Themba Mvula, Baritone & Choir Director

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?

I have loved making music from as early as I can remember. By the age of fourteen, I knew I wanted music to be my life. I envisioned myself as a singer-songwriter or a music producer, but definitely not as an opera singer — I’m not sure I even knew what opera was at that point! My secondary school music teacher played a pivotal role in my development, encouraging me and providing access to a wide range of musical experiences, which really expanded my horizons. These included music trips abroad, choir competitions, music technology events, recording studio sessions, and opportunities for my boy band to perform at venues such as the Royal Albert Hall.

What have been the greatest challenges of your career so far?

One of my ongoing challenges has been integrating the different strands of my musical identity in a coherent way. Being immersed in various styles and musical worlds (choral, opera, gospel, pop, jazz) has made it difficult at times to know which version of myself to bring into a rehearsal room or on stage, and which voice to use. One of the joys of the past few years has been learning to embrace this tension and combine the best elements of each world in a way that feels authentically me.

Which performances/recordings are you most proud of?

During lockdown I performed in a filmed version of ‘Bhekizizwe’, a one-man opera by Robert Fokkens. This project resonated deeply with me, allowing me to tap into parts of my own story that don’t normally get explored in operatic work. I really enjoyed the close-up acting style required, and the vocal versatility needed to switch characters and accents constantly. Another proud moment was preparing my Lichfield Gospel Choir to perform in Bach’s ‘St John Passion’ with English Touring Opera. It was a real journey to get the group to learn these chorales — by ear — ready to perform from memory and in full harmony, but they did it, and with so much commitment and expression. I’ve never felt prouder as a choir director!

Which particular works/composers do you think you perform best

I’m a words person, so I’m at my best when performing a text, or a story I really connect with. The libretto for ‘Bekhizizwe’ by Mkhululi Mabija is absolutely brilliant; the words feel so alive and direct, which brings out the best of my performing instincts. I find new work like this extremely energising and liberating, partly because no one else has performed it before, so you don’t have to contend with the thought ‘this is how it’s normally done’. I do also love singing different versions of Shakespeare songs, as well as the old Italian love songs that wear their heart on their sleeves.

What do you do off stage that provides inspiration on stage?

I really enjoy connecting with other artists who are creating innovative and exciting work, and draw a lot of new ideas and motivation from them. Waste Paper Opera has been a long-time inspiration; their current project ‘Dead Cat Bounce’, for example, does something incredibly bold and innovative with the form of the oratorio. Currently, I’m reading ‘The Empty Space’ by Peter Brooks which is giving me a lot of food for thought around the purpose and potential of theatre. I’m also rewatching the animated series ‘Midnight gospel’, which uses animation so imaginatively to elevate very real human stories and conversations. And I regularly discover new music from listening to Giles Peterson’s BBC Radio 6 Music show.

How do you make your repertoire choices from season to season?

In opera, I’m looking for projects that tell new stories, and to collaborate with people who are moving the art form forward in some way. At the same time I have a deep appreciation of the classics, so I try to keep a balance. When selecting music for my choir, I look for pieces that are really enjoyable to sing, and I love arranging material specifically for them, anything from a Beverly Glenn-Copeland song to a Nigerian lullaby.

Do you have a favourite concert venue to perform in and why?

I have a special affinity with Symphony Hall, Birmingham. Interestingly, it’s the one venue where I regularly appear both as a singer and a choir director. I’ve sung Christus in Bach’s St Matthew Passion there several times with Ex Cathedra, and there’s nothing quite like being right at the front of the stage, nestled in with the orchestra, performing that piece. There’s something about the acoustics too — you feel so close to the audience even though it’s such a huge space.

What do you feel needs to be done to grow classical music’s audiences?

The classical music community must constantly ask itself ‘why are we doing this?’ rather than just presenting the same old music, in the same old buildings, and somehow hoping it will appeal to a completely new audience. Classical music is ultimately a form of entertainment like any other, and if you’re going to persuade people to pay money and give up their time, especially in the current climate where there’s so much else competing for our attention, then you really need to make the case for why. What is it that’s special or particularly relevant or urgent about the piece? Is it a story that hasn’t been told before, or a unique combination of performers, or something out of the ordinary? A special mention to ‘through the noise’, who have adopted a really fresh approach to promoting music events.

What is your most memorable concert experience?

Performing in Mahler’s Symphony No. 2 when I was seventeen in the National Youth Choir of Wales. Standing there in the middle of a mass choir, orchestra below, trumpets off stage somewhere, two operatic singers at the front… I couldn’t believe what I was part of. In the big final chorus part I had shivers down my spine — one of the most incredible musical experiences I’ve ever had.

As a musician, what is your definition of success?

For me, success is about the present — am I doing what I want to be doing right now? Or at least, am I on the path to where I want to be? One of my favourite quotes is from a book called ‘The Rise’ by Sarah Lewis who makes an interesting distinction between success and mastery: “Mastery is not a commitment to a goal but to a constant pursuit”. There’s often a lot of emphasis on specific end goals, like a dream role or venue, and these can provide useful markers of course. However, the feeling of daily progress towards becoming the artist I want to be is equally important. If I’m regularly taking on work that I feel passionate about and that allows me to bring all the different versions of myself to table, then that’s something I view as success.

What advice would you give to young/aspiring musicians?

Spend time thinking about your “why”. A career in music can be exciting and fulfilling, but there are often periods of uncertainty when you’re not sure what’s next. In those moments, it’s extremely helpful to remember why you chose this path in the first place. Additionally, and perhaps more importantly, explore beyond your immediate sphere, whether that’s classical music or another genre. Go to gigs, visit the cinema, read, immerse yourself in art.

What’s the one thing in the music industry we’re not talking about which you think we should be?

The music industry encompasses a wide variety of genres, each with its own unique challenges: pop music differs from musicals, and jazz faces different issues than gospel or choral music. In the realm of opera, representation is an issue I think about a lot. True representation goes beyond merely hitting quotas; it’s an opportunity to engage in meaningful discussions about what defines ‘good’ opera in our time. I don’t hear enough of those conversations. It often feels like we’ve accepted the form as it is, we just need some more black and brown people involved, rather than critically examining the art form itself. While there are some promising initiatives, I worry about their longevity. New projects are confined to short runs in the smaller theatre spaces — which sell out straight away to people who already know about these things — and never actually reach this much talked about ‘new audience’. It’s the big institutions that need to take on this challenge and be awake to all the amazing work out there and support it.

What is your present state of mind?

I’m feeling optimistic.

What is your most treasured possession?

I took a pottery class earlier this year for the first time and made the perfect cup for my morning coffee.

Themba Mvula conducts the Lichfield Gospel Choir at the Wigmore Hall, part of the African Concert Series day of concerts on Saturday 20 July. More information