JEWELS OF THE BEL CANTO
ELENA XANTHOUDAKIS
London, 28/10/2014
Australian soprano Elena Xanthoudakis, is utterly captivated by the bel canto repertoire. The CD, "Jewels of Bel Canto" released on Signum Classics in March 2014, includes arias by Bellini, Donizetti, Rossini and Verdi. Enjoy her exclusive interview.
If opera had a colour, that would be...
If Opera had a colour? I would have to go with the predominant colour being, red! The colour of love, passion and blood.
Why/ how did you become an opera singer?
I was very fortunate to have gone to a primary school with a music programme as well as a specialist music high school in Melbourne, Australia. I was offered the opportunity to play the flute as well as singing lessons and joined Concert Bands, Chamber Woodwind ensembles as well as choirs during high school. I was also a member of the Australian Girls Choir and gained much performance experience through school concerts, plays, the choir, and singing competitions. Needless to say I loved to perform as a child, and in fact remember my first performance at 4, looking out to the audience and thinking - Oh! I like this! Opera singing however is perhaps a less worn path in today’s world, and having taken classical singing lessons since 13, I discovered Lieder and Art song first and Opera later. Opera appeals to me as I love theatre and it is an amazing art form bringing together music and theatre - and one that I had an affinity for! Plus, I had great inspiration for our Greek Diva - Maria Callas whose integrity, both musically and dramatically are the yardstick to which I measure myself.
What is your relation to Greece? Is there something you would like to change about it?
My relationship to Greece is that I naturally feel Greek in many respects, despite being born in Australia! I am drawn to the music, culture, history, food and people and I think this is only natural! I love coming to visit my family in Athens, Kriti and Cyprus on holidays. I recently was invited to sing for the Academy of Lyric Arts in a Gala Concert ‘Maria Callas’ at the Herodion a few weeks ago - It was a wonderful evening in association with the Greek National Opera. The conductor Lukas Karytinos, chorus and Orchestra were wonderful and the other soloists too - including the amazing International Greek singers of Dimitra Theodossiou and Aryis Argyris. I have always wanted to sing at the Herodion for many, many years and it really was a magical evening - a dream come true! In terms of returning to Greece to sing, I am really looking forward to singing again for the Greek people, hopefully many times. I would love the opportunity work, thus to live in Greece during productions; it would be a joy!
What is your favorite role and why?
It is always so hard to choose a favourite role - favourite music, favourite character...? What a difficult task to find just one! I have always loved performing Adina from "L’elisir d’amore"; I enjoy the music and how fun it is to sing. Plus, I do love a comedy! But, in terms of depth and interest in the character it is perhaps more interesting to play "Lucia di Lammermoor". It is always interesting to explore a character and their relationship with the other protagonists in the story. It is so often in these dramatic tragedies that the female characters are often under strong pressures from family and society to toe the line and behave for the best interests of the family line... such as in Lucia. Lucia, an innocent, young adult, or teenager, is unaware of the real ramifications of the Patriarchal world she must submit to, is driven to madness by being forced into an arranged marriage by her brother. Her journey starts with innocent love, but then she is broken hearted at her lovers’ apparent betrayal, to feeling the intense shock at his return following her forced marriage to another. This extreme trajectory pushes her over the edge… Her final mad scene certainly is a lovely piece of theatre. My favourite role to sing, however is Amina in "La Sonnambula", because, not only is the music a sheer delight to listen to, but it is also a balsam for the voice and a sheer joy to sing. Besides this, in Amina our sleepwalker, there is an ethereal innocence that I love to embody - I love channelling the energy of this pure soul to the audience.
What is your process of learning a role?
For me the process in learning a role begins with text and translation of the libretto. Followed by learning the notes/music, scene by scene. Where possible, reading an original book or source of a libretto or related text, perhaps even watching certain movies set in the period, or reviewing certain artworks, if they relate to the style of the production as per the directors vision... It is very important to me to read what my character says about herself and what others say about her, informing my picture of her as well as reviewing what her socio-economic background is and what social norms might be affecting her in this time. It is important to come to rehearsal with the music memorised and with ideas about how to bring the text and the emotions to life, as well as with a background for your character’s journey - but still to be flexible to what the director wants. Much of the characters ‘psycho-emotive’ journey will be fleshed out in detail in the rehearsal, much of that ‘topography’ or landscape, is naturally given in the music.
Share with us an exciting moment in your career.
There are always exciting moments in the life of an Opera singer! I was over the moon when I won the Maria Callas Grand Prix (Oratorio-Lied) with the highest over all score of all finalists, back in 2003 in Athens! And bowled over when I won the International Mozart Competition in Salzburg! I was so thrilled! But competitions are high stress events so it was a much relief as anything! My biggest thrill perhaps to date was singing Amina in "La Sonnambula" at Covent Garden, both an opera I love to sing in a house I adore.
