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.
Baritone Sam Roberts-Smith will perform as Moralès in WAO’s upcoming series of Carmen. The singer graduated from the Western Australian Academy of Performing Arts in 2008, joined Opera Australia in 2009 and performed in its Moffatt Oxenbould Young Artist Program in 2012, and has sung on ABC Classic FM. He has also just returned from being the from a prestigious young artist program in Berlin.
You return home from the Deutsche Oper Berlin to sing in Carmen with WAO. What are the key lessons you learnt during your time in Berlin?
I have learnt so much from my time in Berlin – about the world, about myself, and about the opera industry in general. It is no easy task moving to another country, especially when the native language is not your own. However, this just added to the challenge.
I learnt that resilience is key, not just when pursuing a career in opera but also when dealing with all the red tape that is associated with moving overseas. As a beginner in the language and in a completely new system, of course I made many mistakes. If you’re not making mistakes, you’re not trying hard enough! This is normal, but learning to be resilient has made all the difference.
I learnt that the attributes required to be a good colleague are the same all over the world. Be prepared, don’t be late, know your staging, be quiet and listen, look after your voice and sing well. The Deutsche Oper Berlin is one of the best theatres in the world, but good singing is good singing.
How have you found the culture of emerging artists in Europe, and do you feel it’s valuable to return for a performance career in Australia?
I think that anyone in the opera industry will admit that it is a difficult path. It may seem exclusive and glamorous, but when you are first starting out, trying to establish a name for yourself, it can seem like a never-ending struggle.
It is especially difficult for young artists/emerging artists, because you are not sure who to listen to, who to take advice from, and who has your best interests at heart. You want to do everything right and make a good impression, so are more likely to sell yourself short, take badly paying jobs, and agree to the infamous ‘performing for free because its good exposure’.
The young artists in Europe are in exactly the same position. I think I have been extremely lucky to return to Australia with a whole new toolbox of experience, however I will not only be based in Australia but Europe too. Being a freelance opera singer is a very nomadic life, with most of us not really having a home. It is not easy, but a serious consideration for anyone thinking of entering the profession.
What’s your favourite memory of singing on stage?
This is going to sound a little strange, but it was to sing a one-liner in La Traviata. Let me explain.
It was my first ever ‘performance’ at the Deutsche Oper. I had been working all my adult life to perform at an A-level (one of the best in the world) opera house. The night arrived. Not only was my first walk-on role in one of my favourite operas at Deutsche Oper Berlin but also, the main primo baritone part was being sung by Leo Nucci. Leo Nucci is one of the all-time greats, from the golden age of opera.
I remember standing backstage waiting to go on, listening to the soprano singing in full flight just before my entrance. I savoured that moment, because I knew how special it was and the journey I had been on to reach that point. I will always remember it.
What is a typical day in rehearsal like for you?
Luckily, in the world of opera, there is no such thing as a ‘typical day’. I think that is partly why so many people are initially drawn to the idea of opera as a career. No two days are ever the same.
It really depends on what the production is, if you are called for rehearsal, or need to study alone. Usually, each individual does most of the work before bringing this into the rehearsal room together.
You must prepare and learn the music yourself first. This can be many hours and days sitting alone studying the score. No one else can do this for you. I quite like that it is so heavily dependent on the individual, because you are in control of how quickly everything will be completed. If you are ahead of schedule, you can take more leisure time.
Before rehearsal begins, usually around 10am, I wake up around 8am so that I have plenty of time to wake my body and voice. No singers enjoy singing in the morning. Rehearsal can be scheduled for the morning, afternoon, or sometimes evening.
It is not common, but some days you may have rehearsal for three or four different shows in the same day! This may be staging rehearsal, music rehearsals, or one-on-one coachings. There may also be a performance of some kind in the evening.
There is usually only one thing that remains the same every day, and that is the large amount of coffee consumed to survive.
What style do you feel best suits your voice as an instrument, and how do you train for that preference?
It is an extremely important step, discovering what repertoire you should be singing and what characters you will eventually be employed for. So many young singers audition with completely inappropriate arias […] because of the size and colour of their voices. Most of the popular pieces are written for dramatic, powerful, and large voices; or voices that are extremely flexible with ringing, almost mechanical-sounding high notes.
If you are a young singer, it is unlikely you will be employed as a father/mother character or older character. The style you are best suited for usually comes after a few years of experimenting with repertoire or finding out where your voice naturally sits. Feedback from audition panels and guidance from your teacher can usually help in the initial stages.
My particular voice seems to be Italianate by nature, with an ease in the higher register for baritone, which could mean I eventually move into Verdi repertoire, which requires these attributes. However, because of my age, singing roles such as the Count in Le Nozze di Figaro, Don Giovanni and Guglielmo from Cosi fan Tutte are better for my vocal health and longevity at this time.
What are some of the vocal warm-ups that you find are most effective or enjoyable?
Vocal warm-ups are essential for good singing; like stretching and warming up before you exercise. The same applies for your vocal apparatus before you sing.
Depending on what time it is in the day, if you have had enough sleep, if you are hydrated, have had a few drinks the night before, or are stressed out, your vocal warm-up may differ day-to-day. My routine usually starts with some gentle humming, to see what state my voice is in. If I have to sing in the morning, I will start with humming but eventually move to some louder sounds while I’m showering. The steam is good for your voice, and the acoustics in the bathroom are always good. I will sing a few phrases from whatever the show is. I might sing along with some of my favourite songs on Spotify or YouTube. Nothing is pushed or ‘made’ to do anything. I find that the way you warm-up is the way you will sing. Everything should be done in an easy way. I try and allow my voice to get ready by itself, maybe with a little assistance, but it is never a good idea to force it to do anything.
