BY STEPHANIE ESLAKE
When soprano Morgan Carter was accepted into the Royal Northern College of Music, they were looking straight down the barrel of a $60,000 educational investment. So their reaction upon receiving a supportive $20,000 bursary — falling to the floor, crying, screaming with happiness — sounds fairly reasonable.
The British/Australian artist received the 2022 Brian Boak Outstanding Performer Bursary, allowing them to pursue their dreams of studying a Master of Music in Opera Performance, which kicks off this September. On top of their bursary, the award-winning musician has also received a scholarship for the course. (That’s fresh off the back of two scholarships they’d received at the Sydney Conservatorium of Music.)
What makes these achievements all the more outstanding is how they’ve emerged from the complex challenges of Australia’s opera scene. Morgan — who was once told they weren’t “feminine” enough to secure roles as a soprano — tells us they are the first non-binary recipient, and first South Australian recipient, of this bursary. In this interview, they tell CutCommon what this means to them, and how they work towards their goals in an industry that’s largely built on — and continues to perpetuate — gender stereotypes.
Morgan, congratulations on the Brian Boak Bursary! How did it feel when you found out you received this bursary and could start planning your dream of study in the UK?
I found out that I was the recipient of the Brian Boak Bursary in May 2022, six full months after I’d already accepted my place at Royal Northern College of Music — along with its $60,000 price tag. I was lucky enough to also receive a generous scholarship from RNCM, but at the time of my acceptance was still wondering how I’d make it work financially. I had modest savings from working part-time during the pandemic, as I was also a full-time student. But after drawing up an Excel spreadsheet of my current savings, income, and expenditure for the duration of my studies, I knew I’d need help.
When I got that congratulations email from Empire Theatres, it was instant relief — like a huge dark cloud had suddenly lifted. I was at my full-time job as a hospitality manager, just setting up for evening service, and I burst into tears. I literally fell to the floor, it got to the point my colleagues were worried about me. I could barely speak but by the time I managed to tell them the news, we were all crying and screaming!
So why did you want to apply for this bursary in particular, and pursue studies in the Royal Northern College of Music?
This bursary fell into my lap, quite literally. When I was stressing over how I was going to fund my journey, and thoughtlessly scrolling Facebook one night, I saw a sponsored post about applications for this bursary, which I’d never heard of before. I literally remember thinking, ‘couldn’t hurt to apply’, and I’m so glad I did!
In terms of pursuing postgraduate studies, while it’s not exactly necessary for a career in opera, it is a huge help, simply because of the time dedication and quality of coaching and technical work provided.
I always knew I wanted to study in the UK, as I’m a dual citizen, but the appeal of RNCM was its world-class facilities and vocal coaches, any of whom still currently perform the repertoire I want to train in and perform.
They also offer an intensive masters, so by the time I finish my studies I’ll still be considered a ‘young artist’ under 27, and be able to apply for residencies and emerging artist programs all over Europe.
As Empire Theatre itself states, an opera singer’s journey is “complicated and challenging”, and difficult to comprehend for those outside the career. How do you connect with this statement? And if indeed you do connect with it, what drives you to confront industry challenges?
The biggest challenge pursuing this career as a young artist is definitely financial support. There is no doubt that opera is an expensive profession to break into. There are countless hours of training with teachers, vocal coaches, language coaches, repertoire coaches, repetiteurs — the list goes on — that form the foundation of every singer’s technique.
Then, if you’re incredibly lucky, this leads to paid work — and if you’re even luckier, a full-time job in the profession.
I have always supported my own career with no financial help from relatives or sponsors. Working retail from 7am-3pm, then teaching singing between 4pm-6pm before a 7pm-10pm rehearsal for whatever show I had coming up, is not uncommon for me.
I have been lucky enough to receive various grants, scholarships, and awards throughout my studies that have allowed me to train and travel to work with extraordinary coaches. But nothing quite as significant as the Brian Boak Bursary.
My drive and ambition in overcoming these challenges comes from my immense desire to perform for people. There is nothing more special than the feeling of a curtain call after a performance. It’s always driven me to keep spending countless hours perfecting my technique, preparing my next grant application, and often working three non-musician jobs at a time to support my career when there are no grants.
When you reached out to CutCommon, you told us you were “hoping for a story to encourage and inspire other non-binary artists and encourage others in Australia”. As the first non-binary recipient of this bursary, how do you feel your achievement helps pave the way for all artists in Australia to strive towards their biggest career goals?
Opera is a very traditional artform, and very often lacks the diversity that is seen in other artforms, particularly when it comes to gender.
I remember when I shaved all my hair off, a coach told me I wouldn’t get roles because I didn’t look ‘feminine’ enough to be a soprano. And the truth of opera is that it is heavily based on appearance and presentation. You’re told to audition wearing a dress and heels if you’re a soprano, and a suit and tie if you’re a baritone.
I know there are many non-binary opera singers in Australia, as I am friends with a lot of them. Most of them feel they have to conform to gender stereotypes to get roles. I know of very few artists who fully embrace a style and presentation that deviates from the gender binary. By being the first non-binary recipient of this award, I hope to show other non-binary artists that you can be your authentic self and still win awards and follow your dream. After all, it’s all about your voice in the end.
Speaking of being all about the voice, in a statement, you talked about “confusion” regarding your voice during vocal development, including its extended range and the tonal qualities. Tell us a bit about the types of training or roles you enjoy or search for in your career.
I’ve had many vocal coaches over the years who have labelled me from contralto all the way to coloratura soprano. I have spent most of my professional career as a mezzo-soprano, however moved up to soprano territory in late-2020.
With the warmth and range in my voice, my current teacher and coaches have settled on lyric soprano, moving into dramatic repertoire as I get older. A dramatic soprano typically reaches full vocal potential around 35; only then can I look forward to singing those huge, beefy soprano roles all dramatics dream of, like Brunhilde, Salome, and Turandot. I currently enjoy studying the more lyric repertoire and am studying Lady Macbeth, Liù, Musetta, and Donna Anna.
Before you’re off to the UK this September, you’ll have one more performance — the title role in Iphis with Lyric Opera. What are you most looking forward to when it comes to this performance?
Iphis is an incredible 70-minute chamber work by Australian composer Elena Kats-Chernin. It was written in 1997 and only had one season, which is upsetting as it’s such beautiful writing. But it’s not hard to see why. The story presented in the opera is of Iphis, born a girl but disguised as a man her whole life to please her overbearing father; a non-heterosexual love story, Iphis wishing she could change her gender for good so she can love who she wants. It all would’ve been very confronting in 1997. But 2022 is a fantastic time to present the Melbourne premiere of this work, as acceptance and diversity within the community has come a long way, with LGBTQI+ people leading lives mostly free of external judgement and archaic views.
I’m most looking forward to the challenge of acting this role! I’ve played ‘pants’ roles before — where the character is a man — and even a trans woman in the Australian premiere of As One in 2020. But I’ve never played a woman playing a man before. It should be an interesting challenge!
Keep up to date with Morgan’s operatic career and achievements on their website, including their performance in Elena Kats-Chernin’s Iphis with Lyric Opera from 26 August to 3 September in Theatreworks St Kilda, Melbourne.
Learn more about the Brian Boak Outstanding Performer Bursary through Empire Theatre.
Images supplied.
