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. Perry Joyce is a teacher in the WAO Wesfarmers Arts Singing Classes. He’s also a composer, conductor and singer himself who graduated from the University of Western Australia.
Perry has performed for 15 years and his own music has been recognised through the Sydney Symphony Orchestra Young Composers Awards, Gondwana Voices Young Composers Awards, Paul and David Tunley Award, and WASO Education Chamber Orchestra Award. He launched the West Australian Young Voices in 2014, and sings as a tenor with the West Australian Opera, St George’s Cathedral Consort, and Giovanni Consort.
Tell us about your entry into singing. When did you realise this would be the life for you?
I sung as a child in choirs and this was so important to my musical development. I continued to sing a variety of styles throughout school, and I also studied piano, which has been a valuable addition to my singing.
I started learning formal classical technique at the age of 17, and I realised this was something I wanted to pursue as a career only in my first year of tertiary education at UWA.
What’s your favourite memory of singing on stage?
I have many, but as it currently stands there are three standouts: Singing with Mick Jagger and the Rolling Stones in 2015; and then earlier this year in February, singing with the King’s Singers. Operatically, performing in Anthony Minghella’s production of Madama Butterfly in the 2015 Perth Festival with West Australian Opera – utterly magical.
What is a typical Wesfarmers Arts Singing Class like?
A typical singing class involves warm-ups and technical exercise with a group of your peers, followed by singing of operatic repertoire usually inspired by the WA Opera season.
The first half of the classes echoes a singing lesson, and the second half of the class is run like an opera chorus rehearsal to give people an impression of the type of work we do at West Australian Opera in a professional setting.
We have a lot of fun together, and my aim is for participants leaving each class feeling exuberant and inspired by the music that they have been introduced to and sung.
What style do you feel best suits your voice as an instrument, and how do you encourage other singers to discover their strengths?
That’s a tricky one as I am so passionate about the development of the voice as an instrument in its own right. Personally, I enjoy singing many different styles of singing, and I encourage others to explore all genres they enjoy. I love singing Baroque repertoire, music theatre, gospel; but I enjoy more serious operatic repertoire as well, being a light lyric tenor (but really I’m a high baritone with extension – it gets confusing!).
It is only by allowing yourself to being open to different styles, composers and periods that you will be able to find what really suits your voice type, and what you then become passionate about singing. My advice to other singers would be don’t lock yourself into a particular type – allow your voice the opportunity to be playful, and explore the diversity and range of repertoire open to you before specialising.
What are some of the vocal warm-ups that you find are most effective with your students?
I always start with light humming: a gentle warm-up is best. Getting the breath going and finding resonance.
I like to warm-up according to the repertoire that is required, which keeps warm-ups feeling fresh and less like a chore. This can be scales, patterns, agility work; and then lastly, I like to finish with a fun canon or round if in a group situation.
How do you like to protect and nurture your voice throughout the week, when you’re not on stage or tutoring?
I like to stay hydrated – I carry a water bottle, preferably around with me everywhere – and make sure I am resting on my off-days, which can sometimes mean no singing at all.
I like to keep my immunity as strong as possible with nutrients, and I also diffuse oils at night. I love starting my day with hot water, lemon, honey, ginger, and turmeric. I avoid dairy and caffeine on days I have to use my voice. Caring for the voice can be a bit full-on sometimes!
Has performance anxiety ever been an issue for you?
A few times, performance anxiety has been very intense for me. I try to overcome it with deep breathing and mindfulness techniques to help remind me why I’m doing it and that everything is going to be okay. Being a singer sometimes means being your own cheer squad, therapist, and doctor all rolled into one!
Really, as in any situation, being prepared is the key. Ensure that you know the work, study it, break it down, put it back together. Preparation is important to gaining confidence and thus being able to better manage stress.
What are some of the skills you find can be useful to develop in a singing career that mightn’t be so obvious?
Keyboard skills help, because you sometimes have to learn new music very quickly. Knowing your strengths and weaknesses can be incredibly empowering when managing being a singer. Being aware of what a healthy ‘ego’ is is also important because it helps protect you; but also knowing when to bend and be flexible and go with the flow, so directors – and everyone else, for that matter – enjoy working with you.
What has been the biggest struggle in your career and how did you push through?
The biggest struggle for me has been trying to find a balance between saying yes to everything I want to do, and actually having downtime to recover! This is a weekly struggle, sometimes! Knowing when to take time out will ensure your survival, I think.
What advice would you give to other young singers looking to embark on their careers?
Do it for the love and the rest will follow; success, opportunities, and lots of great friendships.
Perry Joyce is a teacher in the WAO Wesfarmers Arts Singing Classes. The classes are suitable for professionals and beginners alike, and provide experience in an opera chorus environment. Season 1 takes place from April 9 to May 28, and Season 2 from September 10 to November 5. Learn more on the WAO website.
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.
