BY BRIDGET O’BRIEN
UPDATE 15 JULY 2019: Stuart will revisit this role with the Sydney Symphony Orchestra this July 25 and 27.
The dramatic colossus Peter Grimes washes up on Brisbane’s shores this week.
Benjamin Britten’s thrilling work lifted a generation of opera, composing roles that demand as much character verisimilitude as vocal verve to conquer the roaring and unforgiving tides written into the work.
To many, it’s unconquerable.
But helming this performance is homeward-bound Australian heldentenor Stuart Skelton. Stuart’s Herculean voice has brought this tale of tragedy, injustice, and accusation to a catalogue of esteemed international stages. Stuart’s voice is one of hefty proportions, and one that promises to rattle its listeners. Thanks to Brisbane Festival, he has been recruited to perform Britten’s title role.
Ahead of these performances, Stuart chats with us about the necessity of sharing such a narrative, the societal examinations in the piece, and how his gumption and patience carved a path into the career he has today.
Peter Grimes is an Australian premiere exclusive to Brisbane. Why do you think it’s important for Brisbane audiences to see works outside of the usual recurrent repertoire?
I think it’s important to see Peter Grimes because it’s one of the greatest operas ever written, whether it’s within or outside the usual recurrent repertoire.
Why is Grimes a story Australia should behold?
Important in Australia to show us what happened or what can happen when we allow the ‘mob’ to rule. And I am referring to any mob. Any time a group tries to prescribe a form of behaviour as being the ‘only’ acceptable one, or proscribe other forms of behaviour because that mob doesn’t agree, you have a problem.
The Sun Herald wrote that “Stuart Skelton was born to play the role of Grimes”. Do you find that with such acclaim there comes greater responsibility?
Indeed, there does come a responsibility to always be at your utmost best. Often, however, that additional responsibility comes from within, or is self-imposed with even greater strength than it is externally.
Your instrument and its fach has drawn you into roles of profundity and pathos like Seigmund, Tristan, Grimes, and Parsifal; stories estranged from the glamour and buffa that often typifies the genre. Are there any roles or repertoire you have longed to be able to perform?
I would love to try and do a funny slap-stick role, just once. To see if I could make it work, to be honest. No idea which role, but something funny.
You’ve spent much of your career as an expat, hailing from Australia but studying and performing internationally. What made that initial overseas opportunity right for you?
My initial way from Australia is due to the City of Sydney Performing Arts Challenge (Sydney Eisteddfod, as it was then) and the McDonald’s Aria, which I won in 1993. I was not allowed to avail myself of the scholarship until I left Australia to further my studies.
How was your experience of discovering your voice’s enormity and capabilities as a young singer?
Scary and thrilling in equal measure. And an exercise in patience.
Your collaborations have been with some of the world’s best. Which artists have you learnt the most from?
Almost always conductors: Edward Gardner, Sir Simon Rattle, and Daniel Barenboim and Ben Heppner the Canadian Heldentenor – who was instrumental in my formative years post-study – have been involved in some of my most extraordinary experiences.
Is there a checkpoint of career fulfilment that you are still chasing?
Not really, no. Except to record Peter Grimes, but I have a date for that, so I’m actually pretty content, all up.
Of all the productions you’ve performed in, which has had you the most excited or proud?
Grimes at the Proms in 2012 with English National Opera, I think, will always be a standout for me.
Is there anything else you’d like to add for young singers who may be reading?
Yes, indeed. Learn languages, to fluency. And get an accountant.
Stuart Skelton is due to set aside his frankness and candour this week in these greatly anticipated performances. His embodiment of Grimes is on show only twice with Opera Queensland at the Brisbane Festival, September 20 and 22.
You can also listen to Stuart in his new album Stuart Skelton: Shining Knight released on ABC Classics.
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Images supplied. Production shots by Robert Workman; headshots by Sim Canetty-Clarke.
