
achieve success and explore their abilities to the fullest.
All the performers in this event were fantastic and revealed
new music, tales of history and interesting poetry inspired from the female
hand. The composers that were represented were: Barbara Strozzi, Judith Weir,
Clara Schumann, Lili Boulanger, Maria Rodrigo, and a premiere by living
composer Hayat Selim.
I particularly enjoyed the event as it continued the theme
created by the inaugural event last year that I performed in: ‘In Touch with
Feminist Futures’ which was created as a platform for myself and my fellow
colleagues to present our research and performances from our Women in Music
module led by the charismatic and formidable duo Diana Roberts and Natasha
This weekend the weather has been unseasonably warm with clear blue skies over London and I decided to take a break from my practice schedule to spend some time with my parents who were down in London for the weekend.
When working alone you have to find ways to focus and keep motivated and one of my coaches suggested reading some poetry for inspiration, it was suggested that I take a look at Thomas Hardy as one such writer. I read through some of his pieces and this one, in particular, struck a chord with me.
Regret Not Me
By Thomas Hardy
Regret not me;
Beneath the sunny tree
I lie uncaring, slumbering peacefully.
Swift as the light
I flew my faery flight;
Ecstatically I moved and feared no night.
I did not know
That heydays fade and go,
But deemed that what was would be always so.
I skipped at morn
Between the yellowing corn,
Thinking it good and glorious to be born.
I ran at eves
Among the piled-up sheaves,
Dreaming, ‘I grieve not, therefore nothing’s grieves.’
Now soon will come
The apple, pear, and plum,
And hinds will sing, and autumn insects hum.
Again you will fare
To cider-makings rare,
And junketings; but I shall not be there.
Yet gaily sing
Until the pewter ring
Those songs we sang when we went gipsying.
And lightly dance
Some triple-timed romance
In coupled figures, and forget mischance;
And mourn not me
Beneath the yellowing tree;
For I shall mind not, slumbering peacefully.
So today, along with my parents, we set off to find The Hardy Tree, this is living, evolving memorial, created by Thomas Hardy following the building of St Pancras station in the 1860s. Hardy at the time was employed by the firm of architects charged with exhuming the bodies on the site and moving them to another place of rest so that the station could be completed.
Having finished this task Hardy had hundreds of headstones that were now disconnected from their owners and he decided to create a memorial to commemorate them. He arranged the headstones in a circular pattern around the base of an ash tree in the grounds surrounding St Pancras Old Church which was to be left undisturbed by the construction work. The memorial stands to this day and has become an ever-changing memorial as the living tree and its roots have grown and become entwined with the headstones. It was quite moving to see this memorial amongst the hustle and bustle of this busy area of London.
Whilst visiting the site we were quite taken by the church and Dad decided to go inside and ask about its history. Apparently, it is believed to be one of the oldest sites of Christian worship in London dating back to around 313 to 314 AD. The location on a small hill is thought to have once been used by the Romans during their occupation as an encampment following which the location became a place of worship. It is amazing to think that over the centuries this site will have been the center of hope for so many people who came here to give praise and find peace. I do enjoy finding these little gems scattered so randomly amongst the modern architecture that has become synonymous with a busy metropolis such as London.
I was also amazed to see the redevelopment in the area where they have made flats out of old gas storage towers, we had a gas storage tower in Winsford in Cheshire, the town I grew up in but it was dismantled and a college now stands in the space. I’d have never have thought an ugly structure could be turned into reinvigorated living space. With shops built on the old cold dumps and the canals cleaned up with walkways that we enjoyed exploring the area seems to be getting its heart and soul back.
I was thrilled this week to be asked to help launch the search for this year’s Pendine International Voice of the Future at the Llangollen International Eisteddfod. Ceidiog Hughes contacted me on behalf of Llangollen International Eisteddfod to find out how winning the prize had helped me.
Below is a copy of the press release which I wanted to share with you and I would encourage any young singers out there to put in an entry, it is an amazing competition and one that I have been honoured to be associated with since 2014.
As part of this year’s Eisteddfod, I have been invited to sing two ten minute performances as a guest of Rolando Villazón in a Classical Gala on the 2nd July 2019 which I am very excited about as it will be great to catch up with everyone involved with the festival. If you have ever wanted to visit North Wales this a lovely time of year with so much to do at this festival.
