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Rehearsals are well underway now for ‘Much Ado About Nothing’ and it has been great to meet the rest of the cast and see the imaginative ideas of David Ward and his fellow creatives brought to life. 

Back Row – Edward Robinson, Roger Paterson
Front Row – Louise Garner, Phil Wilcox, Me, David Ward, Catrin Woodruff, Chris Pelly, and Jenny Martins

If you can join us at Morley Town Hall on either Friday 23rd or Saturday 24th August, there are still some tickets left if you are quick. You can buy tickets on the Northern Opera website HERE.

Following on from my post last week I want to share part two of my interview with David Ward, Director of the Northern Opera Group. In this part of the interview, you can read about my character, Hero and my on-stage partner Claudio who is played by Roger Paterson.

Then to close the interview David shares his thoughts on how to engage and attract future audiences to opera.

How would you characterise Hero, my role in the production?

The key to getting Hero right is to get the balance between her purity and innocence, and the flame of mischief and an awakening sexuality.

In our 1950’s set production, she’s clearly the model example of a teenager we find in these great instructional videos of the era – obedient, well behaved, never not chaperoned around a boy … She’s the token ‘Queen’ of the High School Prom – the girl all the boys want, but will never be allowed to get. Think Sandy, rather than Rizzo!

She is, however, turning into an adult, soon to leave home and marry, and start a life slightly removed from those societal structures she has grown up around. She’s emboldened by the attention she’s received from Don Pedro and Claudio (and, we can assume, many other young men) and under the influence of the unconventional Beatrice, it’s crucial we don’t let Hero become simply a wet character – the character’s sympathetic (but dull) victim.

My significant other romantic interest in the opera is Claudio, how do you envisage him?

The opera is marked by the distinction between the two central couples. Whilst Beatrice and Benedick are fighting against society’s norms, Hero and Claudio are living up to them. They are the perfect young lovers – respectful of each other and of the parents, not jumping the gun in following the expected stages of their burgeoning relationship.

Claudio – like Hero – is adjusting to his new place in the world, where he’s no longer a kid in school, but becoming a man. He’s already been to War, and now returns ready to take up his place in society. He’s still rather shy around women – he’s got a lot of emotional growing up to do! – but when he feels that he’s been deceived by Hero, he takes up the alpha-male role that society and culture have taught him to adopt.

But this isn’t the real Claudio. As we discover in the opera’s final scenes, it’s not a role he’s comfortable with, nor one he really wants. He loves Hero, he believes in her, and he recognises his follies. He might have been to War, but there’s still a lot of growing up to do …

I read a tweet from @operamagazine that referenced an article in Vogue Magazine, Can Opera Attract A New Generation Of Fans? At La Scala, Signs Of Hope

Asking Will Millennials Kill Opera, Too?  Can Opera Attract a new generation of fans?  I noticed you had special price tickets for students and young adults with prices starting at £10, £15 and adult tickets £20, what other ways are you trying to engage a new generation of fans?

I think that opera companies of all sizes have to be mindful of how we can attract new audiences.

There are three key things we do to help bring through a new generation of audiences

i) The staging of community productions, where anyone can take part in performing in a fully staged opera, for free. I originally discovered a love of opera through taking part – I didn’t come from a musical family or have any friends who liked opera, however, I was roped into taking part in a show where they were low on male voices and ended up staying! We do a lot of work with local choirs, schools and universities to attract new people to take part, and making participation free is crucial to attracting a wide range of people. Many choral societies and drama groups charge fairly significant fees to take part which prohibits people from joining – particularly those people who aren’t sure if they’ll like it or not. We’ve had people from ages 9 to 80+ take part in previous productions, and by bringing them together with professionals for future shows, we hope to add to the attraction and experience of taking part.

