BY STEPHANIE ESLAKE
So you’ve been to see the opera.
Maybe you were a concertgoer, taken aback by the majestic staging and tales of love and tragedy. Maybe you rocked up as a musician or singer yourself, and listened out for the quality of timbre from leading stars and chorus alike.
It doesn’t matter who you are or why you see the opera, because opera is for everyone. But not everyone knows how much work goes into the production of a show – from the rehearsals to the individual training and practice from each singer who is working hard in their part. Working to be the best they can be.
That’s why in 2018, we’re teaming up with the West Australian Opera to shed some light on what happens behind the curtain.
Milijana Nikolic is an acclaimed mezzo-soprano who will sing the title role in Carmen with WAO this July. The Serbian-born singer studied fine arts at the University of Belgrade, and won a scholarship to study at Milan’s Teatro alla Scala. She has sung leading roles with productions across the world, and her experience with Carmen alone has seen her perform with Fujiwara Opera Japan, Opera Australia, State Opera of South Australia, and at the Savolinna Festival in Finland.
Tell us about Carmen. Who is she? What can we learn from her story?
Carmen is a very complex personality. But in a few words, she is very charismatic, passionate, very strong woman that does not let anyone own her. She lives every moment truthful to herself. We can learn from her that freedom has a very high price.
What is your favourite memory of singing on stage?
When I finished my university studies in fine arts in Belgrade, my country was ripped apart by the tremendous war and the borders were closed. With help of the Italian Cultural Centre, I found myself auditioning for young artist program at the stage of La Scala. I bought new shoes with the little bit of money I had. They were too tight and I started having cramps in my feet. It was my turn to audition and I thought to myself: ‘Dear God, thank you for the opportunity; I will take in this moment and enjoy it and feel free’. I ditched my shoes, went on stage barefoot, and – amongst 200 people auditioning – got in with 10 of those who won a scholarship. That was a special moment I will never forget, and that changed my life – those magical 10 minutes onstage.
What is a typical day in rehearsal like for you?
There is no ‘typical’ day in rehearsals; we always work with different people and they always bring different energy, knowledge, talents. So it is a challenging environment. Every production can make you learn something if you are open to it.
What style do you feel best suits your voice as an instrument?
I’m lucky that my voice is very adjustable to the different styles. I’ve done Baroque, bel canto, romantic repertoire, modern classical music…I got identified with some roles, and those that I have most performed are Carmen, Amneris in Aida, and lately I have done many Azucena from Il Trovatore. There is still a lot of music I would like to explore. I like to challenge myself. How do you know if it is right for you? You have to put a lot of practice, study, and thought when approaching a new role. And then, through the process, it just feels right or it doesn’t.
What are some of the vocal warm-ups that you find are most effective or enjoyable?
I have a few warm-ups that are part of my usual pre-performance routine, but what I find even more effective is to stretch and warm up my body before that.
How do you like to protect and nurture your voice throughout the week, when you’re not on stage?
The best protection is a good sleep and not much talking, which can be sometimes challenging, especially since I became a mamma!
Has performance anxiety ever been an issue for you?
There is always a bit of anxiety before the performance, especially if it’s a new role. But if you are prepared well and believe in your skills, you’ll stay positive. As soon as I start the show, I am not Milijana anymore…I am Carmen, or Amneris, or whatever role it is that I am performing. It is a perfect way to trick your anxiety!
What are some of the skills you have developed throughout your singing career that might not be so obvious?
I always loved psychology ever since I was a teenager. Studying psychology of different characters, I pretty much can read people very quickly; and I’ve learnt to trust my instincts.
I built vocal stamina. As I always loved to dance since I was a little girl, I feel good in my body. That helps a lot onstage, but you need a lot of energy onstage and you need to project it to the public, so I do more fitness training than when I was younger.
Sometimes, you don’t have much time to learn new roles and they are always in different languages – so it is a fitness workout for your brain. Throughout my career, I learnt to speak few languages, which is a great plus.
What has been the biggest struggle in your career and how did you push through?
There are always some kinds of struggles in different stages. It is funny, but maybe my biggest struggle was my self-belief. I am my biggest and most unkind critic of myself. That can be a good thing, as it pushes you to be better every time. But you have to learn not to beat yourself. It’s a learning curve. Still, when I look back, I say to myself: ‘Well I’ve been doing this for a number of years and I sang in some pretty amazing places and worked with some of the best. I must be doing something right’.
What advice would you give to other young singers looking to embark on their careers?
Be prepared. Never stop learning and improving. That will help you as it can be tough. Many people will criticise you. Not everyone will like you, but you be kind to yourself. Never lose the joy of singing, and always sing in comfortable shoes.
See Milijana Nikolic perform as Carmen with West Australian Opera, 21-28 July in His Majesty’s Theatre, Perth.
We’re excited to team up with WAO throughout the year, so that we can give you an exclusive look into how opera works behind the curtain.
Tune in for our next interview to learn more about life as an opera performer and educator!
Images supplied.
