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. In this interview, we chat with Teddy Tahu Rhodes, who has made waves across New Zealand and Australia as a bass baritone. In 2004, he won an ARIA award; two years later receiving a Limelight Award; and two years after that a Helpmann Award. Not a bad run, hey.
Now, Teddy – who has also performed with Opera Australia, Metropolitan Opera, Scottish Opera, New York City Opera, Washington National Opera, and more – will perform the lead role in the West Australian Opera’s production of Don Giovanni. We chat with him about the role, and about life as a professional opera star in Australia.
Who is Don Giovanni?
Don Juan (Giovanni) is the fictional legend portrayed by the Spanish writer, Tirso. Don Juan is portrayed as a wealthy libertine who devotes his life to seducing women; taking great pride in his ability to seduce women of all ages and stations in life. An extremely immoral person who believes in only his way and, as a result, faces the consequences of his immorality.
What’s your favourite memory of singing on stage?
There can never be one moment of favouritism. I have, in some ways, performed all my life – from the school choir to New Zealand Youth Choir before becoming a soloist. I still recall playing the Tin Man in The Wizard of Oz at my primary school aged 11. There have been so many wonderful occasions. The fact I still get to sing is a privilege.
What is a typical day in rehearsal like for you?
Rehearsals usually start around 10am. I try to get to the gym before the rehearsals begin, it invigorates my mind and body and I feel ready to start the day.
During the rehearsal, we work through the opera scene by scene, not necessarily in order. We set and memorise the movement and rehearse the music. The conductor, the director, and other cast members are present as well as the production team.
There are usually two three-hour rehearsals per day. Once all the scenes have been set, we start to run the opera in order, stopping and starting as needed.
What style do you feel best suits your voice as an instrument?
As I have matured, my voice has changed considerably. These days, I am much happier in the darker roles and certainly in the bass register. I am also conscious of playing characters that suit my age. Being in my 50s, I certainly would no longer consider playing roles such as Figaro (and probably would never be asked, anyway).
What are some of the vocal warm-ups that you find are most effective or enjoyable?
I have to confess, I am not really one to warm up! Maybe a quick hum of a few low notes to check it’s all there – but frankly, if it is not, there’s not much I can do about it! So I generally just head out on to the stage with faith and belief and trust in what I know how to do.
Of course, as a bass/baritone, it’s quite different from singing as a tenor or soprano, I imagine, who extend their voices to places I can only dream of.
How do you like to protect and nurture your voice throughout the week, when you’re not on stage?
I don’t like to be too precious with my voice. I live a relatively healthy lifestyle (I like to think).
What are some of the skills you’ve developed throughout your singing career that mightn’t be so obvious?
That’s an interesting question. I’ve certainly developed an ability to learn large amounts of music in other languages and commit to memory in relatively short time periods. I’m quite visual in learning, so seeing the page of music is important in that process. Hence, I really like using a bound score rather than an iPad, which is common these days, as without the score one doesn’t have any concept of page difference.
I sometimes wonder if the skills we take on board as a child somehow already define our future journey. I studied language at school for no specific reason, without realising the impact that knowledge would have in my career. Maybe coincidence, but sometimes I think not.
Performing has also taught me to step outside of myself on stage and be prepared to take risks with a character. You want the audience to see the character and not you in the opera.
What has been the biggest struggle in your career and how did you push through?
Doubt. Doubt that I was good enough. That still lingers and is maybe the catalyst for continued appreciation of the career I am part of.
I can still recall my debut at the Sydney Opera House, about to walk on in La Cenerentola, petrified at the prospect. I was surrounded by some wonderful performers in the chorus who literally said ‘We are here for you’. I have never forgotten that, and truly believe it’s often others who are your support upon which you ride. Without them that night, I’m not sure what would have happened. Colleagues and friends!
What advice would you give to other young singers looking to embark on their careers?
I was fortunate to get an opportunity out of the blue. People say ‘lucky’, and I was. However, I was prepared in a way, as every night after work (I was an accountant) I would go home and often stand in front of a mirror and just sing. Sing along to recordings, sing things I loved. I would still take lessons, and in fact I had learned Handel’s Messiah basically from memory, well before I ever needed to or had any prospect of performing it – simply because of my love for singing.
So my advice is: be prepared for the moment. You never know when that ‘moment’ may be. If you aren’t prepared for it, then it will pass you by. And just do it because you love it.
Teddy Tahu Rhodes will perform the lead role in Don Giovanni with the West Australian Opera, 20-27 October. Book your tickets online.
READ NEXT: Soprano Rebecca Castellini performs the role of Zerlina in Don Giovanni.
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.