ii) The programming of a range of repertoire, for a range of audiences. By staging rare operas, we’re able to delve deep in opera’s past to find works that will appeal to both audiences new and old. This is particularly important for our community productions, where often a large part of the audience are friends and family of those involved – they need to be attracted by repertoire which sounds enjoyable, accessible and suitable for the whole family. For example, we’ve previously staged Pauline Viardot’s ‘Cinderella’ (a well know and well-loved story) and this December we’re performing Pfitzner’s ‘The Christmas Elf’ which is both a terrific opera and one that should chime with younger audiences this Christmas.  ‘Much Ado About Nothing’ is another example of a work which will have appeal to new audiences who are familiar with theatre and Shakespeare.

iii) A commitment to low and affordable tickets. I spend a lot of time fundraising for our productions (we are a registered charity) to ensure that we can keep tickets prices at an affordable level and that we can taper ticket prices suitable for young audiences. We want ticket prices to be affordable so that a whole family can attend – if you think that a West End show might be £40 for the cheapest seats, £160 for a family of four to sit in the Gods can be extremely prohibitive! We also want tickets prices to be at a level where new audiences are willing to take a punt on something new. For our 2018 Festival, we had 40% audiences under the age of 35 which points towards some success in our ambitions to make our work attractive and affordable to young audiences. We have also trialed short, free, pop-up performances in recent years – delivered by a high-quality cast of repertoire that’s suitable for casual and new audiences. From 2020 we’ll deliver one free pop-up tour of a short opera every year to reach new audiences across the North of England.

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.

Tickets can be purchased for this years Leeds Opera Festival here:

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 community work.

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 remained.

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’!

Alfred Elmore’s – Swooning of Hero in the Church scene

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).

Sir Charles Villiers Stanford – 1921

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.

Last Tuesday Night as I walked on to the main Pavilion stage at the Llangollen International Eisteddfod I had to pinch myself to make sure that it wasn’t all just a wonderful dream. 

Photo Credit – Spirit Of Wales Photography

To be opening the evening’s Opera Gala was a huge honour for me and knowing that I would be sharing the stage with Rolando Villazón and Rhian Lois brought a tingle to my spine.

Photo Credit – Spirit Of Wales Photography

My first two arias of the evening were O Luce Di Quest’anima from Linda di Chamounix, by Gaetano Donizetti followed by Je Veux Vivre from Romeo et Juliette, by Charles Gounod.

Photo Credit – Spirit Of Wales Photography

Rhian Lois then performed Quando M’en Vo from La Boheme, and O Mio Babbino Caro from Gianni Schicchi, both by Giacomo Puccini

Photo Credit – Spirit Of Wales Photography

Rolando Villazón then treated us to a lovely rendition of L’esule by Giuseppe Verdi .

Photo Credit – Spirit Of Wales Photography

I then sang my first duet with Rolando Villazón to close the first half of the Gala,  Non Ti Scordar Di Me by Ernesto di Curtis & Domenico Furnò.  This was so special for me, especially when he produced a rose from inside his jacket and gave it to me during the performance after our little waltz.

Photo Credit – Spirit Of Wales Photography

For the second half of the evening, I again sang two arias, the first was Qui La Voce Sua Soave from I Puritani, by Vincenzo Bellini followed by Glitter and Be Gay from Candide, by Bernstein. The Gala was brought to an end with the three of us performing Brindisi from La Traviata, by Giuseppe Verdi which was so much fun.

Photo Credit – Spirit Of Wales Photography
Photo Credit – Mandy Jones

I had a wonderful evening and was thrilled to have so many people in the audience to support my first Opera Gala including my parents, my Nana and Grandad, Gill and Terry, and my wonderful blog friends Hilary and Edwin, and I feel blessed to have shared this experience with them.

Rhian Lois, Rolando Villazón , Me, and James Hendry backstage after the Opera Gala

I also want to thank James Hendry, the Conductor and the British Sinfonietta for their amazing performances throughout the Opera Gala and for making my evening so special.

Much Ado About Nothing

June 23, 2019 — 59 Comments

I’ve been working on my next opera projects, researching characters, storylines, learning the music and words. I have watched the movie version of the play ‘Much Ado About Nothing’ and bought a couple of books on how to interpret Shakespeare’s words correctly.

