Often Opera companies and competitions require a selection of unedited video evidence of your singing. A one-take wonder you might say!
Recording a video of this style can be quite challenging. Firstly, you need to become relaxed whilst in the presence of a camera. For example, you need to consider where to look and where your imaginary audience is. This will encourage you not to stare down the lens of the camera, as this can be off-putting to the viewer.
A performer in the recording studio needs to have a great mindset that can focus on aiming to sing with your best possible technique on that day, whilst still telling the story of the text. We are all human and mistakes will occur, therefore you have to learn to forgive yourself quickly. Concentrate on recording a full take of your aria/song. Then at the end of the recording session, you can be critical so that you choose videos that provided the best results.
However, this recording mindset is similar to a Competition
mindset, where you have to try your best and not give up. If you make a
mistake… you can’t just walk offstage or stop the performance and request to
restart. You have to power on, and draw the audience and the panel into your
performance and hope that they enjoy it.
This week I’d like to share with you a video of my
interpretation of “Piangerò la sorte mia”, from Handel’s Opera “Guilio Cesare”.
This video was recorded live during a competition, that I entered last year and
I do hope that you enjoy it too 😊
I hope that you all had an enjoyable New Year and feel recharged as we start both a new year and a new decade. This week I managed to find a lovely balance between work and relaxation to start my new year. I wanted to break back into my practice regime but also prolong a little bit of the holiday cheer whilst my family and I had had some free time.
On Monday, I managed to catch up with my dear friend Esme, who I met during my Masters at the RCM. After graduation, Esme moved back to the USA so it was a joy to see her in London instead of through the phone or on WhatsApp. However, I am very grateful for this technology as it does help to bring us closer together when we are apart!
George and I welcomed in the New Year at my brother’s NYE party. It was so much fun and it was great to see some fireworks from the balcony!
This week I went to a board game cafe with my brother and brother-in-law. It’s called Draughts and is basically a cross between a library (of board games/bar/cafe). You rent your table for 4 hours and play until your heart’s content. It’s a lovely way to spend an afternoon with friends and I had a blast. We played Reef, Junk Art, and Bunny Kingdom. Even the titles bring a smile to my face.
And to start the new year with a healthy nudge, I went to a brilliant Pilates class with Alex and then enjoyed a lovely cup of tea post sweat-a-thon.
I’m currently working on preparing for auditions and competitions so my workload can at times appear a little fragmented but full of variety! I recently got some great advice from my friend and fellow artist Eric Christopher Jacksonhis photography captures the raw emotions of weather and the smaller details of life. He said that he wasn’t sure what the future holds but it will be great as long as he works hard and doesn’t give up. I like the power in this statement and self-belief. It’s thoughts like this that make you keep pushing forward and I can’t think of a better motivator at the start of a new year. Believe in yourself and give yourself the opportunity to be who you want to be.
With this in mind, I would love to hear what your New Years’ resolutions are. I try to make periodic goals throughout the year. But my main one for my blog this year is to experiment with Video. I’m a little nervous about this content as I’m not sure what to talk about and how regular I should try to be. I would love to hear your thoughts and also your reviews when I try it out during this year!
I am also excited for the year 2020 as I am thrilled to announce that George and I are getting married in June. I have taken my time before sharing this exciting news with you all, as we wanted to save up some money for the big day and also so we could make a home of our own together for the first time. Luckily everything has gone smoothly so far and we can’t wait to share our lives together.
I’m back in London now after A truly magical Christmas at home with my family and loved ones. I took some time off from technology and I enjoyed playing board games with my brothers whilst the fire was crackling. I’ve been reading a great book, “Eve of Man”, which my friend Elspeth lent to me. Of course, I ate far too much food and I’m ready to get back into the dance studio to shimmy off a few pounds. But mostly it reminded me of how much I have to be grateful for and how lucky I am.
Firstly I’d like to say thank you for supporting me on my blog, Facebook, Twitter, and Instagram this year. My blog allows me to record my crazy life and remind myself weekly of the many joys of being an Opera Singer. Thank you for letting me share them with you. My blog friends, you’ve given me so much support which has allowed me to continue and has given me the energy for the new and exciting year which is just on the horizon.
Please let me know if there’s anything that you’d like me to expand on in the coming New Year. I’m keen to hear your thoughts and always love your questions.
I’m a very tough self-critic and moving from one project to the next I haven’t had the time to fully appreciate and savour all the exciting things that I’ve done this year. So I want to take this time as one year ends and a new one begins to look back and cherish all of my memories, give thanks for my good health which has enabled me to complete all these wonderful shows, and thank all my friends and family who helped me learn the countless words and melodies!