Warming up my lower register is probably my favourite. The whole idea is to make snarly noises and ugly sounds in your chest voice before transferring it into an actual nice sound. It is hard to describe, but I make lots of nasal, very Australian sounding short ‘ah’ sounds with my tongue sticking out, with no pressure on my throat. Yes, singing is complicated, and no, these are not the sounds I make onstage. However, they help me wake my voice up and allow it to sit in the right place.
Disclaimer: everyone is different, and different approaches will work for different people.
How do you like to protect and nurture your voice throughout the week, when you’re not on stage?
There are many different ways to help protect and nurture your voice. Everyone will approach this differently and what works for some people may not work for others. I know a few professional singers who can drink and smoke as much as they want without it interfering with their singing. My voice does not work like that.
One thing I have tried to manage over the years is when and how to exercise. I have found that weight training can affect my voice and make my muscles tight, especially around my neck and shoulders. As an opera singer, the results from weight training are directly contrary to what is required for easy singing. I do not train on singing days (this is difficult when every day is a singing day), but try to train in the gaps between.
We live in an image-focused world. Looking fit and healthy plays a part in being successfully cast in a role, but you must still be vocally healthy. This has been an ongoing debate within the industry for as long as I can remember.
Water is also a singer’s best friend. Staying hydrated helps prevent the vocal chords from drying out and from potential overuse. I try to drink as much water throughout the day as possible and always take water to rehearsal with me. I avoid crowded, loud areas and try not to raise my voice. It is not about being overly precious but just mindful that everything you do to your body will in some way have an affect on your voice.
Has performance anxiety ever been an issue for you?
Any performer that says they have never experienced some kind of performance anxiety is lying. It is completely normal to feel anxious or nervous before you perform or during the performance itself. As a performer, we are constantly putting ourselves in high-stress situations. The more successful you become, the more pressure you will have to deal with. Anxiety can even arise when you are nowhere near a stage or performance. It can happen at anytime if you allow it to. Training your mind how to think about things can be extremely beneficial. Good singing is intertwined with a healthy body and healthy mind. If you feel relaxed and excited, you will usually perform well. If you feel stressed and upset, the opposite will happen.
Our anxiety arises because of our fight-or-flight instinct. Our mind and body know that these situations are not good for us and could potentially result in us being ‘hurt’ in some way. I have found the best way to deal with this is to try and use the same energy in a positive way. After years of experience with this, I have been able to identify what triggers these feelings and have discovered my own tools for dealing with it.
Simple thought changes and reminders such as, ‘I am just singing songs, not saving lives’, and ‘aren’t I meant to be enjoying this?’ seem to help. Massive amounts of preparation beforehand also alleviate stress. The more work you put into preparing for the performance beforehand, the less you need to worry about on the night. Worst-case scenario, go back to your relaxed breathing. If you can’t breathe, you can’t sing.
What are some of the skills you’ve developed throughout your singing career that mightn’t be so obvious?
My memorisation skills and ability to retain large amounts of information has definitely improved. This was highlighted during my time in Berlin. At one stage, I had four different operas in three different languages in my mind, ready to rehearse and perform. The downside of this ability for mental storage is that sometimes I forget smaller details, and less relevant information. I think my mind has become so used to the process of learning large amounts of information and quickly discarding it once it is no longer needed, that my short-term memory suffers.
The speed at which I learn has also improved. I have developed my own way of optimal learning. I discovered a video on YouTube one day that explained the concept of deep learning. It is when you disconnect from all your devices, including your phone, email, Facebook, etc. Give yourself quiet time to focus on the task at hand. It sounds simple, but we live in a world that is constantly connected. Making the time for yourself is a great way to get things done. No distractions; complete focus on one thing.
Another skill I have become better at is learning to conserve my voice and energy. As a young singer, there is always a tendency to ‘sing out’ and prove to the people around you that you deserve to be there, to present yourself well and to show everyone around you that you’re good enough. You do not need to do this. Your voice is precious and needs to be looked after. If you know you can sing the role and have rehearsed adequately, you will be able to take your foot off the pedal sometimes, and give yourself a break. It is very easy to over sing and to tire yourself out for no reason. Figuring out how to ‘mark’ and plot through a rehearsal is an important skill to learn.
What advice would you give to other young singers looking to embark on their careers?
Technique should always come first. Your ability to sing in a healthy and efficient way should be your number one priority. Your technique is your foundation and what will set you apart from other singers. Characterisation, presentation, languages, self-promotion all come later. There is no point focusing on building a website, or applying for scholarships or jobs, if you do not have the fundamentals to sing. Yes, these are all sorts of important areas you can work on and so many ingredients required to establish a career. But good singing should come first.
Finding the right teacher is extremely important. The teacher-student relationship is a unique partnership that requires good communication and understanding, on both sides. Your teacher should guide you and encourage you. Sometimes a tough-love approach is required. However, singing is such a personal experience that this should always be done in a safe environment.
Rejection is part of the career. You need to get used to the idea that you will be rejected more than you will be successful. It is a hard road. Some colleagues will be luckier, and be in the right place at the right time. There is nothing you can do about that. Work on yourself. Work hard when others rest. This goes for every aspect of your life. Don’t be out-worked.
There is no point in being jealous. Focus on your own voice, on the work that you put in. You are responsible for your own success. If you get rejected and knocked down, take a moment to assess what happened and why, then move on to the next thing. If you love opera, if you can’t imagine doing anything else, then go for it. Life is not a rehearsal.
See Sam Roberts-Smith perform in Carmen with West Australian Opera, 21-28 July in His Majesty’s Theatre, Perth. Did you read our interview with Carmen herself, Milijana Nikolic?
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.
