Can you tell us about your role at Opera Holland Park this summer?
I’ll be singing Senta in Wagner’s The Flying Dutchman. Senta is a young girl, who has become obsessed with the legend of a sailor damned to sail the seas for eternity, until he finds a wife who will stay faithful to him until death. She yearns to be his salvation, despite not knowing if he exists.
This role marks an exciting milestone in your career as your first leading Wagnerian role. What aspects of the character are you most eager to explore?
I love the fact that the story is so ambiguous — is it a love story, a tragedy, or a creepy ghost story? I change my mind daily! I can’t wait to explore Senta’s story from all these different points of view, and really get to grips with each emotion so evidently portrayed in the score. Wagner’s writing is such a gift in that sense.
You were awarded the Carole Rees Award in the 2023 Mastersingers Competition, recognizing and supporting the next generation of Wagnerian singers. What is it about performing Wagner’s music that draws you in?
As I said above, his writing is a gift. Everything you need is written on the page in front of you, and you’re just lucky to be along for the ride! He evokes such excitement, emotion and power — it really is such a thrill.
The Flying Dutchman is often described as Wagner’s first masterpiece – it is also his shortest and arguably his most accessible opera. How do you think The Flying Dutchman differs from his other operas?
I find the vocal writing to be more florid and virtuosic in style than the other works of his I’ve studied. For example, Senta and the Dutchman sing a candenza together upon their first meeting, which reminds me of something from a Verdi opera — or rather, Wagner’s version of Verdi!
Your voice has been praised for its clarity and power, qualities crucial in Wagner’s works. Do you find that performing Wagner offers a different kind of satisfaction compared to roles in bel canto operas?
I find myself exercising so much control when singing bel canto, and it’s nice to be able to relax that a little when singing Wagner. You just have to surrender to the moment, and let your voice soar. That can be very liberating, and indeed satisfying!
Outside of Wagner, you’ve performed a wide range of roles, from Handel to Britten. Are there specific composers or roles you feel particularly drawn to?
I don’t find myself particularly drawn to a specific role or composer, but I always enjoy exploring complex and interesting characters, such as Senta. I feel fortunate to have been given the opportunity to embody these amazing women.
With a growing number of contemporary and traditional roles in your repertoire, are there any particular composers or periods of music that have been most influential in shaping your technique and growth as a performer?
My first major roles were all Handel, and the techniques I learned studying his works are still with me today. I think singing a Handel aria is the hardest thing to do — the majority of his arias are long and virtuosic, so good breath control and vocal placement are paramount. Also, the text of the aria is usually the same line repeated, so you have to find a way of keeping your thoughts fresh, and intent clear, to the audience.
Opera Holland Park is a canopied outdoor theatre. How do you adjust your performance to suit the unique acoustics and atmosphere of an open-air venue?
I am much more aware of where I’m directing my voice. I also know I’ll invariably be duetting with a peacock at some point, which is frankly joyous! It’s such a special place to perform. Opera Holland Park is such a special company — I’m delighted to have a continued relationship with James and the whole team.
Is there a role you haven’t yet tackled that you would like to do in future?
I’d love to sing Ellen Orford. Peter Grimes was the first opera I ever saw (and starred in!) at the age of 4. The music is wonderful, and the character of Ellen is so compelling.
What is an opera myth that you’d like to see debunked?
I am a fairly recent convert to the magic of Wagner, so I understand when I hear people assume it’s too long, or too ponderous, for a newbie to enjoy. This couldn’t be further from the truth — it is high drama on an epic scale, and the sound world he creates is extraordinary. I defy anyone to be left cold after hearing The Flying Dutchman “Overture”!
What is one piece of advice, musical or otherwise, that has stayed with you?
A good cup of tea solves all ills!
The Flying Dutchman will run at Opera Holland Park from 27 May – 14 July. Tickets are available here.
Interview by Holly Bancroft