What do you think about the opera world nowadays?
I think the opera world is in a great state of flux at the moment due to financial restrictions and the difficulties of fundraising, and thus has perhaps reduced some of the work being done at the highest levels but it exists perhaps in different scales and many more smaller scale works, also than before. This isn’t necessarily a bad thing; so long as they can provide a wage to support the singers, creative teams and other performers involved. Having said that, some wonderful work and productions are being made at the highest level and some interesting an innovative work is being done at every echelon. From chamber versions of operas with piano or reduced orchestra, to new operas, re-working and re-imagining of classic operas, from abstract interpretations to the grand productions we see in the largest houses. Personally, I welcome the art on all levels, but do feel some trepidation that the level of funding and support for this unique and precious arts form must continue and it’s exposure must be encouraged in Schools, to exposure in the general media, including television. Many times I have heard stories from the people I have met after a performance, who had only recently started coming to the Opera. Often, they simply were not exposed to it growing up or even as young adults and didn’t believe it was something for them, but now wished they had known about it sooner! We are letting down the industry but not encouraging greater education of, and exposure to the form. One reason is, I believe, because there needs to be a certain amount of quality work in the art form going on to keep the quality of the singing and musical interpretation going. Enabling us to retain the little secrets handed from teacher to student in a linage of teaching that may date back hundreds of years in the case of some teachers... and a vibrant scene of excellent singing inspires excellent singing! We can’t be allowed to lose this. Plus, more interest in the form of Opera will help the industry sustain itself better. Not that I can see Opera being fully self sustaining - the forces involved, (orchestras, chorus, costume designers and seamstresses, technical backstage support, etc) are simply too great and it employs so many people as a business - though this really is a great thing! Economically, the Arts, Musicals, Opera et al. are very important in terms of the tourist dollar also. Hotels, flights, pre or post theatre meals - theatre tickets... I think we must encourage it. It is for one and all.
Do you enjoy going to the opera?
Unlike many opera singers I know, I really enjoy going to the opera! I have friends who don’t see shows because they simply can’t escape, or enjoy it in a non-technical way. I enjoy it both for the technical, (production and vocal) reasons, which can be impressive indeed, but I also enjoy it as entertainment! For me, it is also a ‘reset button’ in times of stress, and in relating to the feelings of the characters’ or in being sympathetic to them, one finds a way to reconnect with oneself, and to even be grateful for one’s own blessings in life.
Do you have other interests except music?
I believe it is important to have interests outside of singing as this helps inform your work too. I, and many opera singers, fortunately love to travel! To discover new places and cultures and also to discover new cuisines! Opera singers are often big foodies!... and thus, I appreciate great food and fresh produce. I am also very interested in my heath and posture, as well as looking after the environment. I like to keep up with world news, as well as new scientific and health discoveries! I also love going to Live theatre, including Opera and musicals and Live concerts and watching films.
Tell us a little about your new CD ‘Jewels of the Bel Canto’?
I am so excited to announce my first solo Orchestral CD’ Jewels of the Bel Canto’, which was released earlier this year. It is a recital disc of arias by Donizetti, Rossini, Verdi and Bellini - with a Bel Canto theme! A variety of arias from ‘Don Pasquale’ and ‘Lucia di Lammermoor’ to more unknown works like Rossini’s ‘Matilde di Shabran’ and ‘Le Conte Ory’, which are hugely virtuosic and great fun to sing! I am joined on the album by the award winning orchestra- the Royal Northern Sinfonia, based in the UK and veteran conductor and Bel Canto specialist Maestro Richard Bonynge, who was a great pleasure to work with in preparing this repertoire. I am really thrilled to have the opportunity to make such an album on international release and the reviews have been super positive! It is available on iTunes, Amazon, Signum records and various Classical Music stores worldwide...
Future plans?
I recently finished performances of "Lucia di Lammermoor" and am looking forward to a number of exciting concerts and operas coming up in London, Melbourne and Lebanon. I am also preparing the role of Liu in Turandot as well as Musetta in La Boheme at the moment and will be returning to Melbourne for some Opera performances in the New Year.
Art is...
... perhaps freedom of expression and for me an expression of things that in many ways are hard to put into words – somewhere at the intersection of emotions and the soul… Also of our emotions and the physical world through, and often touching something existing in the spiritual world. It touches you, challenges you and forces you to open yourself and grow. Art explores the human condition and as such, encourages understanding and sympathy to ones fellows. It reconnects us to our feelings, dulled and left ignored in this busy modern life. Like the benefits of self-reflection or perhaps a ‘religious’ or spiritual connection to something divine, it refreshes the soul and awakens it, and the mind.
