Deborah Humble

They act as one. Donning swimming costumes at the beginning of Das Rheingold to hide golden pom-poms as they form a Sea of Humanity, they are still there 16 1/2 hours later for the closing bars of Die Gotterdammerung watching everything go up in flames from the sideline bleachers.

Acting as one but in fact a large group of diverse individuals, the volunteers in Opera Australia’s Ring Cycle are an integral part of Neil Armfield’s stage production at Melbourne’s State Theatre. Among them are a dental technician, a retired ophthalmic surgeon, an art history lecturer, a student of opera, an executive assistant in finance and a delivery driver. But the 70 or more adults and children just like them share a desire to be involved in Wagner’s epic work, although their motivations for volunteering are many and varied.

Rowan Pollock, 57, was first exposed to Wagner’s works via his opera-loving Austrian father who came to Australia as a refugee on the ship HMT Dunera at age 18. (The “Dunera Boys” are credited with a great contribution to Melbourne’s musical life in the 40s and beyond).

“Dad would play the old recordings at home and he could often be heard singing along despite being somewhat tone deaf,” says Rowan, who first appeared as an extra with the Victoria State Opera as the result of auditioning as a dare back in 1991, and has since appeared in over 30 operas, including the 2013 Ring Cycle, juggling rehearsals and performances with running his own dental laboratory. In addition to his love of being on the stage, he felt the experience of learning more about Wagner’s music would be a fitting tribute to his father. “One of the highlights of volunteering for the 2013 Ring,” says Rowan, “was sitting and listening to Siegfried’s Funeral March backstage. It was the music played at my father’s funeral and I found it so powerful and moving!”

Eighty-year-old William Firth-Smith cites his “constantly evolving musical tastes” as including Bartok, Messiaen, Purcell, Janacek and Byrd. Wagner, however, has always been a personal favourite. Die Gotterdammerung was one of the first LP recordings ever bought by the retired ophthalmic surgeon whose busy and demanding medical practice meant he was unable to see as many operatic performances as he would have liked throughout his career. “I missed the Adelaide Ring that I dearly wanted to attend due to surgical commitments.” When a friend who realised he was very interested in Wagner passed his name on to Opera Australia in 2013, it seemed like a good opportunity to get personally involved in the music. Like half of the volunteers involved in the 2013 production William was excited to be able to be involved again this year in what he describes as “a life changing experience.”

Sophia Errey, 68, took out an Opera Australia subscription when she left full time academic life at the end of 2010. In 2013 she and a friend debated “too long” about whether or not to purchase tickets to the four Wagner operas and they sold out within days. But in April that year Sophia attended a concert for subscribers and Lyndon Teraccini, opera Australia’s Artistic Director, alluded to “wanting people” for the project. “We are watching you,” said Teraccini after asking the audience to join in the Brindisi chorus from La Traviata. She was not at all sure that he was serious but was delighted some days later to receive an e-mail setting out the requirements for volunteers. “I took a deep breath and made up my mind that if I was lucky enough to be accepted I would schedule my year around the rehearsals.”

There was never a doubt in her mind that she wished to repeat the experience in 2016 and Sophia has once again structured the year around her participation. She says that while “the element of surprise is obviously much less,” this time around she now knows far more about the music and has amassed a small library of books and recordings in the interim.

Ex telemarketer and motorcycle courier turned delivery driver, 61-year-old Barry Gration is happy to admit that he “generally accepted the view that Wagner’s music has great moments but dreadful quarter hours.” In 2013 he saw three of the four Ring operas for free when a friend became ill and couldn’t use the ticket they had purchased. “I thought using people as the waters of the Rhine was absolutely brilliant. After the show I chanced to meet a friend who was in the Rhine as a volunteer and he put my name forward to Opera Australia for this season.” Barry says he is now happily reviewing his previous preconceptions about the music.

Currently in her second year at the Melbourne Conservatorium and studying Opera, 22-year-old Hannah Kostros is another “repeat offender” volunteer. She loved every aspect of the 2013 experience and says that it has “ignited my desire to become one of the Rhine maidens or a Brunnhilde in the future. I love every aspect: the waiting around, the processing of new ideas, the challenges of remembering my cues and actions. I enjoy meeting the random like-minded people that you wouldn’t normally come across and I’ve been able to chat to some of the lead singers and gain an insight into the opera world and where to go from here.”

This year Hannah decided to invite her mother, 55-year-old Michele Kostros, an Executive Assistant in Finance, to join her on stage. “She was so concerned she would get stage fright,” says Hannah, “but it’s been such a fun opportunity. How often can people say they were in an opera with their mother?”

