BY ALEXANDRA MATHEW
We would like to welcome Alexandra in her first story as a CutCommon contributor.
A well-tailored aria is a like a glass slipper. Finding the right music to fit one’s voice can take a long time, and young singers must be prepared to try a lot of repertoire before discovering what truly works.
Of course, a way to circumvent this issue is to compose for one’s own instrument, something composer and soprano Sophia Winton discovered early on in her career.
Sophia recently released her debut operatic single Come Away, recorded at London’s Abbey Road Studios (read on for a listen). Come Away reveals Sophia’s luscious soprano voice and gift for captivating melody. Her well-crafted compositional style is accessible yet not a watered-down version of classical music, and does not shy away from the full bloom of the operatic voice. Rather, Sophia presents something that is appealingly cinematic and technically assured.
The Perth-born artist has loved classical music since she was a child, and hopes her compositions will captivate new audiences in the way she was initially captivated.
As a performer, Sophia — despite her accomplishments — continues to work hard at honing her craft, much in the same way that a professional athlete trains at his or her own sport.
We chat to Sophia about the joy of being one’s own muse, necessary entrepreneurship, and finding the right microphone for the job.
What sparked your love of composition?
I started when I was a child, so I don’t recall what prompted that first composition. But I was musical: violin from age 3. Classical was the only music allowed in our household.
When did you first discover an aptitude for and affinity with operatic singing?
We were lucky enough to have a seasons subscription to the Sydney Opera House for a time. I was one of the few children in attendance, and I decided then that that was what I wanted to do. As luck would have it, turned out I had a decent voice up my sleeve, which was uncovered in school choir.
I believe the operatic voice is underutilised in contemporary classical. I hope in time to further popularise the instrument, take it to wider audiences, and make a meaningful contribution to the available literature. I really don’t think there is a more powerful, poetic nor colourful instrument out there. The only drawback as I see it: the common cold! That and syncopation, which doesn’t fly too well.
Does your work as a composer open up new avenues for your singing?
Yes: it offers a different platform, and represents a more exciting and progressive outlet for me. The old masters are great, of course, and they will always have my devotion. But creating new work is thrilling and what I most want to do.
Do you compose primarily for your own voice, or are you inspired to work with a variety of voices?
Yes, I am currently my own muse. We have a good relationship, me, myself, and I. Works well financially, and there are generally no artistic differences.
I may be open to broadening my collaborations in future, but for now we are quite content!
I have a nice dramatic coloratura toy to play with, and don’t expect to tire of it anytime soon.
How do you find establishing a balance between the admin side of your work and the composing, and then of course the hours spent practising?
It is a juggling act and I wear many hats, as many people do when they’re starting out. My favourite hat is ‘composer’, and my least favourite hat is ‘IT helpdesk operative’, probably because I am severely lacking in techy talent. Technology is great, whether it’s as a creative tool or for direct broadcasting to your public, but it can also be a complete pain in the backside.
Because I am also the performer, I have to train a lot, too. I say ‘train’ rather than ‘practise’ because I’ve always seen being a singer as more like being an athlete than anything else.
Currently, I am in training for my first album, which will be a mix of classic operatic arias and original compositions.
Recording in Abbey Road Studio is an impressive feat. What is it like to record your music in a space used by some of the greatest classical and non-classical musicians of the 20th and 21st Centuries?
Abbey Road has a fantastic mic locker including a bunch of pricey vintage microphones, and the technicians are great, too. That is why I went there. In the end, I found my forever microphone, which is the same mic Dame Kiri te Kanawa uses or used, reportedly.
I recorded in the same room where they recorded Dark Side of the Moon. If you ever record there, please note you should allow more travel time if arriving by car, on account of the constant stream of tourists recreating the Beatles album cover by crossing at the pedestrian crossing outside the studio.
You describe your second single as a ‘jazzy classical crossover’. Do you feel that crossover is an integral part of keeping classical music alive and appealing to younger audiences?
Yes and yes. My plan is to release half-classical and half-classical crossover tracks. Crossover appeals greatly to me because of its potential to reach wider audiences – gotta love a thumpin’ beat – and because such fusion is just interesting to work on.
It represents a different challenge – for example, it’s fun to work with different instruments. Also, like most true music lovers, my own music taste is eclectic.
Where do you hope your music will take you in the future?
I was very ill a couple of years ago, and since then I have tried to live more for today and not concern myself too much with the future. Lets say that I hope to be really productive, that people will like what I do, and that I will continue to enjoy my work greatly.
Listen to Sophia Winton’s new composition Come Away on Spotify or find out more on her website.
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