Christmas cheer has certainly been in the air of our rehearsal room this week. With Singing Trees, Elves, and Angels. Northern Opera Group organised our rehearsals to take place at the Yorkshire College of Music and Drama. This venue is a great space for rehearsals as it has been converted into different sized practice rooms. We rehearse in a large studio that hosts a lovely grand piano and plenty of space for staging the drama.
‘Christmas Elf’ involves both spoken dialogue and music and I have had a lot of fun working with my colleagues to tell the story.
To finish off our first week of rehearsals, today we are blocking the finale with the wonderful Community Chorus who completes our company.
During a little bit of downtime yesterday, I visited Harewood house’s Christmas attraction: ‘A Night at the Mansion’. It was extremely magical and full of Festive cheer, tinsel, and finely decorated Christmas trees.
I don’t want to give away too much about the experience, but I will explain that the concept was inspired by the Hit-Movie franchise ‘Night at the Museum’ starring Ben Stiller and Robin Williams. It is after hours, the doors are shut, and no humans in sight, so the statues, paintings, and household objects come alive! (using a little bit of Christmas magic).
There are even little characters similar in size to the ‘Borrowers’ which took me straight to my childhood, searching for them in cupboards. It also made me reminisce about the times I went looking for dragons and fairies in the forests and mountain valleys of North Wales with my Mum, Dad, and brothers.
Here is their trailer to give you a sneak peek!
I thoroughly recommend a visit to the attraction if you are in the Leeds area over the Christmas period. Next Saturday (21st December) If you fancy a real Christmas treat perhaps you can visit Harewood House during the day and then come along to our performance of The Christmas Elf in the evening. What a way to start your Christmas off, I am sure that you will go home with a huge smile on your face full of Christmas cheer and delight!
I am on my way to Leeds today to start rehearsals for The Christmas Elf. It should be about a four-hour drive but often it can take an extra hour getting through London to the M1 Motorway. So I thought I would pre-empt the traffic and write my blog post this morning ready to launch when I arrive this evening.
This week I had the good fortune to be invited to two fantastic events. On Wednesday I went with friends to the Barbican to watch The Taming of the Shrew. . It was a Royal Shakespeare Company production which presented the audience with a really thought-provoking interpretation of this problematic Comedy. Director Justin Audibert switched the roles so that the play is gender-flipped by regendering all the pronouns. For example, the story’s protagonist Petruchio, (who is a fortune seeker who intends to marry the troublesome eldest daughter Katherine), becomes Petruchia. Claire Price presents a powerful interpretation of this role, hiding her venomous qualities behind charm and swagger.
Whilst the play unfolds, I suddenly realised how few lines the “female” roles of Bianco (Bianca) and Katherine have, despite me thinking that the play was about containing their wild spirits. It is only now that I realise that the center of the play focuses not on the prey but on the hunter. It became quickly uncomfortable, because even though the roles are now reversed to give the comedy a hint of female empowerment the general advocacy of dominance through psychological and physical manipulation is still present. Perhaps this is the message that the director was trying to put forward.
However there were many laughs had by all. A highlight for me was from Sophie Stanton’s giggle-inducing interpretation of a lovestruck Gremia who glides like a nymph in a Christmas ballet across the stage to swoon and salivate over a hair-flicking Bianco whose temperament was similar to a high school prom queen. It is interesting how through comedy we can shine a light on bitter truths and issues and how through laughter we can safely start an honest conversation.
On Friday I celebrated my friend’s birthday by attending a concert with him at the Wigmore Hall. There were three outstanding musicians Andrei Ioniţă cello; Stephen Hough piano and Michael Collins clarinet. The concert was part of the ‘Brahms series’ held at the Wigmore Hall to celebrate this composers prodigious amount of compositions specifically crafted for chamber music, song, and piano. I particularly enjoyed the 5 Stücke im Volkston Op. 102 by Schumann played masterfully by Ioniţă and Hough. It was also interesting to be exposed to a new composer, Carl Frühling and his exciting Clarinet Trio Op. 40. The music was very rich in melody, which was shared across the instruments. The harmony was very lush and late romantic in style but at times very non-intuitive which made it exciting for the listener. I have recently noticed a pattern of this whilst studying the Christmas Elf, which so happens to be composed by Pfitzner, who is a contemporary of Frühling. I found it really rewarding to hear this trio as it gave me inspiration and a better understanding of the German late Romantics, which I can use as I begin rehearsals tomorrow.
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.
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