New search launched for singing stars of future
A “supremely talented soprano” has launched a search to find the world’s most talented young singers.
According to Charlotte Hoather, 24, winning the prestigious Pendine International Voice of the Future competition at the Llangollen International Musical Eisteddfod last year catapulted her career to a new level on the global stage.
Organisers say entries are already flooding in for the prestigious competition this year which has a first prize of £5,000, along with a £2,000 cheque for the runner up.
Every year the picturesque town of Llangollen in the Dee Valley welcomes around 4,000 international performers and around 50,000 visitors to the week-long festival of music and dance.
Among the highlights of the week is the prestigious Pendine International Voice of the Future competition, which showcases young talent alongside other gifted global performers.
Once again this year the arts-loving care organisation, Pendine Park, is contributing £5,000 to the prize fund and a beautiful silver salver via the Pendine Arts and Community Trust, with the balance coming from Sir Bryn’s Terfel’s foundation and Llangollen Eisteddfod.
Following her “life-changing” experience last year, Charlotte, from Winsford, in Cheshire, is urging other young soloists not to miss the deadline for entries on March 1st.
The format will be slightly different this year, with the preliminary rounds being held at Llangollen Town Hall on Tuesday, July 2nd. The semi-final will then be held on the pavilion stage the following day with two finalists going head to head during the live televised concert in the evening.
Charlotte, who trained at the Royal College of Music, said: “The competition gave me a massive boost. It’s been huge for my confidence and helped me push the boundaries of where I could go and what I can do. And the prize money gave me such a massive opportunity to further my career.
“Having the money available meant I could fly to New York to audition for Pittsburgh Opera and attend an event at the Metropolitan Opera House and I’m also jetting off to Seoul, South Korea at the end of March for another competition which is very exciting.”
Charlotte, who previously gained a First Class Honours Degree in Music from the Royal Conservatoire of Scotland, added: “I’d encourage any young singer to give it a go.
“Winning the competition is life-changing. It’s helped me to take more risks and travel internationally for opportunities as a professional singer.”
“The year has been amazing. I toured the role of Uccelina in Paris organised by the Théâtre du Châtelet and appeared at the Metropolitan Opera House in the same role later touring the Scottish Highlands performing in Bambino for Scottish Opera.”
“I also performed at the inaugural Waterperry Opera Festival whose Patron is Jonathan Dove, the composer of Mansfield Park and I will reprising the role again this coming July.”
“I was also a guest soloist at Tideswell Remembrance concert and sang in the Rachmaninov recital at Pushkin House in Bloomsbury, London. More recently I reached the quarterfinals of an International Singing competition in Dublin, It was certainly a busy year!”
Charlotte’s success was music to the years of Pendine Park proprietors Mario Kreft MBE and his wife, Gill.
Mr. Kreft said: “This is the third year of the Pendine International Voice of the Future competition and the standard just seems to go up and up. Last year’s winner, Charlotte Hoather, was exceptional and a very deserving winner.”
“She is a supremely talented soprano and the competition has helped unlock the door to a hugely bright future.”
“Our aim in supporting the competition in conjunction with the Sir Bryn Terfel Foundation is to provide a springboard for brilliant young singers from around the world to achieve their dreams of establishing a career on the global stage.”
“Sir Bryn is living proof that supreme talent can take you a long way and we are delighted to doing our bit to help gifted young singers attain new heights.”
“The competition chimes perfectly with our ethos at Pendine Park because the arts in general and music, in particular, provide the golden thread running through everything we do to enrich the lives of our residents and staff alike.”
The festival’s musical director, Edward-Rhys Harry, said: “We are so grateful to Pendine Arts and Community Trust for their continued support for this truly international competition.”
“I know how much the competition has accelerated the career of Charlotte Hoather, last year’s winner and how she used her prize money to help further her career.”
“It’s a massive opportunity to perform before a big live audience and live on TV. My advice is very simple, if you are a young singer aged between 19 and 28 and think you may be good enough, then go for it.”
“Approach the competition with courage and conviction and even if you don’t make the final it will still be an invaluable lesson and a wonderful experience.”
“This major competition is something that we need to nurture and thanks to the support of Pendine Arts and Community Trust young artists are getting an opportunity to further their careers.”
