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!
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.
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. 🙂
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.
As we enter the final week of the rehearsals for Much Ado About Nothing everything is coming together nicely. This week we will get to run through the full production, familiarise ourselves with the costume changes, and rehearse with the orchestra. It is going to be a whirlwind week culminating with our performances at Morley Town Hall on Friday 23rd and Saturday 24th August at 7:30 pm.
Here is a small taster video put together by Northern Opera Group featuring photos by Fiona Pelly and music from the Act 1 chorus! This is just a sneak peek at our rehearsals which I hope will encourage those of you who can to come along and savour the excitement and emotion of this amazing production. See the full opera on 23 and 24 August at Morley Town Hall Tickets £10 – £20 www.ticketsource.co.uk/northernoperagroup.
Yesterday I was invited to accompany David Ward for an interview hosted by Andrew Edwards on his BBC Radio Leeds breakfast show. Though I have done several interviews in the past for both radio and TV this was my first in an actual radio station. So, it was quite exciting for me as we made our way to the studio to sign in as guests. The show aired just after 8:00 am and BBC Radio Leeds sent us the audio which I have shared with you below.
I have really enjoyed learning my way around Leeds and working with all the cast and creatives on this show. For those of you that can come along, I’m sure that you will have a great evening.
This week I traded in my Jane Austen for a dose of William Shakespeare in the guise of a lovely opera composed by Charles Villiers Stanford with the libretto by Julian Sturgis based on the bards play Much Ado About Nothing. Having the opportunity to be a part of this rarely performed little gem has been made possible by David Ward and his production company The Northern Opera Group.
I met up with David when I was last in Leeds and he kindly agreed to an interview which I wanted to share with you. I hope that you find his insights and detailed answers as interesting as I did.
1) Can you tell us about Northern Opera, when did you start, where are you based, what is your mission, goal, and hopes for the future?
We launched Northern Opera Group in 2015, with the aim of
bringing operas outside of the core repertoire to audiences in the North of
England. There is some great opera to be had in the North, however very little
outside of the main operas (Figaro, Boheme, Carmen, etc.). I’ve always been
interested in the further reaches of the repertoire, and having this as our
focus seemed a great way to offer something new to existing audiences, and find
all sorts of repertoire which might appeal to audiences who wouldn’t usually
consider going to the opera house.
Our first production was Menotti’s ‘Amahl and the Night Visitors’. We thought we’d see how this first production went before committing to any more, however, we had a great response from participants and audiences so we seemed to be on to something!
Since then, we’ve staged another eight productions and launched our annual Opera Festival, which provides an opportunity for us to bring audiences and artists together for a few days to enjoy varied performances, but also to debate and pick apart opera through a programme of discussions, workshops, and other events.
Alongside our focus on rare repertoire, we’re also committed
to producing both professional and community operas. We firmly believe that the
best way to get new people involved in opera is to enable them to take part,
and we welcome people of all ages and abilities to take part, for free, in our
We’ve grown quite substantially year on year so far, and over the next five years we hope to establish the Festival as a key part of the UK’s annual opera calendar, expand the number of events we’re able to programme, and increase the scale of our community work by bringing together professional and amateur musicians – this will start with our December 2019 production of the delightful festive opera ‘The Christmas Elf’!
2) Why did you choose an opera based on Shakespeare’s Much Ado About Nothing by Charles Villiers Standford?
I first came across the opera in 2016 when we were looking
for a rare Shakespeare opera to stage as part of the nationwide Shakespeare
400th anniversary celebrations. I was instantly attracted to the work – the
characterisation is so colourful, the vocal writing so attuned to both comedy
and drama, the libretto so craftily weaved from the original play!
Back then we were only able to stage a select number of
scenes with five actors and piano, so the ambition of staging the full work
When planning for our annual Festival, it’s important to
find a headline opera that the whole programme can hang off. I like to have a
theme that brings each Festival together (previous years have been Great
British Opera, and Opera and Asia, for example) and with such an amazing and
broad range of repertoire available around Shakespeare and Opera, there was
always only going to be one opera that I wanted as our headline production!
Now the company has grown considerably since 2016, we’re able to bring the full opera to the stage – with orchestra – and, crucially, we’ve found the right venue which suits the opera perfectly. Morley Town Hall is a resplendent Victorian venue which – rather ashamedly – doesn’t have any existing classical music provision. We love to bring audiences to new and interesting venues, and we’re sure that artists and audiences alike will love discovering Morley Town Hall at the same time as they discover Stanford’s ‘Much Ado’!
3) The original opera was first performed in 1901, the setting Messina, in Sicily. What is the setting of your production?
My approach to directing opera – particularly operas
originally set a long time ago – is always to find settings which resonate with
both the opera and with audiences. Sometimes this means keeping the original
setting, how often for a work to communicate with audiences, and to help bring
out some of the key themes of the opera, restaging the work to a more familiar
setting can help the work speak to a new generation of audiences.
There were some obvious questions to answer as I began preparations for this production of ‘Much Ado About Nothing’ – notably which war is the production centred around, and in which places would we find such a close-knit and hierarchical community? The more I sat with the opera, and the more I thought about times and places that would resonate with audiences, the more I was drawn to the idea of moving the action to 1950’s small-town USA.
Coming out of the Korean War in 1953 was a generation of kids who hadn’t perhaps fought before, but who were brought up on heroic military exploits from World War Two. They were part of an extremely hierarchical society, where the pillars of the community found in ‘Much Ado’ – the Priest, the Chief of Police, the Mayor (Leonato) – rule supreme.
They were of a generation taught to respect their elders, to
fall into clear societal positions, where the man was head of the house, where
Scouts and Little League Baseball kept young boys rooted in the expectations of
maintaining a certain way of life, and certain social structures.
