Samantha Lewis, mezzo-soprano

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 come from a musical family, and my nan was a singer, winning several Eisteddfod competitions with folk songs. Sadly, she died on the same day as my first professional engagement so never heard me properly sing – it was like “passing over the baton”. Saying that, none of my family were classical musicians per se, so taking the route of opera and art song, was breaking the mould.

My support from my dad has been the most important influence- taking me to numerous rehearsals and concerts when I was younger. Also my very first vocal teacher Veronica Donkin and her encouragement for me to pursue music and to believe in myself. This has led me to other vocal tutors which each have played a significant role- particularly Natalie Clifton-Griffith and my current voice tutor, Yvonne Sandison.

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

Having confidence – that was always the biggest challenge ever since I was younger. Once I did what made me feel uncomfortable, singing on my own in front of people and….act! The more I did it, the more I loved it and got used to it.

Managing family life and travelling – I live in the country, on the border of Shropshire and Wales, so I am a bit “out of the bubble” of places like London, but I find chipping away and applying for opportunities and creating your own opportunities is the way forward.

Which performances/recordings are you most proud of?

It has got to be my BSL [British Sign Language] and singing work, and the joy it brings myself and others. It feels like nothing else – total freedom of expression an inclusion for all. I debuted this at Llangollen International Eisteddfod and got to the semi-final. Performing on the pavilion stage was definitely a moment to remember.

Which particular works/composers do you think you perform best?

English song for sure – I especially love composers such as Vaughan Williams, Howells, Elgar, Britten and Michael Head, to name but a few. I also do love performing German and French song, alongside opera.

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

Basically and mainly how my voice is developing – I always have a list of pieces I want to learn but perhaps, just isn’t the right time for myself and for the audience. For example, BSL – I have been developing this for years, but felt vocally and with the signs, it just wasn’t the right time. I believe every person has their “thing” and thus, there is something for everyone to watch

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

Probably St. George’s Hall in Liverpool. The acoustics there are wonderful and it is always fun to perform on a grand stage!

However, more locally I have two favourite venues: the Hermon Arts Centre in Oswestry and St. Oswald’s Parish Church, also in Oswestry; again, both have fabulous acoustics and you can just enjoy yourself!

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

I think inspiration comes from having a life that extends well beyond the stage. Although music is naturally a huge part of my world, through performing, teaching privately and leading a church choir, I find that having other interests and experiences is equally important in keeping me inspired and grounded.

I’m also a veterinary professional, which is a very different side of my life but one I find incredibly rewarding. Caring for animals requires patience, sensitivity and compassion, qualities that I think are just as important when interpreting a character and communicating emotion through music.

Outside of work, I love exploring new places, discovering independent coffee shops, spending time with my labradors and, above all, enjoying time with my family. I also help my husband run his bakery business, which brings another completely different dimension to my everyday life!

I think all these different experiences give me balance and perspective. They allow me to step away from the intensity of performing, enjoy the simple things in life and return to the stage with fresh energy and enthusiasm. For me, being an artist isn’t just about what happens in the rehearsal room or on stage; it’s about being curious, embracing life and having experiences that ultimately enrich the stories I tell through music.

What is your most memorable concert experience?

The first time I used BSL within a performance – there was raw emotion in the room as no one was expecting it. And that, is the beauty of performance – the non-expectance.

As a musician, what is your definition of success?

For me, success as a musician isn’t simply measured by the roles you sing, the stages you perform on or the recognition you receive. Of course, those things are wonderful and exciting, but I think true success is much more personal than that. It’s about continuing to grow, to challenge yourself and to remain curious and passionate about what you do. It’s about being able to communicate something meaningful through music, to move an audience, tell a
story and perhaps make someone feel something they hadn’t expected to feel.

I also think success is about sharing your love of music with others. Whether that’s through performing, teaching a student who discovers a new confidence in their voice, or bringing people together through a choir, those moments are incredibly rewarding.

Ultimately, I would define success as being able to make music that means something, to keep learning and developing as an artist, and to still feel that same excitement and privilege every time I step onto a stage. If I can do that, whilst remaining true to myself and enjoying the journey along the way, then I consider myself successful.

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

I think one of the most important things we can do is make classical music feel more accessible and less intimidating. There can sometimes be a perception that opera and classical music are exclusive, expensive or only really enjoyed by people who already understand the genre, and I think we need to work harder to break down those barriers.

I actually speak from personal experience here, because I used to hate opera! I was very much a choral music enthusiast, and in those days we were rather anti-vibrato! It wasn’t until I went to conservatoire and really immersed myself in the world of opera that I discovered just how extraordinary and exciting it could be. I completely fell in love with it. Looking back, I wish I had been given that opportunity much earlier in life. I wonder how different my musical journey might have been if someone had opened that door for me when I was younger. That’s why
I feel so strongly about introducing children and young people to opera and classical music, allowing them to experience it, discover it and make up their own minds.

