News & Views

Member Spotlight: Lucy Thalange - Mezzo-Soprano

Audition Oracle – Mon 25 Nov 2024 @ 17:18

This week we welcome British mezzo-soprano Lucy Thalange as our Member Spotlight. Lucy is a graduate of the Royal Academy of Music and Drama.

 Lucy Thalange - Mezzo Soprano


1. How do you describe yourself as an artist?

I adore coloratura and patter music, Poulenc and Rossini are my love languages.
 

2. What other skills or passions do you have that help shape you as an artist?

I really enjoy boxing. It’s all about grounding yourself and understanding how every part of your body works. A lot of coordination is involved, and it’s great cardio so good for stamina on stage!
 

3. What has been the most memorable and rewarding experience you have had as an artist?

I had a role written for me - The Archaeologist - in a new opera called When the Sky Cracks Open by George Parris. We performed the premiere at the Tête-à-tête Opera Festival. Realising and performing that role for a contemporary opera festival, alongside the composer was one of the most exciting musical experiences I’ve had.
 

4. What role, company or performing situation would be a dream come true for you as an artist?

I would love to be Cenerentola or Carmen at Opéra National de Paris or the Royal Opera House in London.
 

5. What do you like most about being a creative artist?

You know how they say ‘when you can’t express something adequately by speaking, sing’? I have the privilege of doing that for a living, I get to feel every emotion I have to its depth whenever I want. Not on stage? Fine, I’ll go practice!
 

6. If you could go back in time and give your younger self one piece of advice, what would it be?

It will be ok, just focus on your own development and stop letting other people influence your own feelings of self worth. You are worthy.
 

7. Three words that are the pillars you shape your career by:

Exploration, Trust, Friendship
 

8. Where can our followers support you next?:

I’m taking on the wonderful role of Carmen with Opera Integra. The shows are in March and it’s already shaping up to be quite exciting!
 
 
 
Check our Lucy's Audition Oracle Profile and website to keep up-to-date with her latest news.

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Member Spotlight: Anthony Flaum - Tenor

Audition Oracle – Sat 16 Nov 2024 @ 17:35

This week's Member Spotlight welcomes British Tenor Anthony Flaum. 

 

Anthony Flaum - Tenor

1. How do you describe yourself as an artist?

Singer, actor, producer, Artistic Director for Barefoot Opera, CEO of Prologue Opera and general opera-preneur!
 

2. What other skills or passions do you have that help shape you as an artist?

My family. Landscape photography, beach and skyscapes, archaeology, driving around the country, travel, cooking, mixology, languages, being an Excel geek! Many things inspire and interest me. Passion is found in many places.
 

3. What has been the most memorable and rewarding experience you have had as an artist?

A prison project with Pimlico Opera where I sang Valjean in Les Mis. 6 weeks of rehearsals with the inmates, some of whom I kept in touch with, some of whom came out to get jobs backstage. An unbelievably intense, at times heart-breaking, yet ultimately wonderfully positive experience. We also got to meet Queen Camilla as well, who then was just “Camilla”! Also, most recently, a wonderful project at the Crucible Theatre in Sheffield run by Music in the Round where I sung Theseus in Jonathan Dove’s Monster in the Maze (and got to meet him!)….but it was so humbling to be part of such a nurturing and positive community project like that.
 

4. What role, company or performing situation would be a dream come true for you as an artist?

Dreams....well, dream big! In opera, it’s got to be the big dramatic roles in pieces by Tschaikowsky or Verdi e.g. Hermann, Otello. However, vocally I’m probably more suited to lyric roles. From other genres – Camille in Merry Widow, Tony in West Side Story (please!). A juicy acting role somewhere like the National Theatre, the Almeida, the Crucible - contemporary or classic. Chris in Miss Saigon - anywhere!

Plus, a number of dream ideas down here in Hastings - both as a producer and as a singer. So watch this space!!
 

5. What do you like most about being a creative artist?

That you get to make people forget about their everyday lives and lose themselves in a story/world that you are helping to create. For a suspended amount of time, however short, people forget about their troubles and are moved/laugh/cry. Expressing emotion is so important and to be a conduit for that sort of release is a wonderful thing.
 

6. If you could go back in time and give your younger self one piece of advice, what would it be?

Trust your gut - I did the finance degree and went into banking. I knew it wasn't for me and gradually made my way into the industry. Although, I wouldn't change anything about my past, I think perhaps I might have got opportunities quicker had I made the leap earlier! Also, practise more!!
 

7. Three words that are the pillars you shape your career by:

Versatility. Reputation. Learning.
 

8. Upcoming performances:

Planning next year’s educational outreach project of a children’s opera called RED to schools in Sussex as well as a tour of Lucia di Lammermoor (both for Barefoot Opera). Further performances of Becoming Tosca with Prologue Opera and a nice La bohème with Opera South East. Plus, further work on a business idea in the theatre industry to do with sustainability!
 
 
Keep up-to-date with all Anthony's latest projects by visiting his website and his Audition Oracle Profile Page.

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Member Spotlight: Victoria Armillotta - Soprano

Audition Oracle – Mon 11 Nov 2024 @ 10:45

This week our Member Spotlight welcomes British-Italian soprano Victoria Armillotta

 Victoria Armillotta - Soprano

 

1. How do you describe yourself as an artist?

British-Italian lyric soprano / a creative soul very much born in the wrong century!

 

2. What other skills or passions do you have that help shape you as an artist?

Linguist, teacher, fine artist, poet, meditation & pilates practicer.

 

3. What has been the most memorable and rewarding experience you have had as an artist?

Performing Puccini roles: Giorgetta in "Il tabarro" with "Opera Cameratina" (https://www.cameratina.org/) and Mimì in Act 1 of "La bohème" at the Royal Academy of Music (https://www.ram.ac.uk/).