“It’s certainly a competition I’m really looking forward to and it promises to be one of the major highlights of this year’s International Music Eisteddfod. And another new aspect of the competition is that the winner will be offered additional performances at other venues. The competition really is going on to another level.”
To find out more about the Llangollen International Music Eisteddfod and for competition details please visit here:
As someone at the very start of my professional career with so much to learn it always surprises me from where I can draw inspiration. As with everything in life when faced with something that is new to us it is important to draw on the experience from those around us, from Parents, Teachers, Coaches, and our peers. But sometimes inspiration can come from the most unexpected places.
During an audition or when performing on stage getting my makeup just right can be a bit of a hit or miss affair and can have a huge impact on how I feel on stage. As singers, we spend hours and hours practicing the many technical aspects of our craft but often when it comes to our stage appearances the way we present our selves can be a little daunting without the help of the many talented makeup artists that help out with an Opera production. So, when faced with this challenge on my own I can sometimes lack the skills to make the best of my appearance when attending an audition.
Over Christmas whilst at home with my parents and brothers we watched some episodes of a programme called Ru Paul’s Drag Race. It is a competition in which Drag Queens take on a series of challenges to demonstrate a range of skills that will ultimately make them the winner of the competition and enhance their performing careers. I loved watching the way the competitors rose to each challenge, gaining self-confidence and improving their stage presence with each round. What I never expected to discover however were makeup tips for stage performances, but that was exactly what I found.
Many of the performers recorded their makeup routines on YouTube which I have found so helpful. Their make up tips are brilliant for my job, they spill their secrets for how to hide unwanted blemishes and how to make it last for a full performance which can often be a problem as I found out in the heat of the Summer performances of Candide at the Minack Theatre. So, fingers crossed this is another skill I can continue to develop and with it give myself the extra confidence that is sometimes needed for an audition or competition.
Have you ever found inspiration in an unexpected way? If so, I would love to hear about it 🙂
I have some other good news to share with you, following the success of Waterperry Opera’s ‘Mansfield Park’ last Summer, Jonathan Dove has agreed to become an Honorary Patron for the festival and I can’t wait to reprise the role again this July. Last year the tickets sold out within weeks of going on sale so this year there will be two extra days. Once the tickets go on sale I will let you know in case you want to come along to Waterperry House in Oxford and join in the spectacle.
What an enjoyable week I’ve spent at the Veronica Dunne International Singing competition in Dublin, Ireland. I sang alongside my peers, met the most lovely generous couple, Susan and Glen, who hosted me and a fellow soprano Claire Lees from London, and I’m hoping to stay friends with them both for a long time to come.
“Inaugurated in 1995, the Competition was created to honour the lifetime’s work of Dr. Veronica Dunne, Ireland’s Grande Dame of singing. Ireland is known throughout the world as a land of song, and in the classical and operatic field, this is in no small measure due to the unique and dedicated teaching of Dr. Dunne.”
Dr. Veronica Dunne – Photo By Frances Marshall
To get to this stage I submitted an application with videos to get through to a live audition at one of six City locations throughout Europe and the US. 160 singers were selected from 35 Countries for live audition my location was The Wigmore Hall in London, which was a treat in itself. I was thrilled to get selected as one of the 50 competitors that got through to the live preliminary round of the competition in Dublin on Friday/Saturday, and even more so to get through to the 21 singers selected for the quarter-final on Sunday especially as I had sat in the audience and listened to the most excellent singing.
Sadly the quarter-final is where my adventure ended, I was hoping to give you all good news on Sunday evening but I discovered the result at twenty past nine Sunday evening and didn’t have time to put this post together, and you know what I’m like I was optimistic of getting through to the Semi-finals. It was fun though and a great experience plus my first ever visit to Ireland!
Wigmore Hall, London
The Natioanl Concert Hall
Inside The NCH
Each round was held at the National Concert Hall in Dublin and was open to the public. It was a great honour to sing for such a prestigious jury: Jane Carty; Richard Bonynge AC CBE; Orla Boylan; Peter Carwell; John Gilhooly; Olga Kapanina; Andreas Massow and Evamaria Wieser read more about them here.