If Opera had a colour? I would have to go with the predominant colour being, red! The colour of love, passion and blood.
Why/ how did you become an opera singer?
I was very fortunate to have gone to a primary school with a music programme as well as a specialist music high school in Melbourne, Australia. I was offered the opportunity to play the flute as well as singing lessons and joined Concert Bands, Chamber Woodwind ensembles as well as choirs during high school. I was also a member of the Australian Girls Choir and gained much performance experience through school concerts, plays, the choir, and singing competitions. Needless to say I loved to perform as a child, and in fact remember my first performance at 4, looking out to the audience and thinking - Oh! I like this! Opera singing however is perhaps a less worn path in today’s world, and having taken classical singing lessons since 13, I discovered Lieder and Art song first and Opera later. Opera appeals to me as I love theatre and it is an amazing art form bringing together music and theatre - and one that I had an affinity for! Plus, I had great inspiration for our Greek Diva - Maria Callas whose integrity, both musically and dramatically are the yardstick to which I measure myself.
What is your relation to Greece? Is there something you would like to change about it?
My relationship to Greece is that I naturally feel Greek in many respects, despite being born in Australia! I am drawn to the music, culture, history, food and people and I think this is only natural! I love coming to visit my family in Athens, Kriti and Cyprus on holidays. I recently was invited to sing for the Academy of Lyric Arts in a Gala Concert ‘Maria Callas’ at the Herodion a few weeks ago - It was a wonderful evening in association with the Greek National Opera. The conductor Lukas Karytinos, chorus and Orchestra were wonderful and the other soloists too - including the amazing International Greek singers of Dimitra Theodossiou and Aryis Argyris. I have always wanted to sing at the Herodion for many, many years and it really was a magical evening - a dream come true! In terms of returning to Greece to sing, I am really looking forward to singing again for the Greek people, hopefully many times. I would love the opportunity work, thus to live in Greece during productions; it would be a joy!
What is your favorite role and why?
It is always so hard to choose a favourite role - favourite music, favourite character...? What a difficult task to find just one! I have always loved performing Adina from "L’elisir d’amore"; I enjoy the music and how fun it is to sing. Plus, I do love a comedy! But, in terms of depth and interest in the character it is perhaps more interesting to play "Lucia di Lammermoor". It is always interesting to explore a character and their relationship with the other protagonists in the story. It is so often in these dramatic tragedies that the female characters are often under strong pressures from family and society to toe the line and behave for the best interests of the family line... such as in Lucia. Lucia, an innocent, young adult, or teenager, is unaware of the real ramifications of the Patriarchal world she must submit to, is driven to madness by being forced into an arranged marriage by her brother. Her journey starts with innocent love, but then she is broken hearted at her lovers’ apparent betrayal, to feeling the intense shock at his return following her forced marriage to another. This extreme trajectory pushes her over the edge… Her final mad scene certainly is a lovely piece of theatre. My favourite role to sing, however is Amina in "La Sonnambula", because, not only is the music a sheer delight to listen to, but it is also a balsam for the voice and a sheer joy to sing. Besides this, in Amina our sleepwalker, there is an ethereal innocence that I love to embody - I love channelling the energy of this pure soul to the audience.
What is your process of learning a role?
For me the process in learning a role begins with text and translation of the libretto. Followed by learning the notes/music, scene by scene. Where possible, reading an original book or source of a libretto or related text, perhaps even watching certain movies set in the period, or reviewing certain artworks, if they relate to the style of the production as per the directors vision... It is very important to me to read what my character says about herself and what others say about her, informing my picture of her as well as reviewing what her socio-economic background is and what social norms might be affecting her in this time. It is important to come to rehearsal with the music memorised and with ideas about how to bring the text and the emotions to life, as well as with a background for your character’s journey - but still to be flexible to what the director wants. Much of the characters ‘psycho-emotive’ journey will be fleshed out in detail in the rehearsal, much of that ‘topography’ or landscape, is naturally given in the music.
Share with us an exciting moment in your career.
There are always exciting moments in the life of an Opera singer! I was over the moon when I won the Maria Callas Grand Prix (Oratorio-Lied) with the highest over all score of all finalists, back in 2003 in Athens! And bowled over when I won the International Mozart Competition in Salzburg! I was so thrilled! But competitions are high stress events so it was a much relief as anything! My biggest thrill perhaps to date was singing Amina in "La Sonnambula" at Covent Garden, both an opera I love to sing in a house I adore.
