BY STEPHANIE ESLAKE
Some tremendous visiting artists have come to perform with musicians of the Australian National Academy of Music. And, even if you’ve been keeping up to date with our interviews, it’s still hard to get used to the idea that someone as famous as Sara Macliver is just, you know, casually dedicating her time to make music with the next generation of Australia’s musical talent.
It’s hard to get used to it because Sara is “one of Australia’s most popular and versatile artists“, which means she has a whole heap of knowledge to share with any young musician who may cross into her path.
The soprano performs with the nation’s leading orchestras, and its smaller groups, too — Australian Chamber Orchestra, Australian Brandenburg Orchestra, Pinchgut Opera, and Musica Viva, to name a few.
Sara has more than 35 CDs to her name, but you’ll get to hear her live in a concert that, at once, celebrates her work with the emerging musicians of ANAM; her talent as a master of song; and the narratives we can find in music that reveal the strength of women.
We chat with Sara ahead of the aptly named Song Cycles with Sara Macliver, in which she’ll sing Grieg’s Haugtussa, Schumann’s Frauen-Liebe und Leben, and some works by Mozart and Duparc along the way.
Sara, ANAM has called you “one of Australia’s finest sopranos”. Obviously, a title like this doesn’t come easily! How do you feel about having “made it” in your career?
It’s lovely to be referred to as that, but I don’t ever feel I’ve ‘made it!’. I certainly feel very proud of my achievements, and incredibly privileged to have worked in the industry for the past 25 years. I’ve tried to remain grounded, and focused my energies on working hard. I never take anything for granted, and treat every performance equally — no matter how big or small. I’ve also tried to maintain a balance in my life, and I think that’s really helped.
You’ve performed with the biggest orchestras, chamber and opera companies in Australia. At what point in your career did you stop feeling anxious or nervous about these new opportunities, and really start to embrace the joy within?
I have had to work hard at overcoming performance anxiety. I believe that’s a lifelong journey, one that is probably shared by many artists. However, despite the fact that I get nervous for every performance — which I believe is a good thing — I have learnt to channel my nervous energy into positive, productive energy. That dose of adrenaline can be very effective in giving a performance that extra ‘edge’ and finesse that it needs.
I believe that an open, honest discussion about how performers experience and deal with performance anxiety is really important to share with young, emerging artists. The fact is, we’re all human, and some of us find performing harder than others. We should all feel encouraged and nurtured by sharing our experiences.
Why do you think you’ve been in such high demand as a performer in Australia? Is it purely to do with your technical skill, or do you feel you have other qualities, such as networking and kindness, that are even more desirable for performances?
I think there are many factors to success. I would hope that my musicianship and technical ability are of a very high standard, but I would also like to think that I’m easy to work with. I am always respectful of the conductors I work with. I am open to their suggestions and their interpretation of the music, and I will always go away from a rehearsal and work on those elements that are different to my own.
I have always loved working with all the incredible musicians I have met over the years. I’m not a ‘diva’ at all, and I just get on with the task at hand and enjoy making music in a collegial and fun way. I’m not a big networker; I place a lot of importance on kindness and fostering the friendships I have made over the years.
In your ANAM concert, you’ll be working with young pianists. What should they know about maintaining a professional relationship with sopranos such as yourself — as opposed to working with a conductor, or orchestral members?
When a singer and pianist work together, particularly with lieder, it’s a partnership. Just as a singer needs to understand the intricacies of the piano score, the pianist needs to have a clear understanding of the text and where the singer needs to breathe. When the two work as one, it can be incredibly moving.
As far as maintaining a professional relationship, I think it’s important to always be respectful to your colleagues, both professionally and personally. Make sure you’re always well prepared for your rehearsals, and receptive to new suggestions and approaches to the music.
As an artist, what do you get out of working with ANAM and its musicians, in a way that’s different from what you gain when working with major orchestras?
I always love coming to ANAM. There’s a unique atmosphere there, which I’m sure is partly due to the fact that all the students are so passionate about their music and so incredibly talented. They’re all on the precipice of the next exciting stage in their journey as a musician, and it’s really wonderful to witness that and, in some very small way, be a part of that. I think that serves as a reminder to me of how lucky I am to be doing what I’m doing, and a chance to reflect on how far I’ve come.
It’s an interesting time for burgeoning arts practitioners, who exist in a culture that at once praises the value of the arts in society, and highlights challenges — such as funding and burnout. How can today’s emerging musicians achieve a healthy mindset as they enter their careers? And how can institutions like ANAM help?
It is certainly an interesting time for burgeoning arts practitioners as we all seek to ‘stake our claim’ in the arts world. My advice would be to remain true to your intentions and your beliefs. Continue to work hard with integrity, kindness, empathy, and an enquiring and open mind.
That probably sounds a little cliched, but the reality is, we can only be responsible for ourselves. If we strive to be the best version of ourselves, then that’s all we can do; the rest is fate!
I also think that working hard at fostering professional relationships and the connections you’ve made at places like ANAM will serve you really well.
As far as burnout goes, keep a balance. Practice and work hard, but also socialise with your friends and family, exercise, eat well, and talk to your buddies about how you’re coping. Or not! Now I’m sounding like a mother!
Let’s talk about the program you’ll be performing. With the Schumann and Grieg, there’s definitely an undertone here! First, the Grieg is about “a young woman who is rejected by her lover and finds solace in nature and the powers of the underworld”. Contrary to recent criticism about the portrayal of women in opera, this work for voice seems to place women in a position of independence and power. Would you agree? How do you feel about, and identify with, this character?
I agree! I think the protagonist in Haugtussa goes through her own journey of grief and abandonment as she deals with her loss and betrayal. She comes to a place of peace and acceptance in her own way, and with absolute integrity.
To me, that shows enormous strength and maturity. I admire her greatly.
Similarly, it seems Schumann’s work on the program also reflects a healthy relationship between a woman and her lover, from their first days together to when they part in death (to which the song is translated: “Now you have caused me pain for the first time”). Do you think so, too? And can we perhaps see a healthier approach to gender through song, in comparison to the bigger and more violent scenes of opera?
Frauen-liebe und Leben is a beautiful love story that is cut devastatingly short. Again, there is so much to admire about our protagonist; her loyalty for one is immense. If you read Chamisso’s ninth poem, which Schumann didn’t set to music, we learn that our protagonist has lived a long life, but never loved again. She gives a beautiful message to her granddaughter on her wedding day, and that is to love fully and truly.
Essentially, the message is ‘to have loved and lost is better than never having loved at all’. I think this shows such wisdom and bravery. Although her loss was immense, she never regretted the love she experienced, and certainly cherished the gift of a child and then a grandchild. It’s a simple message but such a valuable one.
At the end of the day, what do you hope listeners will take away from this program?
I hope the listeners enjoy the experience of listening to the voice and piano weave in and around each other, telling stories, relating emotions and creating beautiful music. I’m sure they will be overwhelmed by the brilliance of the piano students at ANAM, and I hope it highlights the importance of continuing the long tradition of art song recitals.
There is so much incredible music to share, and we must endeavour to find opportunities for artists to perform this amazing music.
See Song Cycles with Sara Macliver and ANAM Musicians at 7.30pm August 14, ANAM, South Melbourne Town Hall.
We’re teaming up with ANAM throughout 2019 to bring you interviews about music education and industry. Stay tuned for our next story!
Images supplied. Sara captured by Rhydian Lewis. ANAM by Pia Johnson.