I’m going today for my personal feedback which is a bit nerve-wracking but on the bright side I get to hear from this star-studded jury what I need to improve on to give me a better chance in future competitions and auditions.
From a young age, I have many happy and vivid memories of performing in front of audiences. I was always thrilled to know that I could tell a story through dance, music, singing, acting, or speaking to a group of people, both large and small. I felt lucky that for every performance a selection of the audience would always be my supportive family but it was always special when a stranger came up to me and commented on my performance, especially if I had a small role and they noticed my constant focus and smile. This is why on Monday I attended the LSSO (London Schools Symphony Orchestra) New Year Concert at the Barbican. The young orchestra is a collection of children aged 12-18, who have been selected following an audition process to participate in courses that culminate with a concert. On this occasion, the LSSO performed ‘Death and Transfiguration’ by Strauss. Following which the performers were joined by soprano Rachel Nichols to perform three orchestra songs by Strauss then the Brünnhilde solo’s in ‘Twilight of the Gods’ by Wagner. At the start of a new year, it was energising to watch these players because they bowed, plucked and breathed life into the music with sheer enjoyment and wild enthusiasm. Their playing enthused my practice with risk-taking and the goals of seeking fun. It is always important to remind yourself of these two aspects when making music – especially when constantly focusing on the technical aspects of my singing. I felt lucky to have seen this performance and I’m glad that I went. The LSSO is funded by the FYM ( the Foundation for Young Musicians ) which also funds the Centre for Young Musicians.
Last Friday I bought some ‘Friday Rush’ tickets from the Royal Opera House to attend their performance of the Nutcracker. Even though my ‘seat’ was standing, I was chuffed to have got the ticket as I remember watching several touring ballets as a child with my Mum. We would go for my birthday if the company came to our local hall. I loved the glitter, the extravagant tutus, and the impeccable footwork and I was not disappointed with the ROH’s performance.
The character Drosselmeyer, entered the children’s home in a vivid blue cape with gold decoration and a splash of glitter, each time he entered he would clap his hands together creating an explosion of glitter creating a golden cloud on the stage. It was so magical, the first time there was a mutual gasp of enjoyment from the audience! I loved it and now I want to enter every room with a glitter cloud! Although hoovering it up afterward could become a chore, haha. Every dancer jumped with elegance and occasionally humour across the stage. Each arm gesture flowed from shoulder to fingertip – inspiring my practice for musical phrasing. I wanted to imagine that the air danced away from my mouth like a Ballerina’s gesture and arm line. The King and Queen of Sweetie land had exquisite onstage chemistry; their movements were so in sync and slick you that they seemed conjoined!
I took so much personal enjoyment from the performance and many new ideas for my own work. It just shows you that sometimes looking at other genres and work can help inspire you and lift you forwards closer to your goals.
After the first week of 2019, I feel energised, happy, and hungry to step closer towards my personal goals. After throwing myself at all my targets head on, I did feel a little tired today. But after eating a tasty homemade chicken, sausage, and vegetable casserole, to fight against any last germs and lingering colds that seem to be in the air. I still say, “Bring it On!”
This week I have updated my calendar and diary with work deadlines, events and fun outings with friends. I have treated myself to a weekly planner, that allows me to plot year goals and monthly goals that I can track the progress weekly and create focused to-do lists. So far it’s helped me to be prepared for my immediate goals whilst maintaining my focus on tasks for future projects. I really like it, it feels like an adult star chart that helps to keep me motivated and positive. How do you assess and manage your goals and productivity? Do you have any tips or suggestions that have helped you to achieve a personal goal?
Today I arranged to meet up with my friend Beth Taylor who I studied with at The Royal Conservatoire of Scotland. Beth is a fabulous mezzo-soprano and as we live at opposite ends of the country this was a great opportunity for us to catch up and just chill out together.
