Who or what inspired you to pursue a career in music and who or what have been the most im-portant influences on your musical life and career?
As a child I had selective mutism, a severe anxiety disorder, and speaking outside of the home or a small circle of trusted people was incredibly hard. My mum sang in the local choral society and I loved watching her at the concerts, and my sister and I played the piano from a young age, and I also had violin and viola lessons so music had always been a big part of our lives. My parents often put music on in the car and we’d sing along (it was really cute!). They noticed I had a nice voice; after that I started singing lessons and it soon became clear that singing could be a really important tool to help soothe and improve the anxiety I felt so strongly. I sang in numerous choirs, and as I became more confident in my speaking, I ran with the idea of music college and singing and didn’t look back.
I was so lucky to study with some fantastic people at the Royal Academy of Music and Guildhall School of Music and Drama, all of whom still continue to inspire me to this day, and I’m lucky to continue to work with them. The people who I collaborate with inspire me, and my musician friends inspire me so very much – we are always changing and developing, and I love that we all have the opportunity to learn from each other.
What have been the greatest challenges of your career so far?
I’ve found that taking more of a “bespoke” path has been a scary one. I decided not to go for a traditional singer route (a young artist opera programme) fairly early on in my time on the opera course at Guildhall School. This choice is unnerving at times, but it feels like the best fit for me. I love having a portfolio career – I want to do opera, song, concert repertoire, you name it! I want to have a rich mix of styles in my working life. Each art form informs the other genre, and I would hate to have just one niche to focus on. If I can keep all the different performance plates spinning, I’ll be very happy. Who knows if it’s possible, but I’ll keep trying!
Which performances/recordings are you most proud of?
I know it’s brand new but I am really proud of the Schubert CD with Ian Tindale for Delphian – we’ve been friends for so long and music making with him is always so much fun. It is very im-portant to us that we are seen as equals in our work together and not that it’s my show/his show and I hope that our disc showcases that.
Which particular works/composers do you think you perform best?
Oh, this is a tough question! I think art-song is something I just can’t really do without – the micro-scenas, the incredibly colourful sound-worlds, the intimacy and vulnerability of it, the drama! I find it irresistible. I love singing Strauss/Mozart/Handel/Bach – the drama and beauty in these composers’ skillsets makes it a joy to explore their works. I don’t know if that’s what others think I perform best, but I get a lot of joy out of singing this repertoire.
What do you do off stage that provides inspiration on stage?
I am very lucky to work with the girls’ choir of Christ Church Cathedral Oxford, Frideswide Voices, and the Frideswide Consort (a youth choir of teenage ex-choristers). Children have a refreshing honesty and their imaginations are in technicolour, they can find joy in even the smallest of things and I love that. For Frideswide Voices in particular, they inspire me more than they would know; they are becoming ever more fearless, and despite having limited rehearsal and service time com-pared to other choirs, they deliver brilliant things. And on top that they are great fun and their joy for learning is unstoppable. St Frideswide is the Patron Saint of Oxford, and her name means “Strong Peace” – they and the staff team embody that word in every way.
How do you make your repertoire choices from season to season?
Quite often the repertoire is decided for me if I’m asked to participate in a specific opera/ oratorio, and then it’s quite nice not have to decide! It’s also helpful for my own programming; seeing what people think I am capable of, and it allows to think about what I would like to stretch further and im-prove on.
As a recitalist there is so much good art-song out there, and so much stuff to research, there’s always something new to discover. I love a themed recital, and I like to create a programme that has something for everyone. It is dependent on who you’re working with, what the group does best as a set, which can be totally different depending on who you’re with. Environmental factors of where you are and what audience is likely to attend also plays a huge part. Generally though, it’s all de-pendant on the brief given for each particular project/collaboration.
Do you have a favourite concert venue to perform in and why?
Well, Wigmore Hall is incredibly high up the list, the hallowed hall of art-song and chamber music: it’s hard not to feel all the feels at the chance to perform there! I really like the Holywell Music Room in Oxford – it’s a lovely acoustic to sing in, but also I love that the audience is on all sides of the performers, creating an intimate and welcoming atmosphere. I don’t have a particular favourite, but if I had to narrow in down today it’d be those two.
What do you feel needs to be done to grow classical music’s audiences?
Music Education – the government needs to be putting more money behind music in schools. Music is not an additional extra, it is a tool that aids other learning structures. Everyone, no matter who they are, listens to music – it is impossible not to hear music in some way, shape or form dur-ing the day. Why is the government shutting it out when nearly all people crave music as part of their identity? It’s getting harder to grow classical music’s audiences without further investment in the school stream. Thank goodness for people like the shadow secretary for culture, media and sport, MP Thangam Debbonaire, but we need much, much more help.
What is your most memorable concert experience?
I still remember the very first time I sang “in concert” – it feels like it was yesterday. I sang “Hello young lovers” from the King and I during a church service; I had been going to this church for years, the majority of the congregation will have most likely have barely heard me speak, and I’m sure would have thought I was quite aloof (selective mutism wasn’t really a thing back then, and to be honest I think it’s still taken with a pinch of salt now).
My body was shaking, my nerves were off the scale, but from the moment I sang and thought “this is the first time in my life I am standing in front of people and I am on some level calm” – it was a huge release, and I had a real sense of escapism. I often think about it and am so grateful that I found singing, even with the ups and downs of the career!
As a musician, what is your definition of success?
For me personally, the definition of success would be “am I enjoying the experiences I am doing”. I feel like there’s no final “end point” in music, we are always improving and learning and it will al-ways be an up and down rollercoaster. Whatever the gig, however big or small, I always want to find joy in music making, I want the audience to have the chance to escape from the real world for the concert – I can’t control what they think, but if there’s one person in the room that is carried along by the text and music then that’s great.
What advice would you give to young/aspiring musicians?
Go to as many concerts/shows as possible and listen to music that isn’t in your sphere of genre.
Also, don’t just perform – explore teaching, work outside the music sphere – build a portfolio of skill-sets.
If you’re a singer, don’t assume you’re one type of singer! Do opera, do song, do contemporary, do historical performance. You never know where your future lies, don’t limit yourself.
Also, always be nice – it’s very easy to do, and people always remember and value it.
What is your idea of perfect happiness?
A day off in the summer holidays (where I will mostly hide in the shade!) – When I could go swim-ming, play board games, and eat good food with lovely people forever!
Image: Benjamin Ealovega 2021
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