What do you think about the opera world nowadays?
I think the opera world is in a great state of flux at the moment due to financial restrictions and the difficulties of fundraising, and thus has perhaps reduced some of the work being done at the highest levels but it exists perhaps in different scales and many more smaller scale works, also than before. This isn’t necessarily a bad thing; so long as they can provide a wage to support the singers, creative teams and other performers involved. Having said that, some wonderful work and productions are being made at the highest level and some interesting an innovative work is being done at every echelon. From chamber versions of operas with piano or reduced orchestra, to new operas, re-working and re-imagining of classic operas, from abstract interpretations to the grand productions we see in the largest houses. Personally, I welcome the art on all levels, but do feel some trepidation that the level of funding and support for this unique and precious arts form must continue and it’s exposure must be encouraged in Schools, to exposure in the general media, including television. Many times I have heard stories from the people I have met after a performance, who had only recently started coming to the Opera. Often, they simply were not exposed to it growing up or even as young adults and didn’t believe it was something for them, but now wished they had known about it sooner! We are letting down the industry but not encouraging greater education of, and exposure to the form. One reason is, I believe, because there needs to be a certain amount of quality work in the art form going on to keep the quality of the singing and musical interpretation going. Enabling us to retain the little secrets handed from teacher to student in a linage of teaching that may date back hundreds of years in the case of some teachers... and a vibrant scene of excellent singing inspires excellent singing! We can’t be allowed to lose this. Plus, more interest in the form of Opera will help the industry sustain itself better. Not that I can see Opera being fully self sustaining - the forces involved, (orchestras, chorus, costume designers and seamstresses, technical backstage support, etc) are simply too great and it employs so many people as a business - though this really is a great thing! Economically, the Arts, Musicals, Opera et al. are very important in terms of the tourist dollar also. Hotels, flights, pre or post theatre meals - theatre tickets... I think we must encourage it. It is for one and all.
Do you enjoy going to the opera?
Unlike many opera singers I know, I really enjoy going to the opera! I have friends who don’t see shows because they simply can’t escape, or enjoy it in a non-technical way. I enjoy it both for the technical, (production and vocal) reasons, which can be impressive indeed, but I also enjoy it as entertainment! For me, it is also a ‘reset button’ in times of stress, and in relating to the feelings of the characters’ or in being sympathetic to them, one finds a way to reconnect with oneself, and to even be grateful for one’s own blessings in life.
Do you have other interests except music?
I believe it is important to have interests outside of singing as this helps inform your work too. I, and many opera singers, fortunately love to travel! To discover new places and cultures and also to discover new cuisines! Opera singers are often big foodies!... and thus, I appreciate great food and fresh produce. I am also very interested in my heath and posture, as well as looking after the environment. I like to keep up with world news, as well as new scientific and health discoveries! I also love going to Live theatre, including Opera and musicals and Live concerts and watching films.
Tell us a little about your new CD ‘Jewels of the Bel Canto’?
I am so excited to announce my first solo Orchestral CD’ Jewels of the Bel Canto’, which was released earlier this year. It is a recital disc of arias by Donizetti, Rossini, Verdi and Bellini - with a Bel Canto theme! A variety of arias from ‘Don Pasquale’ and ‘Lucia di Lammermoor’ to more unknown works like Rossini’s ‘Matilde di Shabran’ and ‘Le Conte Ory’, which are hugely virtuosic and great fun to sing! I am joined on the album by the award winning orchestra- the Royal Northern Sinfonia, based in the UK and veteran conductor and Bel Canto specialist Maestro Richard Bonynge, who was a great pleasure to work with in preparing this repertoire. I am really thrilled to have the opportunity to make such an album on international release and the reviews have been super positive! It is available on iTunes, Amazon, Signum records and various Classical Music stores worldwide...
Future plans?
I recently finished performances of "Lucia di Lammermoor" and am looking forward to a number of exciting concerts and operas coming up in London, Melbourne and Lebanon. I am also preparing the role of Liu in Turandot as well as Musetta in La Boheme at the moment and will be returning to Melbourne for some Opera performances in the New Year.
Art is...
... perhaps freedom of expression and for me an expression of things that in many ways are hard to put into words – somewhere at the intersection of emotions and the soul… Also of our emotions and the physical world through, and often touching something existing in the spiritual world. It touches you, challenges you and forces you to open yourself and grow. Art explores the human condition and as such, encourages understanding and sympathy to ones fellows. It reconnects us to our feelings, dulled and left ignored in this busy modern life. Like the benefits of self-reflection or perhaps a ‘religious’ or spiritual connection to something divine, it refreshes the soul and awakens it, and the mind.
