How did you get into opera?
“I have been singing as long as I can remember, before I could really speak I was having a boogie to music and humming along. As a South African immigrant coming to New Zealand, one day at the age of five at day-care I stood up and did my rendition of the national anthem (bearing in mind we were South African immigrants) because I thought that’s what people did. I had something to say and I wanted people to hear it. My day-care loved it and actually started a group where the kids went and sang to groups of up to 300 people. From there on, my parents could see singing was something I was really enjoying so they got me into singing lessons and this sort of morphed into opera at a really young age. After that, I started touring with orchestra groups, performing with companies and doing private commercial concerts. I was ducking out of class to sing between lessons and rushing back. Opera got me through some really hard times growing up, I was severely bullied from early primary school too early high school. I was hugely creative, sensitive and at the time struggled with my weight. When I was singing, I felt special and I had a reason to be listened to. Even in my young adulthood my struggling with anxiety and depression music has healed me - it is and always has been the reason I want to get up in the morning.”
What are your goals for the future?
“On the immediate horizon, I’m preparing to do a North Island tour with the Auckland youth orchestra group. Then, I’m performing in West Side Story with the Auckland Philharmonic orchestra. I perform regularly with the Auckland opera studio and the New Zealand opera company in choruses and solo work. I am currently preparing to go to the states and the UK at the end of this year to audition for university and young artist/opera programmes. I have dreams of performing at the Metropolitan opera, La Scala and the Royal Opera houses. I am building a career overseas so that I can represent New Zealand internationally.”
Tell us about this initiative you began for young people in opera.
“When I was 18, there was a lot of conversation about how to make opera singing a career; how to get funding to sing. I was scared, is this career really a possibility for me and my friends. I realised there was a gap for people who are between pre-professional and professional who would really benefit from this sort of thing. So, I contacted Perpetual Guardian, and they took me seriously at such a young age. Within two years we’d raised $40,000 worth of scholarships and funding for young opera singers and instrumentalists."
What do you hope to get out of LSQ?
“I’ve been attending Lexus Song Quest since I was ten years old. Sitting excitedly in the audience listing to Amitai Pati, Isabella Moore and most recently Joel Amosa. I thought to myself, one day I’m going to be up there, I’m going to be a part of this and make it happen. Now the time has come, and I am both excited and full with gratitude I’m so ready to learn and to be amongst my talented peers in this experience.”
Who inspires your practice? Do you have any creative influences or heroes?
“Oh – there are so many people. Lisette Oropesa, Nadine Sierra and of course Maria Calas. Amina Edris has been a huge supporter and mentor of mine, she is doing incredible work representing overseas. When I was little and scared about performing my parents would tell me to “be like Monserat Caballé”. If I’m lucky enough to get through to the finals, I want to get up there and sing from the heart and from my inner power the same way Caballé did. Also having the chance to work further with these incredible coaches and the final Judge (Teddy Tahu Rhodes) who have so much international experience and wisdom as well as performing with the New Zealand Symphony Orchestra, it doesn’t get better than that”.
What does it mean to be a woman in opera? How has it shaped your experience?
“To me, every time a woman in opera steps on stage it is an opportunity to represent and continue to pave the way. There is no doubt that the market of sopranos especially is saturated and we have to work hard to be noticed. This industry is undoubtedly difficult, there are many moments of self-doubt or rejection that we have to work through - we have to have each others back. If we won’t lift each other up then who else will? We are so lucky that change is being made in this industry and especially in New Zealand. If we can create a safe and positive environment for all musicians, we will continue to flourish and have more opportunities to support each other successfully. And, genuinely."
