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. Paull-Anthony Keightley is a bass baritone who will appear in The Cunning Little Vixen alongside other WAO talent this month, after having debuted with the company in 2016 and featuring in its Wesfarmers Young Artist program.
He graduated from the Manhattan School of Music and the Western Australian Academy of Performing Arts, and has been granted scholarships from the Dame Joan Sutherland Fund, the Australian Music Foundation and the Royal Schools of Music Club.
As well as taking out a finalist place in the Fremantle Eisteddfod Open Aria competition, Paull-Anthony won first place at the North of Perth Eisteddfod, the Royal Over-Seas League Singing Competition, the Christine Leaves Award, and the Canberra Symphony Orchestra Prize. He also received the 2017 Mike Walsh Felllowship, among a string of other impressive achievements.
Tell us about your entry into singing. When did you realise this would be the life for you?
My mum would say it was my second birthday party where I abruptly decided to serenade my guests with the Bananas in Pyjamas theme song – yet it wasn’t until the end of my formal education that I discovered why I sing. I was in my final semester at the Manhattan School of Music and preparing two Mozart marathons – Leporello (Don Giovanni) and Papageno (The Magic Flute). I had worked so hard to prepare, memorise, and understand these characters that by the time the performances came around, I no longer felt like myself on stage.
What’s your favourite memory of singing on stage?
Singing Colline in La Bohème with WAO for the 2018 Opera in the Park. I had the chance to sing with one of my dearest friends, soprano Elena Perroni, as she made her professional Australian debut as Mimi. Watching her die in Act IV made my tears real!
What is a typical day in rehearsal like for you?
Is there such thing as a typical day in rehearsal? If there is, I am missing something…
I have recently become reliant/obsessed with timetabling, as my schedule has become increasingly busy. At the moment, I am preparing for The Cunning Little Vixen and Carmen with WAO, recitals for the Melba Opera Trust, Art Song Perth and Royal Schools Music Club, and my 2018/19 season at Deutsche Oper Berlin. All of this, plus trying to learn German.
What style do you feel best suits your voice as an instrument?
I’m not entirely sure what style suits me the best, but I know the two most comfortable roles I have sung to date are Colline in La Bohème and Leporello in Don Giovanni. Both characters have buffo and seria aspects to them, and these extremes are what I love the most.
What are some of the vocal warm-ups that you find are most effective or enjoyable?
Only use one ‘warm-up’ every day. Just a simple five-note major scale on all five Italian vowels over an octave. Just five minutes of this each morning generally puts my voice in the right place for a day in the rehearsal room or on stage.
How do you like to protect and nurture your voice throughout the week, when you’re not on stage?
I try to be as good to myself as I can: not staying out too late, not drinking during a season, keeping physically fit and active, and always drinking plenty of water.
Has performance anxiety ever been an issue for you?
While studying at WAAPA, I suffered from performance anxiety quite badly, but at the time had no understanding of what was happening. A few years and numerous performances later, the penny dropped; I realised the anxiety was only present when I was under-prepared. Therefore, now I try to stay on top of things the best I can.
I’m lucky to have my partner gently reminding me not to bite off more than I can chew, which has to happen more often than I would like.
What are some of the skills you’ve developed throughout your singing career that mightn’t be so obvious?
I have recently become a yoga convert – this is my perfect way to stay grounded both physically and mentally.
Know your worth – people will always want you do something for nothing, but there is nothing more powerful than knowing your boundaries.
What has been the biggest struggle in your career and how did you push through?
I went through a period where I seriously questioned if I needed singing in my life. This is something that I know many people contemplate as we leave formal training and step out into the big bad world. I gave it some time, took a lot of pressure off myself to ‘succeed’ because, when I tried to picture it, I realised I had no idea what success looked like. When I was able to define specific goals, things became much clearer. This allowed me to channel my energy into activities that will bring me closer to achieving the things I want to.
What advice would you give to other young singers looking to embark on their careers?
Saying ‘no’ can be one of the hardest things to do as a young musician. Whether it is time constraints, repertoire choices, or appropriate payment – whatever the issue – you should always follow through on what you believe in.
Most importantly, take the time to figure out what your priorities in life are. If you work fearlessly to create the life you want to live, you will have a profound effect on the people around you.
Watch Paull-Anthony Keightley sing in The Cunning Little Vixen on April 21, 24, 28, and 28 in His Majesty’s Theatre Perth. The West Australian Opera production will also feature the West Australian Opera Chorus and West Australian Symphony Orchestra, and is presented by arrangement with Victorian Opera.
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!
Image supplied.
