Seasons Greetings from Ghent!

Today is the final day of the first semester at the International Opera Academy, and it is the end of a packed 12 weeks.

I am in the first of a two year programme, which means this year is focused primarily on the pillars of our technique: acting, theoretical knowledge, languages, and performance practice. To have gained a place at the academy we have already proven that we have excellent singing voices, but now the training goes further to ensure we are fully rounded performers, ready to work on the international stage. 

I am very lucky that my mother tongue is English, so studying at the IOA presents less of a challenge than for some of my colleagues (there are 11 nationalities amongst the 15 students!) This leaves me with time to focus on my Italian, French and German. After just three months I feel my performance has already really improved in these areas. There is not simply the need to perfect the pronunciation, (though of course this is essential) but also to learn how to approach the style of singing in each language. Our coaches provide group classes alongside individual lessons, to ensure that we have a good knowledge of pronunciation and stylistic rules. This means that in my initial preparation I can prepare music to a higher standard than before,  therefore ensuring that I will require less coaching in the future when preparing for roles and recitals. 

Monday morning means movement class at the academy and it is a super way to start the week! As well as a lot of stretching which helps keep our bodies in shape for singing we are learning lots of movement vocabulary to ensure we can learn choreography quickly. We have danced with chairs, waltzed and salsa’d,  leapt and spun… I think I’m falling in love with ballroom!

Some of the highlights this term have been working with Dietrich Henschel, Charlotte Margione and singing on the main stage at the Ghent Opera House.

Our first masterclass was with Charlotte Margione, focusing on the classical period. We performed ensembles from Mozart operas, and arias by  Haydn and Beethoven. As well as having plenty of vocal advice, we got to grips with the classical style. The challenge is performing the ridiculously high tessitura of Donna Anna whilst achieving one’s musical fantasy…

The second three day workshop was an intensive look at Strauss lieder with Dietrich Henschel. This requires a very different approach to working on Mozart and it was inspirational to work with a true master of German song.

The icing on the cake was a day practising on the stage at Ghent Opera House last week. It gave us a real chance to understand what it feels like to singing into a 1500 seat auditorium, made even harder as there was no scenery behind us to bounce the sound off! I’m delighted to say my voice carries well, although I admit I only had to compete with a piano not a full orchestra!

I’m now looking forward to a few days off, and am hoping to have my very first white Christmas as I’m headed to the alps!  It won’t be all free time though – I have a list of over 20 numbers that are meant to be memorised ready to start working on the 6th of January… Lewis and I will be singing down the mountains!

Have a wonderful Christmas and New Year,

Callie

 

Greetings from Belgium!

I am now into my fourth week at the International Opera School in Belgium and it has been a whirlwind so far…

Over the summer I sang Mimi with Opera Holloway which was a huge pleasure – it has been one of my dream roles since I decided to follow this career path, and it felt like a real milestone performing this tragic character. We had 13 performances in total – and unfortunately the last three overlapped with the start of my course in Belgium. This led to some ridiculous commuting in the first two weeks – even  driving through the night on once occasion to get back in time for class after a show.

Somehow everything worked – including a magical 2 days with St Teresa’s School teaching the childrens’ chorus. 80 girls from year 7 joined us onstage, and it was a pleasure to incorporate this element of the work.

Over the past 8 years I have been the main Producer and Education Co-ordinator for Opera Holloway, but with the Belgium move I am taking a step back from the companies administration. I am delighted to say that Opera Holloway is continuing under the management of William Branston and Samuel Oram, both excellent opera singers who have worked with Opera Holloway for the past two years. I remain a trustee of the company, and I hope to perform with them in the future.

Now back to Belgium! I finally have a flat organised (if not much furniture!) and have settled in to something of a routine. Our class schedule is very heavy, and you will find me most days at the studio from 8.30am till 7pm at night. I have to say – I am loving it!

There are 12 singers in the programme and we will study at the Academy for two years. In our first year we have a lot of fundamental training blocks, with classes to learn what the IOA consider to be the pillars of our career and then in the second year far more projects. This year there are of course still performances – this week for example we have a public masterclass with Charlotte Margiono, an inspiring Dutch Soprano.

Last night we had trip to the Ghent Opera House, and watched Don Carlos. Thank goodness there were English subtitles as well as Flemish for the 4 hour performance! It was the first time I had seen the opera in it’s French form, as Verdi wrote three versions in total, 2 in Italian and one in French. The story and pacing worked very well in this version (the ballets had been cut which probably aided this!), but I had mixed feelings about the interpretation.

Now I am off to sing Don Giovani ensembles – I am very excited to start to tackle the role of Donna Anna, though wish Mozart hadn’t given her quite so many high notes!!

