Welcome to Con Fuoco – CutCommon’s interview series with emerging musicians across Australia.
Stephanie Arnold is a classical soprano based in Hobart. After completing five years of study at the University of Tasmania’s Conservatorium of Music with renowned soprano Jane Edwards, she graduated with a Bachelor of Music (Elite) with Honours in 2014.
Stephanie has been the soprano soloist for Charpentier’s Messe de Minuit pour Noël, Dvořák’s Mass in D, Schubert’s Magnificat, Pergolesi’s Stabat Mater and in 2014 was the soloist for Mozart’s Requiem for Festival of Voices. She has most recently appeared as The Plaintiff in the Gilbert and Sullivan Society’s production of Trial by Jury, and has also participated in masterclasses with Dr Erin Helyard at the Hobart Baroque Festival, Linnhe Robertson from the Guildhall School of Music and Drama and Mezzo-Soprano Rinat Shaham.
Recent awards include the Rob Valentine Award, Sir Basil and Lady Osborne Memorial Lieder Award, Cecil Trowbridge Memorial Award in 2014, Enid Spencer McDougall Award and the Joan Arnold Encouragement Award in 2015. In 2016, Stephanie became the President of the ANATS Tasmanian Chapter.
Your all time favourite piece of music?
It’s too hard to pick just one but I certainly have pieces that I listen to on a high rotation. La Traviata is one of my favourite operas – there’s this really fantastic production by Willy Decker which stars Anna Netrebko, Rolando Villazón and Thomas Hampson which I absolutely love. I also adore The Last Five Years by Jason Robert Brown. It’s a perfectly crafted musical about the breakdown of a relationship over five years – it begins with the wife Cathy at the end of their relationship and the husband Jamie at the beginning. The only song they sing together is in the middle, and then they continue on to the end of the musical where Jamie is at the end of the relationship and Cathy at the beginning. I’ve been known to sing along with this at the top of my voice as I’m driving along!
Most memorable concert experience?
Performing as part of the female chorus in Mahler’s Symphony No. 3 in D minor with AISOI in 2011. It’s such a massive work and I just remember in the final movement watching David Danzmayr conducting with tears streaming down his face. It was incredibly moving to see him so affected by the work and I feel privileged to have witnessed such a special moment.
Biggest fear when performing?
Definitely forgetting the words! There have been a couple of times where I have forgotten what to sing next, but have been able to fudge my way through with words from other parts of the song until I get back on track. My biggest fear is the time that doesn’t happen – and I’m stuck standing there not knowing what to do next!
Best piece of musical advice you’ve been given?
When I first started with my teacher Jane Edwards, she shared with me the concept of thinking about each phrase as a long sausage of vowels and the consonants are the twists in the sausage. It helps me to remember to lengthen the vowels in each word and just drop the consonants in to keep the legato line going.
How do you psych yourself up for practice on a lazy day?
I sit down and listen to some great singers performing some of the pieces I am learning at the time, which usually makes me eager to get stuck into them! Of course, there are some days where this doesn’t work and I just end up listening to Barbara Bonney or Arleen Auger all afternoon – but I think the odd day off doesn’t hurt!
Most embarrassing moment on stage?
About seven or eight years ago, I was relaxing with some friends during the interval of a show we were in. Somehow, we missed our five minute call and we didn’t get to the side of the stage until a minute before we were meant to be on. Usually before the curtain went up for Act 2, we were meant to pick up these small LED candles from on stage. As I was panicking, I hadn’t fully processed that Act 2 had started before I stepped out on to stage. Thankfully, it was only one or two steps out from the legs on the side of the stage, so hardly anyone saw me. But it’s a moment in time that I will never forget. I’m now very diligent about knowing when my five minute call is, and being prepared for the show to start again!
Favourite post-gig activity?
I love being able to go home and just zone out. After my adrenaline has been up for most of the day and my brain has been constantly running through my words, it’s really nice to sit on the couch with my partner Richard and watch a movie or some TV and not think too hard about anything for a while.
What are you most proud of in your musical career so far?
So far, I’m most proud of being the soprano soloist in Mozart’s Requiem for Festival of Voices in 2014. It was the first time I had worked as a soloist with an orchestra, and also getting to work with David Lawrence was amazing – not to mention that it’s one of the most gorgeous pieces of music ever written!
What do you love most about making music?
I love being able to immerse yourself in beautiful music every day and to share that experience not only with other musicians but with an audience.
What’s your ultimate goal?
To be performing music in some capacity for the rest of my life.
Follow Stephanie Arnold’s activities at www.facebook.com/stephaniearnoldsoprano.
Image supplied. Credit: Kishka Jensen.
