Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?
When I was around 8 or 9 years old my mum and dad were keen for me to have cornet lessons with the local brass band (Llandudno Town Band) as they thought it would help with my asthma. Not only did it help with my breathing but it fired in me a musical flame that hasn’t gone out. My teacher there was the late George Brookes MBE, a virtuosic player and a true gem of a human being. My lessons there, including the instrument itself, were totally free of charge and I am confident that without this early musical education, I would not be a professional musician today.
I started singing lessons relatively late, at the age of 15. My first teacher, Siân Wyn Gibson, encouraged me to sing classical music though at the time all I wanted to sing was musical theatre. She suggested I audition for the RNCM, having studied there herself; I got in and I haven’t looked back. She was wonderful then, and she’s wonderful now.
What have been the greatest challenges of your career so far?
The greatest challenge I and many other musicians face is the sacrifices we make in our personal lives. It is all one great balancing act. I love my work and am always looking to develop and grow, but I know the busier I get the less time I can spend at home. It took years for my partner and me to find that balance and what works for us, but we are now happily settled (and engaged, after 13 years together) in Stockport with our two dogs Wotan and Gunther.
Which performances/recordings are you most proud of?
I recently did a ‘jump-in’ for Opera Holland Park as The Duke of Mantua in Rigoletto. I had three days of rehearsal ahead of this role debut and I have never been so terrified, but with great risk comes great reward and it was the most thrilling thing I’ve done to date. It’s not often I give myself a pat on the back but I think I did a good job there.
I am proud of all the recordings I have made, they are of course time capsules, so sometimes I cringe and think ‘I wouldn’t do it like that now’, but this is the nature of recording. One such instance is a recording of Elgar’s Caractacus that I was a part of pre-pandemic. This was another last-minute affair. I had two days’ notice to learn this gargantuan work, the role of Orbin is not for the faint-hearted. It’s high, and it’s loud. It was a dream cast of soloists, conducted by Martyn Brabbins with the Orchestra of Opera North. These sorts of gigs can be hellish, but with a team like that it made for a memorable experience involving very lovely people.
Which particular works/composers do you think you perform best?
I adore singing Britten’s opera. I have done 5 roles to date but more recently, I’ve explored Verdi a little more and found some of his roles a great fit.
How do you make your repertoire choices from season to season?
Oh, I don’t have such luxuries, if an offer comes and I like the sound of it, I say yes!
Do you have a favourite concert venue to perform in and why?
Though I have only performed there once as Tom Rakewell in The Rake’s Progress, Snape Maltings made a deep impression. Wonderful acoustics and a truly unique atmosphere.
What do you feel needs to be done to grow classical music’s audiences?
We must work towards creating new music all the time, music that is relevant for all audiences. Performing the classics must continue of course, but we cannot neglect the need for contemporary music, voices, stories etc
What is your most memorable concert experience?
Performing in a private recital in Venice alongside Bryn Terfel. Stunning surroundings and getting to sing the Pearl Fishers duet with Bryn. I’ll never forget it.
As a musician, what is your definition of success?
My answer to this has changed since the pandemic. I would say success for me now is to earn enough money so that I can spend as much time with my family as possible and that, ideally, I’d like to be earning that money by performing the music that I love.
What advice would you give to young/aspiring musicians and composers?
Be yourself. It’s a cliché but it’s a cliché for a reason. Be yourself and embrace all that you bring to the table.
What’s the one thing in the music industry we’re not talking about that you think we should be?
We should be talking a lot more about how to diversify artistic management. The conversation is wide open about diversity on operatic stages or in orchestras, but until the industry as a whole reflects society I fear classical music will struggle to engage new audiences.
What’s next?
In the Autumn I make my Opera North debut as Prunier in Puccini’s La Rondine.
Where would you like to be in 10 years?
I would love to be able to say that I am still a musician working in a thriving, well-funded classical music industry in the UK.
What is your idea of perfect happiness?
This changes but right now I’m fantasising about a gathering of my friends and family, plus dogs, aboard a yacht in the med, eating the world’s finest seafood with copious amounts of white wine. That sounds nice, right?
What is your most treasured possession?
My piano! It isn’t even a good one, but I don’t know what I’d do without it.
What is your present state of mind?
I’m juggling a lot at the moment with this new album (Unveiled) and other work but I’ve also got my wedding to plan! So I’m a tad stressed but hugely looking forward to next season and all it will bring.
What was the inspiration behind the Unveiled project?
Britten’s Seven Sonnets of Michelangelo were the inspiration, especially in these new translations by Jeremy Sams. They led me to curate the rest of the album and I hope people enjoy this collection of songs.
How can we ensure that classical music has meaningful LGBTQ+ representation?
There is ample representation of queer artists in the industry; what is lacking is queer stories being told through music and words. We need more songs, operas, ballets etc that are telling contemporary, queer stories loud and proud.
Unveiled is out now on Delphian Records. Elgan presents a live album launch recital at Wigmore Hall at 1 pm on 29 June. Info/tickets
Artist photo: Rayfield Allen
Discover more from MEET THE ARTIST
Subscribe to get the latest posts sent to your email.
MEET THE ARTIST 