Inclusivity is also something I feel passionately about. I have an interest in British Sign Language and combining signing with singing, and I love the idea of finding different ways to make music accessible and meaningful to more people. Music is such a powerful form of communication, and I don’t believe anyone should feel that it isn’t for them or that there are barriers preventing them from enjoying it. As someone who teaches privately and leads a church choir, I see how rewarding it is when people discover the joy and confidence that making music can bring. We need more opportunities for people to get involved, whether through community choirs, workshops, informal performances or accessible concerts. I also think we need to embrace social media and digital platforms to give people a glimpse into the world of opera, both on and off stage. Sometimes all it takes is one performance, one piece of music or one experience to spark someone’s interest.

Ultimately, I think we need to invite people into our world rather than expect them to find their way into it. Opera has so much to offer, and you don’t need to know anything about it to be moved by it. I certainly didn’t, and look where I ended up!

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

I think we need to talk more about the opportunities people never get, rather than just the
opportunities available to those already within the music industry.

There is so much emphasis on nurturing existing talent, but I wonder how much potential we are
missing simply because children and young people aren’t exposed to classical music and opera in
the first place. I didn’t discover my love of opera until I went to conservatoire. Before that, I was very much a choral music enthusiast and, quite honestly, wasn’t particularly keen on opera! I wish someone had opened that door for me much earlier, and it makes me wonder how many other people might discover a passion for it if they were simply given the opportunity.

I also think we need to have a much bigger conversation about accessibility and inclusion,
particularly for the deaf and hard-of-hearing community. Music is so often thought of as something that is purely heard, but there are so many other ways to experience and communicate it. My interest in British Sign Language and combining signing with singing has made me increasingly aware of the possibilities of making music more inclusive. I’d love to see more performances incorporating BSL, better opportunities for deaf audiences to engage with live music, and a greater understanding within the industry of how we can make that happen.
I think we need to question whether we’re doing enough to take classical music out of its traditional surroundings and into schools, communities and places where people might never otherwise encounter it. Perhaps we’re spending too much time wondering how to attract audiences who don’t come to opera, and not enough time thinking about whether we’ve made it possible for them to experience it in the first place. That includes the deaf community.

I believe music should be for everyone, and we have a responsibility to make sure that everyone has the opportunity to discover it. Above all as musicians, we are storytellers and we are
not doing our job, if not everyone is given the opportunity to understand.

What advice would you give to young or aspiring musicians?

I would say, firstly, don’t be afraid to put yourself out there and try things, even if they initially seem outside your comfort zone. My own journey into opera is a good example of that. I never imagined I would fall in love with it, but by being open to new experiences, I discovered a whole world I hadn’t previously appreciated.

I’d encourage young musicians to be curious, to listen widely, to explore different styles of music and never stop learning. Don’t feel you have to fit into a particular mould or follow someone else’s idea of what a musician should be.

I’d also say that resilience is incredibly important. There will inevitably be disappointments, rejections and moments of self-doubt, but try not to let those define you. Everyone’s journey is different, and success rarely follows a straight line. Try not to compare your progress with someone else’s.

Most importantly, don’t lose the joy of making music. It’s very easy to become so focused on auditions, competitions, technique and the next opportunity that you forget why you started in the first place.

And finally, build a life outside music too. Have other interests, spend time with people you love, explore the world and enjoy experiences beyond your profession. I genuinely believe that being a well-rounded person makes you a more interesting and expressive musician. Work hard, stay open-minded, be kind to yourself and others, and never lose sight of the privilege of being able to make music.

What is your idea of perfect happiness?

Perfect happiness for me would probably be a combination of all the little things that make life special. Spending time with my family, having my Labradors nearby, discovering somewhere new, finding a lovely little coffee shop and enjoying those moments when you don’t particularly need to be anywhere or do anything. Of course, music is a huge part of my happiness. Whether it’s performing, teaching or making music with others, there’s something incredibly fulfilling about sharing that experience.

I think it’s also about having the freedom to explore, laugh, try new things and enjoy the people and experiences around you. I’m not sure perfect happiness has to be anything particularly grand or extraordinary. Often it’s those simple, everyday moments that mean the most.
And perhaps a lovely holiday, sunshine and absolutely no washing to do wouldn’t go amiss either!

What is your most treasured possession?

My Der Rosenkavalier score – it is very old, large and gifted by my mother. I have been slowly learning it ever since!

Aside from that – I’ve never been particularly attached to material possessions, but I do treasure things that hold memories. I’m much more sentimental about the people, experiences and moments associated with the object than the actual object itself

What is your present state of mind?

If I’m completely honest, I’m probably in quite a tired but reflective place at the moment! I have quite a lot of different things going on in my life, and I certainly keep myself busy wearing lots of different hats. But I think I’m also in a really interesting place personally and professionally. I still have so much enthusiasm for music, a genuine curiosity to keep learning and a desire to challenge myself and explore new opportunities.

I’m very aware of how fortunate I am to have so many different interests and passions in my life, and I think that variety keeps me stimulated and gives me a wonderful sense of perspective. I’m feeling positive about what lies ahead and excited to see what the next chapter might bring.

Samantha Lewis performs a programme of British song, with British Sign Language at Ham House Stables on Monday 16 November. Find out more here