One challenge I’m tackling head on this year is learning how to run. Of course, I know how to run, but previously I found no enjoyment in it. I would occasionally sprint for a bus but would be greeted with breathlessness and possibly catching it in time. Luckily for me, I love dancing and trying out new hobbies but I have been very resistant to running even though it can be a cheap hobby to participate in. I read an article about Lisette Oropesa, a soprano working in the industry who explained that she began running to help her lose weight so that she could be more appealing for casting. But as I read the article, I realised the overall benefits of being able to run were important to an opera singer. Often opera stages are very large and directors may want you to run on from the wings before a big aria. I would hate to work so hard and get an opportunity to perform in a big opera house and then begin an aria out of breath because of poor running technique. So I download the NHS/BBC app ‘Couch to 5K’. It’s is aimed at beginners and builds up to being able to run a 5K slowly. I chose the comedian Sarah Millican to narrate my run routines and so far I have enjoyed listening to her encouraging voice. The routine starts you off with baby steps, including both running and walking to help build up towards the 5K goal. I do still run like Phoebe Buffay with the occasional disco arm moves if inspired by my playlist. I’ll keep you posted with my progress. I don’t think I’ll ever be like Mo Farah but I’m glad I didn’t put it off.
I can now run for 8 minutes and I am getting my pose ready for the Olympics ( Ha Ha )
One other task that I have set myself this year is to attempt to re-write my biography to include some of my achievements from 2018. I find this difficult as it is a real skill to write a comprehensive yet concise biog, which can then be condensed even further for auditions and production companies who request biogs of 200, 150, or 100 words maximum. If any of you can offer any guidance or make suggestions on how best to achieve this I would be really grateful. Here is an example of a short one I wrote recently what do you think? How could I improve it to be interesting in a program?
Soprano Charlotte Hoather completed her Master’s in Performance (Voice) at the Royal College of Music in June 2018, under the tutelage of Rosa Mannion and Simon Lepper, previously gaining a First-Class Honours Degree in Music from the Royal Conservatoire of Scotland studying under Judith Howarth.
Following five-star reviews in 2017 for her performance of ‘Uccelina’ in Scottish Opera’s production of BambinO in Manchester, Edinburgh, and Glasgow, Charlotte continued in the role for a tour of Paris for the Théâtre du Châtelet before the production moved to the Metropolitan Opera House, New York for a series of sell-out shows in 2018. In July 2018 Charlotte won first prize in the Pendine International Voice of the Future at the Llangollen International Eisteddfod.
Charlotte’s professional performances include the role of ‘Zerlina’ in Don Giovanni with Opera Britain, the role of ‘Maria Bertram’ in Waterperry Opera Festival’s production of Mansfield Park, and the role of ‘Cunegonde’ in Surrey Opera’s production of Candide. In 2019 Charlotte will be performing the role of ‘Pandora’ in Radius Opera’s production of Tim Benjamin’s new opera The Fire of Olympus which will be touring the North Of England in Autumn 2019.
This week I flew to New York City to participate in the live auditions for a Young Artist Program. I was elated to receive the invitation, during the application season I have to send out applications to Opera companies all over Europe and North America. This is a lengthy process requiring references, audition repertoire to […]
Tonight I wanted to write about the comic operas of Gilbert and Sullivan as I will be performing the role of The Plaintiff in their one-act opera ‘Trial By Jury’ for Surrey Opera on the 16th December 2018. I will be joined by the talented Stephen Anthony Brown, the effervescent Giles Davis, and the amazing Tim Baldwin for what I hope will be a fun-filled evening.
Sir Arthur Sullivan
My first encounter with Gilbert and Sullivan was when I studied at the junior department of the Royal Northern College of Music when we performed in The Yeomen of the Guard. Gilbert and Sullivan were both born in Victorian England, Gilbert in 1836 and Sullivan in 1842. Their partnership produced fourteen comic operas which have been performed Internationally to appreciative audiences for over one hundred years. Gilbert wrote the Libretti, the text, and Sullivan composed the music.
Trial By Jury
The story pokes fun at the common law of Breach of Promise, it was considered that if a man made a promise of engagement to marry a woman and subsequently changed his mind then his fiancé could sue him for damages. The law was repealed in England in 1970, the last prominent case to be heard in the English courts was the case brought by Eva Haraldsted against the footballer George Best in 1969.
H. Friston’s engraving of the original production of Trial By Jury
In the opera, I play the role of The Plaintiff who is beseeching the court to award her substantial damages as she loves the man who has broken his promise of marriage. The Defendant pleads with the court to keep the award small as he is “such a very bad lot”. There is much argument between the parties with The Jurymen recalling their misspent youth but as they are all now respectable gentlemen, they can have no sympathy with the actions of the defendant.
