BY ELEANOR WOOD, LONDON CORRESPONDENT
Peter Coleman-Wright has taken on many of the great baritone roles throughout history, singing from some of the most famous opera stages in the world. But his new release Ballads of the Pleasant Life: Kurt Weill, Weimar and Exile is something of a deviation, in which the Geelong-born artist explores cabaret songs of the Weimar period: songs of protest, rebellion and hope. We caught up with Peter in light of his recent performance with the Naxos Quartet at the Adelaide Cabaret Festival.
Your career spans more than 30 years. How do you think opera and opera companies have changed in this time?
Yes, I have been singing for over 30 years. The business has changed considerably. The pressure on making opera ‘trendy’ or ‘viable’ has meant the emphasis has shifted from great singing and singers to famous conductors or directors and administrators. It is very difficult for young emerging singers to know that they will have the longevity as an opera singer that many of my generation were able to enjoy.
Often in an opera singer’s career, particularly when they are well-known, a schedule is planned well in advance. Do you find there is still room for instinct and spontaneity?
Yes, I think so. When one is riding high, there are often opportunities that come in that clash with existing contracts. I was always told to honour one’s commitment and accept one’s destiny. New works and exciting projects are often planned far in advance and therefore give the artist plenty of time to carefully choose repertoire and roles to suit their careers and voices.
What challenges do you think today’s opera singers face?
There are many fine singers all over the world. The most obvious issue is for young singers to create their own unique voice and be able to stand out.
There are not as many secure positions within opera companies. The competition is far greater and therefore singers have to be ready and prepared from the moment they first present themselves to artistic directors, conductors, directors or the general [public].
What drew you to the Weimar Republic and this particular period of history?
When the Nexas quartet asked me to sing with them, I immediately thought of the cabaret style which I felt would work well with a saxophone quartet. The more I delved into this period, the more wonderful the music I found. It was full of rich and diverse poetry and music.
Many of these songs seem to have a sense of social and political protest to them. Was this important for you to capture, and how do you think these themes resonate with audiences today?
I didn’t seek to make any political statement but working with texts from the likes of Brecht and Gilbert helped considerably in preparing a theme for this album. The rise of Nazism in Germany during the Weimar period and, in particular, the battle that the Jewish composers and writers were dealing with, provided a huge tapestry for me to choose from.
The parallels with the world that we are living in today have really been quite alarming – and the fact that people never really learn from history in any way!
You’ve sung many of the most celebrated baritone roles – Don GIovanni, Scarpia, Marcello – in distinguished opera houses. Does the way in which you approach a composer like Kurt Weill differ at all from preparing for an operatic role?
I must admit that years of singing a huge and varied repertoire of all genres has helped me treat all music in the same way. I try to respect the composers’ and poets’ wishes, and to be as truthful as I can. Kurt Weill and the other composers on the album were all prodigious talents and require a secure technique to sing.
Are there any areas of repertoire that you’d still like to explore? Or, any dream roles you would like to perform?
I have been a very lucky singer. I have been able to sing the most wonderful roles in some of the greatest opera houses the world over. I adored singing Giovanni and Scarpia, Billy Budd and Sweeney Todd, but felt honoured to create many new roles which stimulated both the brain and the voice.
I don’t think I have any dream roles, having performed around 75. I would quite like to do an older Don Giovanni before I get too old to be credible.
What would be the most important word of wisdom you would want to pass on to young singers?
If I had my time over again, I would spend much less time trying to please everyone. And [I’d] trust my own instincts. If young singers want to make their mark in a very tough profession, I would stress that they need to know who they are and what they want to say as a singer and artist. If they are able to do this with truth and integrity, they are on the way to a rich and rewarding profession.
Click here to buy your copy of Peter Coleman-Wright singing Ballads of the Pleasant Life.
Image supplied.
