BY STEPHANIE ESLAKE
Opera singer Cleo Lee-McGowan has won countless awards and a string of scholarships – but still persists with academic studies through her Bachelor of Music with Honours at the University of Melbourne. A student of performance, she is also taking classes in French and Italian and uses her skills as a way to respect the songs she presents on the stage.
Cleo, who will sing with the Melbourne Philharmonia Project on December 2, has in the past performed in productions across Australia including Madame Butterfly, Guys and Dolls, Die Zauberflote, and shared the stage with Teddy Tahu Rhodes and Greta Bradman.
Cleo tells us about the power of language in music before she presents Strauss’ Four Songs with MPP at the Hawthorn Arts Centre (want cheap tickets? Join us to score a discount when you book).
Tell us about your background. What drew you to singing in the first place?
Singing has always been a part of my life; I was in choirs throughout my school years. When I was younger, I tried learning other instruments as well, like cello and piano. Although I stuck at them for several years, they never clicked like singing, which has always felt very natural. I am fortunate enough to have had wonderful teachers who have guided me to follow my passion.
You’re studying languages now alongside your degree – how important is it for an opera singer to be able to speak a language, and hold a conversation as well as sing?
It is so important! You really must understand what you are singing about. It is simple to find an English translation online, but having a solid grasp on foreign languages, in particular Italian, French and German, allows you to gain a greater understanding of the nuances of the text, and how they interact with the music. This helps a singer to delve into the subtleties of the composition, and create a fluid and believable performance.
What do your language studies teach you about opera that you hadn’t expected?
It can really help you to understand the motivations of the character, and his or her emotional arc throughout the opera. In this way, the character can become less two-dimensional. It is also interesting to see the variation that composers of different backgrounds can offer to the art form, and how the nationality of a composer can affect their music, whether that be compositional style or choice of subject matter.
You’ve won a string of scholarships and prizes – tell us a bit about the work that goes on behind the scenes. How do you transform yourself into an award winning singer?
I think it is important for me to be consistent in my practice. Unfortunately, the voice is quite a fragile instrument, so you can’t overdo it by practising all day. Instead I find it more effective to spend a productive one or two hours at a time focusing on problem areas. In terms of performance practice, I aim to seize every possible opportunity that crosses my path. I think that I learn something new with every performance. Your body is your instrument, so singers must take care of themselves. Therefore, I aim to be fit and healthy, stay hydrated, and get a good night’s sleep. It’s important to keep a balance in life, although sometimes you do have to sacrifice a night out when you have a performance coming up!
You’ve achieved so much success so far – so how far into your future do you imagine yourself studying? When is the amount of academic knowledge and experience you attain ‘enough’, and how can people measure this for themselves?
I would say that as an artist, you never stop studying and honing your craft. To say that you no longer need to learn is to say that you are perfect, and have nothing left to improve upon. I hope to continue to develop as a performer for many years to come.
You’re performing Strauss at the upcoming MPP concert FATE. What’s your personal connection with Four Songs?
The Four Songs held a lot of meaning for Strauss, as he gifted them to his wife, soprano Pauline de Ahna, as a wedding gift. I think Strauss’ love for Pauline shines through in these songs. He was able to capture the essence of Pauline by exploring the emotions that are experienced when in love, from torment to infatuation, from celebration and intimacy, to hope and bliss. They are evocative pieces that take you on a journey, and I can relate to the sincerity of the emotions that Strauss conjures through his music.
See Cleo perform with the Melbourne Philharmonia Project in FATE, December 2. More info (and how you can score a discount) here.
Image supplied. Credit: Daniele Martinie.