The Defendant eventually offers to marry both The Plaintiff and his new love, but as The Judge points out that though this would appear to be an equitable arrangement it would be a serious crime in itself. The Defendant then goes on to explain to the court that he is, in fact, a smoker, a drunkard, and a bully (when drunk) and The Plaintiff would not have wanted to spend more than a day married to him. The Judge suggests that The Defendant should make himself drunk to prove his point. The rest of the court objects to this and fed up with the lack of progress the Judge offers to marry The Plaintiff himself. The Plaintiff finds this outcome much to her liking and as such the opera ends on a happier note.
Classical Gala With Rolando Villazón And Guests
I also wanted to share with you that I have been asked to perform at next year’s Llangollen International Eisteddfod as a guest of tenor Rolando Villazón who will be performing there for the first time. Also appearing with him will be the Welsh lyric soprano Rhian Lois. I am thrilled and honoured to have been asked to take part in the concert which takes place on the 2nd July 2019. Tickets will go on sale on the 12th December.
This week I found the inspiration for my blog post when reading back through some comments on previous blog posts. I came across a comment from my blog-friend Eric Christopher Jackson, a wonderful artist who tells stories through Photography it got me thinking. He wrote:
“When you say things like “bel canto phrasing” or “arpeggios progressing to coloratura exercises” I’m at a loss. However, as I continue to read your Blog, I’m learning how to speak “Opera.”
So I thought that I could perhaps create a little glossary, that I could expand upon over time, to help explain some of the details and vocabulary that I may use. Today we will be discussing Voice Types.
But first here are a couple of Buzz Words that you may be helpful:
Vocal Range: A measurement of the range of the notes/pitches that a human voice can phonate/sing.
Vocal Weight: The amount of volume the voice can naturally produce. This is important because it can dictate the size of orchestra that a soloist can comfortably perform with (without any artificial amplification )
Colour: This describes the particular sound of the singer, and is what allows a singer’s voice to be individual and unique. You can describe a voice as warm, bright, dark, light and much more. Preference depends upon the listener.
Vocal Runs: A fast succession of notes that can ascend and descend in pitch rapidly.
Coloratura: An elaborate ornamentation/decoration of a vocal melody, which will often involve runs.
The Voice Types
The initials SATB, which are often used in choirs, stand for the four main voice Types: Soprano, Alto, Tenor, and Bass. These initials are to show that the choir uses the full range of the human voice, as opposed to an all-female or all-male choir. When singing as a soloist, you will also come across the terms Mezzo-Soprano, [usually the same range as an Alto], Contralto, [the lowest female voice], Counter-Tenor, [a male voice who has the equivalent range to a mezzo-soprano] and Baritone, [the male voice lying in between Tenor and Bass].
The Seven Main Voice Types [High to Low]
In the Opera World, these main Voice Types are further categorized to facilitate casting. This system was created in Germany and is called the Fach system. These sub-categories depend upon much of what we have discussed so far one’s vocal range, vocal weight, Colour, flexibility, characters and more.
Listen to the above youtube video created by the Royal Opera House, to hear the different voice types and excerpts of them singing Opera.
I will now explain a little more about my own vocal Fach. If you find it interesting and want to know more, please comment below and I will expand in later weeks.
The Soprano voice:
Full Lyric Soprano
At the moment, I am categorized as a Lyric Coloratura. This means that I have an extended upper range. Personally, I can sing up to an F#, which is needed for roles such as the Queen of the Night from Die Zauberflöte by Mozart and The Controller in Flight by Jonathan Dove. My voice is quite flexible and I can sing a variety of vocal runs. The characters that Lyric Coloraturas would sing are generally young women, who are charming, sometimes short-tempered, coquettish, cheeky and stubborn. In theory, audition songs I select should enable casting directors to see which roles I could be appropriate for and possibly be cast for within their operatic season. This is similar to typecasting for actors in the Movie and Theatre World.
Well known examples of my current voice type: Beverly Sills, Kathleen Battle, Diana Damrau and Natalie Dessay.
To end this evening I have included a link to my live recording of Danny Boy which I performed last week at the Tideswell Male Voice Choir’s Remembrance concert. I was asked if I could share the video of my performance but unfortunately, my Dad was a little too wobbly with the video camera so I hope you enjoy the audio recording instead.