This year Northern Opera Group will host the Leeds Opera Festival from 23rd to 27th August 2019 at venues across the city. The Leeds Opera Festival will include A Feast of Falstaff, where the audience will be treated to a sumptuous feast accompanied by music from three Falstaff operas – by Verdi, Salieri and Balfe – followed by a screening of Orson Welles’ masterpiece, ‘Chimes at Midnight’.

Another new performance to be savoured at the Festival is the aptly titled Musical Confusion. This captivating performance will imaginatively weave together text and song to seamlessly bring together Shakespeare’s original plays with many of the operas inspired by his works.

Headlining this year’s Leeds Opera Festival will be a full production of Stanford’s comic gem, Much Ado About Nothing, transported to 1950s small-town America, where the makings of a cultural revolution are just getting started … 

There will be two performances in the fabulous setting of Morley Townhall on the 23rd and 24th August at 7:30pm.  I am thrilled to share with you that I will be performing the role of Hero in this wonderful production and I can’t wait to meet everyone involved.  This will be the second production of the summer that I will take to the stage with the fabulous Phil Wilcox who plays the role of Benedick in this production and he will also be reprising the role of Sir Thomas Bertram when we both return to Waterperry Opera Festival in July to perform in Mansfield Park.

Cast & Creatives

Much Ado About Nothing was a comedy by William Shakespeare, written in 1598 (the middle of Shakespeare’s career).  In Shakespeare’s day, ‘Nothing’ or ‘Noting’ as he wrote meant gossip, rumour or overhearing and we all know how much misunderstanding and confusion can be created by a little gossip or Chinese whispers.

Largely unperformed since its premiere at the Royal Opera House in 1901, Stanford’s opera is a hilarious, moving and hugely entertaining adaptation of Shakespeare’s play.

In the story Benedick and Beatrice are tricked into confessing their love for each other, Claudio is tricked into rejecting Hero at the altar on the erroneous belief that she has been unfaithful. But in the end, Benedick and Beatrice join forces to set things right, and the others join in a dance celebrating the marriages of the two couples.

I’ve sung several songs that have used Shakespeare’s words before but this is my first full operatic adaptation of one of his plays. Do you have a favourite play, book or another Shakespeare play that you think would work well set to music?

On Friday I joined the Pop-Up Opera team to participate in the Borders Book Festival, which took place in the heart of Melrose, which is south of Edinburgh.

Just off St Mary’s road, Harmony Garden was home to marquees filled with events for both adults and children, a pop-up bookshop with some authors present to sign the books bought by visitors to the festival, and the ticket booth.

We were parked in a great spot between Harmony Garden and the Orchard where a delightful collection of Food and Drink trucks were situated decorated in bunting and festive twinkly lights. As well as delicious and artisanal food to nibble on, there were stretch tents and tipis for shaded cover – on what turned out to be a miraculously sunny day!

I thoroughly enjoyed being part of the festival and between shows, I took time to explore the stands and enjoying hunting for treats and oddities.

Then on Saturday and Sunday, we set up the trailer at the tranquil Archerfield Walled Garden in North Berwick. The beautiful grounds host a Garden Cafe where the chefs in the kitchen use local produce to create scrumptious dishes for all tastes. Not only was there a soup of the day, but also a scone of the day.

On Sunday it was Father’s Day (Love you Dad) and the cafe celebrated by offering a deal to Dad’s, a burger and a locally brewed beer! Yum! On-site there is also a farm shop, Knops microbrewery, and amazing trails to walk peacefully alone or with your friends, family, and dogs.

One walk that enticed the company, in particular, was the fairy walk! So we decided to treat our stage management and instrumental crew to fairy wings from the shop and prance around the grounds in our Iolanthe costumes. The setting was so beautiful and we had a great time.

Ross Stenhouse was on the bike.

Next week you can catch up with us in Callander, and the following week in Banff, Aboyne, and the Haddington Show.

