“Leave the ego behind and be vulnerable”

BY STEPHANIE ESLAKE

 

It’s a busy month for Ayse Göknur Shanal. This week, the Australian soprano will sing Strauss’ Four Last Songs with the Ku-ring-gai Philharmonic Orchestra; almost immediately after which she’ll perform at the Bowral Autumn Music Festival and then the Penrith Symphony Orchestra.

So before she jumps into her hectic schedule of events, we take time to chat about how she prepares herself and her voice, and her illustrious career so far.

 

Hi Ayse, great to chat with you as you step into some exciting activities this month – namely, the Four Last Songs. You’ve been dubbed “a renowned interpreter of Strauss’ mighty song cycle” – impressive! Tell us what this work means to you.

Hi! It’s great to chat with you guys, too! Well, it’s very nice to hear such accolades; I don’t know how deserving I am, but I love singing the Four Last Songs because they are deeply spiritual. They talk about a soul’s last moments on this earth and its journey of giving up the body; embracing death with complete surrender and peace. I think we all reflect on our purpose in life and wonder what happens afterwards.

Vocally speaking, these songs are like honey for the lyric soprano voice, wonderfully long flowing phrases and very organic. Each of them are masterpieces in their own right. I feel so blessed to be able to perform them with Maestro Terracini and the KPO.

You’ve jumped on board at super short notice to perform this work as Taryn Fiebig has very sadly pulled out due to illness. So how do you prepare for a performance in such a short space of time? 

It’s what we have to do as opera singers sometimes – and we, singers, carry our instruments in our bodies. So in terms of preparation, these days my schedule is quite full with engagements. The plus side to that is I don’t have to do much to sing the Strauss into my voice. I have done [the songs] before, so now I have an idea as to how they sit in my voice and body.

It’s important not to over-prepare. These songs require vocal stamina and flexibility. Dame Joan said to me once: ‘Don’t leave your high notes in the practice room’.

It is a privilege to step in for a beautiful colleague like Taryn. I wish her a speedy recovery.

What are some of the biggest challenges naturally found in this Strauss? 

The Strauss requires a spinning sound, stamina, and breath support. The breathing must be organic. If you start pushing to make a bigger sound, you will not make it to the end and you will run out of steam by the end of the first movement.

My approach to the Strauss is to be fully present with each note; to not look back and not to anticipate the next phrase. This is so important. These songs have massively long phrases and require a huge breath capacity. The vocal responses must be spontaneous and without calculation, otherwise you run out of breath very quickly and start building tension. My responsibility is to narrate the beautiful poetry of Hesse and Eichendorff, through the mastery of Strauss’ composition.

Another important aspect to these works is that I am presenting them with the Ku-ring-gai Philharmonic Orchestra, under the baton of Paul Terracini. So the aim is to create a unified sound together – breathe and emote together. Honesty is very important. You have to take the masks off, leave the ego behind and be vulnerable, when you stand before your fellow musicians and the audience.

We just had our first rehearsal. The musical chemistry and the magic of such an experience cannot be described in words.

Speaking of stamina, you’re also performing at the Bowral Autumn Music Festival not long after this event. How do you maintain that healthy balance of practice and performance for your voice? 

Yes, I am really looking forward to performing with harpist Verna Lee on 23 March at the Bowral Autumn Music Festival; and then the Mozart Requiem with Penrith Symphony Orchestra, again with Paul conducting, the following evening.

During a hectic performance schedule, I only focus on what is in front of me and try not to anticipate the next gig. I keep the vocal practice to a minimum and just keep reading through the score. Healthy mind and healthy body means healthy voice, so staying hydrated and eating healthy is important. I also try to walk and meditate as much as I can; to keep the breath moving.

You were born in Brisbane, but you have studied and travelled right across the world. As a young singer, why did you feel it was important to leave Australia?

I was very fortunate, because I started winning many of the national competitions here, along with scholarships to study overseas, so those circumstances kind of decided my career path for me and I went with the flow.

I was what you would call an ‘early achiever’, which has its advantages and disadvantages. My voice was still developing and I was getting exposure to the highest level of vocal and theatre training in the best institutions in the world. I think it is important at any age to go out and see the world to get a perspective on life and your position in it; to experience different languages, cultures and people. Through all of this, as a young person, [I’ve come] to realise that I am really no different from anyone else and that Australia is a lucky country with its rich mosaic of cultures. This is the major lesson that has shaped me as an artist, more so than the musical training.

And you’re now based back in Australia. What does the Australian musical landscape give you as an extension of your European experiences?

I have two boys and they need stability and a home base. However, I am increasingly travelling overseas for singing engagements and coming back. The Australian musical landscape might seem tiny and isolated compared to, say, Europe or North America. For me, the world has become increasingly smaller and I love making direct connections with international music organisations and fellow musicians. The experience has become universal and incredibly rich and rewarding, whether I am singing here or overseas. I feel at home anywhere.

Finally, what are you looking forward to bringing Australian audiences when you perform the Strauss? Will we hear any of your European influences or techniques in this European work?

I am looking forward to making music as a fellow human being and having that human experience with my fellow musicians at KPO, with Paul and with the audience. In that moment, there are no identities, nationalities nor time. All of those cease to exist and we are all there to witness and experience a collective sharing of love, beauty, and eternity through music.

Any parting words?

Love, blessings, hugs, and kisses!

 

 

Ayse Göknur Shanal will perform Four Last Songs with Ku-ring-gai Philharmonic Orchestra on 17 March at The Concourse, Chatswood. She’ll then head over to the Bowral Autumn Music Festival taking place this 23-25 March; and will sing with the Penrith Symphony Orchestra on 24 March.

 

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Images supplied. Featured image by Al Hamra.