Welcome to Con Fuoco, our interview series with emerging artists in Australia.
Nathan Bryon is a young tenor in his third year at the Sydney Conservatorium of Music studying a Bachelor of Music (Vocal Performance). Nathan is currently an Associate Artist with Pacific Opera, a Scholar of St Stephens Uniting Church, and performs regularly with other Sydney-based ensembles.
In 2017, Nathan performed in Cavalli’s La Calisto at the Sydney Conservatorium, and Maunder’s Olivet to Calvary at St Stephen’s. He performed his role debut of Podesta in Mozart’s La Finta Giardiniera with Operantics, and Odoardo in Handel’s Ariodante with the Apollo Opera Collective. Nathan performed as tenor soloist with the Orange Regional Conservatorium in Mozart’s Requiem, and looks forward to performing it with the Penrith Symphony Orchestra under the baton of Paul Terracini.
In 2016, Nathan premiered pieces from ARIA Award-winning Sally Whitwell’s new musical Unrequited at Broadway Unplugged. He also performed with the Leichhardt Espresso Chorus to premiere Heather Swann’s multimedia performance artwork Nervous at the National Gallery of Australia. In 2015, Nathan was accepted into the Washington National Opera Program for Young Singers in Washington D.C, where he undertook training with renowned singers including Harolyn Blackwell, Richard Stillwell and Elizabeth Bishop from the Metropolitan Opera.
Your all-time favourite piece of music?
I think it’s impossible to pick just one! If I had to say, most of my all-time favourites are in art song and lied. I really enjoy the challenge of finding the detail you can find in that three minutes of song, and how much your interpretation can change every performance.
If I had to pick one, it would be Silent Noon by Ralph Vaughan Williams.
Biggest fear when performing?
Definitely mixing up words! That being said, I only really get nervous if I’m not 100 per cent on top of my preparation, so I guess that’s a great incentive to make sure you’ve put in the hard yards before show time.
Most memorable concert experience?
My most memorable concert experience would probably be my first ever role with Operantics: The fabulous Podesta from Mozart’s La Finta Giardiniera. I had such a blast putting that show together with a great cast and creative team – it was hard work and an intense process, but I am so grateful for that experience.
How do you psych yourself up for practice on a lazy day?
Personally, I find it handy to try not to put practice in that headspace of approaching it as a chore. I really enjoy unpicking technical issues or drilling those tricky phrases in a work – I guess I like the challenge.
I also try not to schedule my practice as a set amount of time, because the body will react differently to practice depending on how you’re feeling overall. For me, I try to aim for a few half-hour sessions every day – sometimes I get more in, sometimes I get less!
Most embarrassing moment on stage?
This is a great question. My most embarrassing moment would have to be back when I was still in Dubbo as a student. I was doing a lovely pantomime with Western Plains Theatre Company, and we had this kind of simple painted forest back-drop that was just weighted down to the floor. I forgot a prop about five minutes before the beginners’ call, and tried to sneak behind the set – and in the process ended up knocking the whole thing over, and stood there like a total stunned mullet! Very embarrassing but funnily enough, now I do the odd bit of work in stage management so I guess it’s safe to say I’ve learnt from the experience.
Best piece of musical advice you’ve received?
This is a tough one! I had the privilege of watching a phenomenal Pacific Opera Masterclass recently with Opera Australia German diction coach Tanja Binggeli. I learnt so much listening to her talking about the relationship of good consonants with good vowels, and how only when they are married correctly do we get good line. You hear a million times growing up that you should ‘think of vowels as the clothes line, and consonants just clipped on’, but this new way of thinking has really helped.
Favourite post-gig ritual?
A wine, a good book, and a nap!
What are you most proud of in your musical career so far?
I don’t know if it’s something I’m most proud of, but I’m really enjoying having the opportunity to make wonderful music with phenomenal people. I’m at the beginning of the journey and I can already tell it’s going to be a tough ride – but I think it’s definitely going to be worth it!
What do you love most about making music?
Communicating those hours of work you have put into creating something to an audience. I think there’s so much work involved in creating good art, and it’s so easy to forget why we do this when you spend your days learning the dots on the page. I always try to think about this right before I walk on stage.
What’s your ultimate goal?
To be able to sing, travel, and earn a wage from it!
Nathan will perform with Operantics in St Matthew Passion on April 7 and 8 in St Stephen’s Uniting Church, Sydney. For more information visit the website, and bookings right here.
Images supplied. Operantics captured by: John Kilkeary.