But amongst this inflexible way of life, there are the early rumblings of a cultural revolution emerging. Claudio and Hero may be the archetypal young lovers who are the bastions of rural small-town life, but in Benedick and, in particular, Beatrice we see a new generation emerging. A generation that won’t simply nod along with how society expects them to behave. Beatrice – in my eyes a young Katharine Hepburn – can go toe to toe with the boys, and this contrast between our leading couples of Beatrice/Benedick and Hero/Claudio perfectly exemplifies this emerging clash of cultures.
As much as I would have loved swanky New York 1950’s aesthetic, this idea of small-town USA is central to the opera. The community is extremely tight-knit; everyone knows everyone and, returning from a War when they were simply three of many, Claudio, Benedick and Don Pedro return back to the bosom of their town as notable personalities – big fishes in small ponds. There’s also something about the confusion, deception, and hot-headedness of the opera that lends itself to the sweltering South (there’s a reason why Tennesse Williams’ Deep South settings work so well with his characters).
Next week I will bring you part two of the interview in which we discuss some of the characters in the opera and you can read David’s thoughts about attracting new audiences to the world of opera.
Taking the time to re-visit my trip to Seoul over the past few blog posts have been really fun. This post is going to focus on sharing a video from my performance in the Recital Hall at the Seoul Arts Centre and the Instagramable Food Treats Inspired by K-pop culture.
One of the verses of Muttertänderlei, is about comparing her
gorgeous baby daughter to sweet traditional German baked goods such as
Zuckerwechen (Sweet Bun). I think this metaphor describes the deliciousness of
cute babies and how you want to gobble them up. Which as a concept can
definitely transferred to Korea. Cute cartoons, bold colours and celebrations
of K-Pop stars decorated public areas and in turn went on to inspire food!
Rainbow Crepe Cake
The colour palette of magical unicorns, for instance, may have inspired this rainbow cake created by Billy Angel Cake Company in Seoul. This colourful cake is created from 20 individual crepes coloured with different fruit flavours and delicately divided by layers of spread mousse.
Bistopping ice-cream cafe was a favourite find of mine.
Imagination exploded here, in the form of embellished cones (with hundreds and
thousands, painted icing, colourful sugar loops), chocolate phrases and crazy
cookies which could be added to your ice-cream to produce your own unique
We found a little cafe called Conversation Cake from posts
of Instagram. These cakes were gorgeously decorated with macerated
fruit and indulgent layers of sponge. Our most expensive cakes of the day, and
sadly on our visit a little dry, but with a glass of refreshing iced coffee
they became well-balanced.
Flower Pot Mystery
Bananatree cafe was unbelievably cute from its hand-drawn
menus to its quirky presentational style of its delicious food. We tried
Candifloss covered coffee, Eggyffogatto and a Flower Paap. The flower pot cake
was an outstandingly yummy experience. From the chocolate soil and truffle
stones which deceptively hid the delectable strawberry gateau beneath – found
by trusty miniature shovel shaped spoons.
We delved inside the wonderful world of Line Friends at their flagship store and Cafe and tried a selection of jazzy and vibrantly colourful drinks inspired by the characters. From marshmallow white hot chocolate to a mysterious blue soda float and a popping candy strawberry slushy. Our tastebuds tingled from the experience.
Following my visit to Seonjeongneung – The Royal Tombs I waited to visit the Changdeokgung Palace Complex with my brother Matt and his husband Alex as they were flying out to join me for a short holiday in Seoul.
The palace complex of Changdeokgung is situated north of where
we were staying in Gangnam and across the Han river. We decided to include a
visit to the Gwangjang Market in the morning on our way to the palace to make
the most of the day!
The journey took around 40 minutes on the tube, which was so
easy to use with the T-Money cards that you can use all over Seoul, on
different modes of transport, (bus, tube, coach and taxi). What made the travel
cards even better is they come with all sorts of colourful designs, using
cartoons from popular culture. If travelling in Seoul, I recommend two apps Naver Map and my preferred choice City Mapper, both apps provide visuals
of your route and the ability to track your location. The reason I prefer City
Mapper is that I could type in English characters and save the journeys to my
phone using the Wi-Fi at the hotel. This meant that when I was exploring, I
could use the GPS location and map guides on airplane mode – saving some extra
The Market is the oldest in the City and was an easy stroll
from Euljiro 4(sa)-ga station, there was a huge collection of items available
on sale from fabrics and clothes to dried fish and culinary delicacies. The
atmosphere was already buzzing at 10:00am, which I was surprised at because my
Guide book wrote that it is well known for providing an authentic night market
When we arrived at the Changdeokgung Palace the first impression was the splendour and size of the complex. I tried to imagine how it must have appeared to those who visited back in the 15th Century when it was built. The site was considered the secondary palace to one at Gyeongbokgung and was differentiated by the size of the grounds. It was such a treat to walk around the well-cared for public areas and take it all in. Each Hall was beautifully ornate with painted, sculpted wooden Roofs and rich vibrant interiors. One room had mother of pearl decorated furniture which glowed in the sunlight of modern day.
We wanted to visit the Secret Garden and so we waited for
the English tour as you could not walk around unescorted. The best part was that whilst we were waiting,
I found out that if you hire traditional dress, (Hanbok) you are able to enter
the complex for free, so off I went to hire a costume.
I visited Hanbok Rental, a shop just across the main road opposite the Grand Main Entrance and Ticket Office. The staff were so efficient and friendly, guiding me through the many colours and layers to the traditional gown. I really recommend this shop, as they had lockers on site for your larger belongings, and little handbags, hair ornaments, and parasols were included in the rental price. I am so glad that I rented the Hanbok as I felt transformed to another time and enabled me to pretend that I was attending a royal palace event.
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.