 

Somehow 9 months have flown past since I wrote my last news update. And there is some quite big news to share so apologies for my lack of communication!

This summer I am delighted to be touring with Opera Holloway once again, singing the role of Mimi in a 13 date tour.

 

We had our first two shows in July, and now there is a little break before we tour around the South East throughout September and October. The dates are all listed on my dairy page, and I would be delighted to see you there! The next performance is 30th August at Sutton House, Hackney.

As well as Mimi being a role debut, this tour has given me my first outdoor miked performance experience! on the 21st July the sun thankfully shone, and 130 people came the Leith Hill place for an opener performance. It was really magical, and I’m delighted we shall be repeating this format at Denbies Vineyard in Surrey on 7th September.

 

Now for the really big news. I am delighted to report that from 1st October I will be joining the International Opera School in Ghent for two years.

This means huge upheaval, but also so much excitement to work with an amazing team of artists and coaches. Our final round of auditions actually took place over a week at the school in Gent, which gave me a chance to meet many of the staff and get a feel for the course. I shall endeavour to be far more regular in my news updates from now on!

I will of course be returning to England for various concerts – I’m very excited to be reprising the role of Leila from Bizet’s Pearl Fishers in a concert performance with Bookham Choral Society in November.

Do let me know if you are attending any upcoming performances – it’s always a pleasure to see people in the audience!

17/11/2018

My last update was back in August, and summer has certainly long gone… I’m into Christmas music rehearsals now!

August’s highlight was a very special performance celebrating the life of Beatrice Lillie with Opera Prelude at Peelfold Place. The sun shone and the setting could not have been a more beautiful location for an outdoor concert.

September saw the completion of Opera Holloway’s 9 venue tour of I Capuleti e i Montecchi. It was a pleasure to explore the troubled and flawed character of Giulietta, and I hope to sing the role many more times in my career!

October was a month full of auditions, and I am delighted to report that I have been selected to work with both Singer Secreto and the London Funeral Singers. 

Which brings us to November. Last week I sang alongside Sophie Dicks, William Branston and Andrew Tipple with Bookham Choral Society, performing Dvorak’s Mass in D. Dvorak’s setting of this mass is certainly dramatic – though he actually didn’t include much music for the soloists so it was a pleasure to have the opportunity to sit back and listen!

Next week Un Ballo in Maschera opens at the Electric Theatre, Guildford.  I will be singing the role of Oskar. I look forward to sharing photos, as I have an excellent wig! It’s unusual to play a trouser role as a soprano and I’m having a lot of fun trying to take my physical cues from the variety of male co-stars in this show.

The shows are on Wednesday 21st November, Friday 23rd and Saturday 24th.

 

12/08/2018

I Capuleti e i Montecchi

We are well into stage rehearsals now for I Capuleti e i Montecchi with Opera Holloway. It is the first time I have repeated a role, but it feels entirely different as this time I am singing in Italian plus a very different concept!

It is also amazing to feel the change vocally – three years ago I was sounding quite different, and my voice has changed size a bit from then! It’s interesting to find out which sections are now much freer, and which feel far trickier…

Working on Giulietta is really exciting as she has such a strong emotional journey throughout the opera. It presents challenged to bring across her fragile state and true terror, whilst not letting that affect my vocal production! Giulietta has to deal with the huge pressure of an early wedding to Tebaldo in order to please her mafia family,  whilst  all the while knowing that she is deeply in love with Romeo. She’s known she is to be married for a while, but with her recent brothers murder at Romeo’s hand, her wedding has suddenly become today. In Fiona Williams new staging, all of this comes on top of the fact she is just fifteen and  full of hormones. There are no other female figures found in the plot and so the poor girl is isolated in a world of extreme violence. Her first aria,  O Quante Volte, is one of the most famous and beautiful numbers for soprano, but it is actually a cry from a girl on the very edge of despair, with no way out of the tragedy about to unfold.

 

Peelfold Place:

This week I get the chance to perform with baritone Ed Ballard and tenor William Wallace in a very special concert being held at Peelfod Place. Once home to the hilarious Beatrice Lillie, this is a performance which celebrates the age of musical halls and parlour songs to gramophones and wartime broadcasts. England was home to a rich and influential heritage, often overlooked, in popular song writing.

Lady Beatrice was internationally renowned for her touching and irreverent performances of diverse repertoire, including the Ziegfeld Follies, and Thoroughly Modern Millie, winning a Tony Award in 1953, for her one-woman review. Quite a tour de force! The current owner of Peelfold Place has kindly invited Opera Prelude to perform this recital  of song, operetta, and cabaret, paying homage to Lady Beatrice in her beloved home at Peelfold. Now I just have to cross my fingers, as it’s an outdoor evening recital with 250 attending… and no back up rain plan. Sun dances only please!