On the train back to our London home via Paddington this evening after performing my first concert of 2019 with George Todica. What a thrilling way to start our musical performances for the year.

We performed as part of the Stonevale Recital series, near Swindon an intimate venue where we were warmly welcomed by the concert organiser Lynette and later by the generous and kind-hearted audience of the local village. The audience was made up of all ages and it was lovely to see everyone engage with our performance as we traveled throughout Europe with our musical program.

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At the venue, we had the luxury of picking between two pianos for the concert, and George was in a little torment as both pianos were exquisite to the touch and being mindful of the repertoire we were performing he decided to play the Steinway because of its crisp colours and position within the room. Although the Yamaha was a very strong contender with its vibrancy of sound.

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It was lovely to travel outside of London bringing our practice to performance level and having fun in the joy of creating live music. We performed a few new pieces and took lots of risks and shaped the stories told by our music based on the reactions of our audience. I also sang a great number of arias which put my stamina to the test! We were really happy and can’t wait to perform more concerts and recitals in this new year!

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Earlier in the week, we took inspiration from Diana Damrau and Helmut Deutsch’s Lieder concert at the Barbican this week. The duo looked like they had so much fun on stage seamlessly crafting the music and the poetry. We both thoroughly enjoyed their interpretation along with the rest of the audience who encouraged Damrau and Deutsch’s to perform three encores! Which in turn left George and me with two sets of very red yet enthusiastic hands!

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We both wanted to take this joy and energy and try to share it with those who came this afternoon and we hope that in some small way we were able to achieve this.

Traveling Home for Christmas

December 23, 2018 — 72 Comments

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My Friend Victoria Thomasch and Me

Recently I met up with my friend Victoria Thomasch who was over from New York to audition in London.  We had a great time afterward as I showed her some of the sites around London.  Of course, we had to call in at the Opera House and as she is a keen Harry Potter fan we managed to get a few pictures for her scrapbook at Platform 9 ¾, Kings Cross station.  I finished the week with a  performance for Surrey Opera in their Gala Christmas Fund Raiser which I believe was a great success for them.

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Tonight, I will be sat in the living room of my family home, the winter fire dancing, and flickering whilst I’m snuggled under my blanket ready for some cosy restful days ahead over the Christmas break. We have always loved to celebrate Christmas as a time for family in our home, my parents go to such a lot of trouble to dress the house and plan fun activities for the whole family to enjoy. I love this time of year, as I get to see my family and friends, play games, and create crafty designs with my Mum.

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My older brother Matt has brought home some of his favourite board games to play. A family favourite is Telestrations, a drawing game that is similar to Chinese whispers, each player has a booklet, you have to draw a miscellaneous object from a mystery card, then pass it on around the other players, the next player has to say what they think the object is from your image. This pattern continues around the group and you have to hope that by the end of the game, the object is the same as the beginning. It’s always funny to see how a word can evolve into something entirely different, and in our family, the drawings can be quite hilarious! I really recommend it!

This afternoon my Mum and I played some Christmas songs to set a festive atmosphere. Then we created some Christmas cards ready to send to our friends next year. I love this activity as you can always use glitter and sparkle this time of year!

How do you spend your Christmas holiday?

I want to wish everyone a fabulous festive break where ever you are in the world and I hope that you have a fantastic time, filled with love, relaxation, and delicious food.

Take a Chance

December 9, 2018 — 65 Comments

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 […]

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Trial By Jury

December 2, 2018 — 51 Comments

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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.

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

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.

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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.

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Classical Gala With Rolando Villazón And Guests

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Rolando Villazón

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.

Let’s Learn to Speak Opera

November 18, 2018 — 55 Comments

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].

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The Seven Main Voice Types [High to Low]

  • Soprano
  • Mezzo-Soprano
  • Contralto
  • Countertenor
  • Tenor
  • Baritone
  • Bass

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:

  • Soubrette
  • Character Soprano
  • Lyric Coloratura
  • Full Lyric Soprano
  • Spinto Soprano
  • Dramatic 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.

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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.