 

4. What role, company or performing situation would be a dream come true for you as an artist?

My top 3 dream roles would be Mimì, Rusalka and Marietta and my top 3 dream houses would be the Royal Opera House, Opéra Garnier/ Opéra National de Paris and Teatro alla Scala.

 

5. What do you like most about being a creative artist?

The special connections you form with audiences and other artists by sharing vulnerable human stories.

 

6. If you could go back in time and give your younger self one piece of advice, what would it be?

Everyone's path is different and that's something to be celebrated!

 

7. Three words that are the pillars you shape your career by:

Authenticity, Dedication, Connection.

 

8. Where can our followers support you next?

Tatyana cover & chorus in Eugene Onegin for HGO, November 2024 - https://www.jacksonslane.org.uk/events/eugene-onegin/.

Mimì in La bohème for Cosmopolis Festival in Kavála (Greece),  December 2024 - https://cosmopolisfestival.gr/en/show-item/la-boheme-giacomo-puccini/.

 

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Member Spotlight: Jan Kristof Schliep - Tenor

Audition Oracle – Tue 5 Nov 2024 @ 12:05

Our member spotlights have proved so popular that we are delighted to return to them earlier than planned. This week we feature German tenor Jan Kristof Schliep.

Jan Kristof Schliep - Tenor

1. How do you describe yourself as an artist?

My website says "Charakter- & jugendlicher Heldentenor" but in short I would describe myself as singer and actor on the opera stage.

 

2. What other skills or passions do you have that help shape you as an artist?

I started my theatre journey as a fire spitter and acrobat in "The Bartered Bride" so ... there's that. I don't do it any more but I could. I play French and Swedish Bagpipes as a hobby. Folk music that is highly built on improvisation which gave me new ideas and freedom in Baroque music. I also like all sorts of crafts like knitting and sewing.

 

3. What has been the most memorable and rewarding experience you have had as an artist?

Singing and playing the role of David in Wagner's "Meistersinger". Perform "Die Zauberflöte" in the fantastic acoustic of the Goetheanum Dornach, Switzerland and singing Tamino in Dutch. There are so many more after having sung about 50 roles.

 

4. What role, company or performing situation would be a dream come true for you as an artist?

Role? Definitely Herodes in Strauss' "Salome". Florestan in "Fidelio" as well. Big overall dream: to finally get out of the dip Corona has created for me and have at least two engagements per season until I retire.

 

5. What do you like most about being a creative artist?

Communication and story telling through the art form of opera.

 

6. If you could go back in time and give your younger self one piece of advice, what would it be?

Be more proactive towards agencies and theatres. Maybe don't enjoy 10 years in a fixed contract as a soloist so much that you don't go to auditions and move on a bit earlier.

 

7. Three words that are the pillars you shape your career by:

Stage presence, diction, storytelling

 

8. Where can we support you on stage next?

They are all on my website. First it's Altoum in "Turandot" at Stadttheater Bremerhaven (performances through till January), a Messiah this coming weekend in November and a Schütz Christmas Oratorio in December. 

Tickets for Turandot at Stadttheater Bremerhaven are availableable here - stadttheaterbremerhaven.de/turandot/

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Baritone Roderick WIlliams shares six steps to help learning a role

Audition Oracle – Wed 9 Oct 2024 @ 12:55

Need help learning a role?

International baritone Roderick WIlliams shares "six little steps to help learning a role".

 

Rodderick Williams - Baritone 

Photograph by Theo Williams

 

1. Explore the source

When possible, enjoy exploring the source novel/story/poem although bear in mind what changes 'opera-fication’ make on the original. What you learn in terms of back story may or may not be useful in creating your operatic character.

 

2. Pay attention to ALL the text

Especially when working in a foreign language (and apart from all the language coaching you may require to sing the role) it’s worth paying attention not only to what your character says, but what others say to you. It avoids your having to stare blankly whenever someone else is singing to you!

 

3. Discover or create your character's backstory

Bearing thoughts 1) and 2) in mind, comb the libretto for any mentions of your character outside your scenes. How do other characters relate to you? Any clues you might find in the libretto to flesh out your back-story will be useful in giving your characterisation depth. And when there are few or no clues, then let your imagination run wild!

 

4. Can you relate to, or understand your character?

It’s easiest to base a character on yourself. Even when playing over-dramatic monsters (and there are a few of them in opera!), whether you like the character you are playing or not, for it to ring true, you need to try to find a way in. Perhaps you can ask yourself, "what choice would I have made in this situation?".  And when that choice is different, try to understand what it is about your character that causes them to turn in their direction. And on some level, you have to try to invest in that choice.

 

5. Give your work a test run

Some people learn operatic roles by themselves, others do a lot of work with singing teachers, opera repetiteurs and language coaches. I find it’s really useful at some point before formal rehearsals begin to sing your role through to somebody. It could be someone with operatic experience who can give you advice from a position of knowledge, but it could be someone who gives you an instinctive response. Can they hear your text clearly? Does your emotional journey ring true?

 

6. Observing other interpretations

Audio and video sources are a very useful tool. It is fascinating to observe how singers, both famous and relatively unknown, have tackled a role and how hugely varied stage directors' responses can be.  When possible, exploring many different versions can help you work out how you want to express the role yourself, stealing the best ideas and rejecting aspects you don’t like. If you have a favourite recording, by all means use that in your learning process but know when it is time to leave it behind. It can be weirdly useful to find details in even the best performances when you think, I’d do that differently. Always go back to the score as your ultimate source and see if you can make what the composer and librettist have written work for you.

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