Can you tell us about your role as part of the Young Artists programme at Opera Holland Park?

As a part of the Young Artist programme I learn a whole role from one of the Opera Holland Park productions. This year it’s Così fan tutte and I’ll be learning the role of Dorabella. I’ll be the cover of Dorabella for all the main production shows as well as a school matinee. During the rehearsal process, the Young Artists take part and observe the main cast rehearsals, have our own rehearsals and also workshops with schools, where we bring bits of the opera and the opera world to the students as a preparation for when they come and see the performance themselves.

You’ll be working on Così fan tutte this summer – what are you most looking forward to about working on this piece?

The most exciting thing for me is getting to work with these extraordinary people. I’m looking forward to work with and get to know my Young Artist colleagues, but also the whole creative team and the musicians. It’s always a joy being a part of a production and creating something together. Seeing the production take shape is such an exciting part of the profession and the memories created during these contracts brings so much happiness.

Every performer has had a moment where something doesn’t quite go to plan. Do you have a memorable on-stage mishap?

In a production of L’elisir d’amore I sang last summer we had a bright red electrical convertible driven onto stage in one of the scenes. It was such an amazing prop that brought so much life to the stage, but it could sometimes be really tricky to manoeuvre. Once, during a run of the opera, the car drove smoothly on to the stage, but when it was time for it to drive off it wouldn’t start, so the car was stuck on stage and we had to stop the whole performance to manually push the car off stage!

Are there any roles you haven’t performed yet that you’d particularly love to take on in the future?

There are loads of roles I would love to get the opportunity to study! Dorabella has actually been a dream role for me and I am so grateful I get to bring this character to life with OHP this summer. Another dream role of mine would be Angelina from Rossini’s La Cenerentola. The music is just so charming and the role challenging and creatively stimulating. At some point I would also love to have the chance to sing Strauss, the role of Octavian in Die Rosenkavalier, or De Componist in Ariadne auf Naxos. Sister Helen in Dead Man Walking would also be amazing to sing but at a later stage in my career.

What is an opera myth or misconception that you’d like to see debunked?

That opera is only for the upper class. Classical music contains so much emotion and profound sincerity, it is so deep and touching and universal! Opera and classical music have inspired and influenced film music and other contemporary, commercial music genres so much. Opera is much closer to the “ever day person” than you’d realise. Opera as an art form contains everything that makes us human: love, beauty, jealousy, heartbreak, ugliness, and imperfections. When performed well it can be so visceral and touching.

What’s one piece of advice – musical or otherwise – that has stayed with you?

Be kind. Both to yourself and to others. I think kindness is an underrated trait. Be kind to yourself, the burden you put on yourself, how to manage work-life balance, or the energy you bring into the workspace and how you treat others. I’ve found that kindness really goes a long way and makes me feel at peace, which in turn makes the surrounding much happier and safer. You find new friends, meaningful relationships and create many nice memories that way too.

 

Interview by Holly Bancroft.

Aina is kindly sponsored by Judy & Stephen Kane, and Charles Mackay