The highlights of volunteering are many and varied. Sophia has enjoyed experiencing the “mystique” of life backstage firsthand. “I enjoy waiting in the corridors, the glimpses of performers and flourishing my backstage pass with bravado. In general I have a rather low boredom threshold,” she says, “yet curiously I can watch the same scene over and over again without the slightest disinterest.” One particular highlight for her is “the extraordinary feeling of lying on the stage in darkness at the beginning of Das Rheingold and hearing and feeling the revolve rumble to life beneath us as the opening notes reverberate.”

Hannah says that she gets goose bumps just being on the stage for the Ride of the Valkyries in Act Three of Die Walkuere. Having attended operas from a young age with her Grandmother, she says it is hugely exciting to see all the work that goes on behind the scenes in order to get a production from the working rehearsals to opening night.

What about the challenges? The costumes, especially the bathing suits, seem to have posed a problem for many. Both “old” and “new” volunteers continue to bemoan the unflattering swimsuits and the difficulties of extracting the gold in the form of large pom poms. “Every time we do that scene I seem to end up in a different position,” states Sophia. Another jokingly suggests that patrons don’t look too closely with their opera glasses and describes it as “rather challenging” being so scantily clad when meeting new acquaintances for the first time. “On the other hand,” laughs Rowan, “I now know the Opera Australia chorus and staff a lot better than before. Spending time with them half naked tends to have that effect!”

William says everything about his involvement is a challenge. “My problem,” he clarifies, “is that I want to be as perfect as possible.” He recalls a moment in 2013 when he found himself centre stage at the wrong time and was gently chided by director Neil Armfield for his lack of attention. Counting the bars in the Vorspiel (prelude) and having to sit upright on the floor for five minutes (“it feels a lot longer than that,” says Barry) are other examples of unexpected challenges. Other gripes are minor as in any workplace: the instant coffee on offer, the noise in the communal dressing room and fitting “more rehearsals than expected” into already busy lives.

Interested in the beginning to see if there was an “us and them” attitude, the volunteers comment without exception on the “inclusiveness” of the experience; how everyone involved has acknowledged their investment, time and commitment in the most appreciative manner. William says, “It is a joy to be associated with such wonderful and creative people who are in turn so helpful and friendly. They treat us volunteers as “equals” but I have no delusions about this!”

“One of my favourite moments,” says Sophia “was having senior production staff come into the rehearsal room to tell us how much they valued our participation. We were made to feel that we were – in our amateur way! – contributing to such an exciting event.”

With less time now in front of them than behind them, already this fascinating group are thinking about life “post Ring Cycle.” “What to do now now?” asked Sophia at the end of the 2013 experience. Inspired by her time immersed in Wagner’s music she mounted a small exhibition of images in 2014 and says she knows more work will emerge from this production as she has time to reflect on the experience.

Rowan eloquently talks about returning to “normal life. This has been the highlight of all my years on stage. I have met so many wonderful people and I fear there may be a feeling of emptiness after this amazing spectacle.”

One of these “wonderful people” was international hotel consultant and volunteer Graham Brown who has sadly since passed away. Instrumental in making sure a group of the “vollies” kept in touch following the 2013 Ring he described his experience to me at that time as magical. “The camaraderie, the sharing, the buzz; those that live in this world all the time may find my feelings somewhat over the top.” Graham has been fondly remembered time and again as I have spoken to people in preparation of this article, which is perhaps a testament to the kind of friendships that develop when people work so closely and intimately together.

But in the end it’s all work and no pay. Volunteers for Opera Australia’s Ring Cycle are certainly worth their weight in Rheingold.

Soprano Amber Wagner will sing the role of Sieglinde in the Melbourne Ring Cycle which opens tonight.

She first performed in Melbourne in 2013 when she sang the Verdi Requiem under the baton of Sir Andrew Davis with the Melbourne Symphony Orchestra.

“I love Melbourne,” Ms Wagner says. “It’s such a great city; easy to navigate and lots to do.” She is looking forward to exploring more of the city during her time here together with her young son.

The soprano has already performed the role of Sieglinde, most recently in Germany with Opera Frankfurt in a production that was filmed and released on DVD – a definite career highlight, she says.

“Sieglinde is a somewhat tortured but strong soul; she doesn’t have too much of a say in her life, but that hasn’t diminished her strength. She’s trapped in a loveless, and I would say abusive, relationship with Hunding, but even in that she hasn’t lost her way. She knows who she is.”

Ms Wagner says she primarily sings Wagner so she spends “quite a bit of time” in his music!

“It’s taken me several years to really dig into Sieglinde’s story and find ways to throw off convention and inhibitions and really let her emotions soar throughout the evening. She’s extremely passionate; flinging herself into this forbidden love with Siegmund and then denouncing the same love in Act 2 out of the shame she feels, all the while knowing that it’s saving her somehow. By Act 3 we see her spiral into total despair and sorrow and grief and then renewed joy with the announcement of impending childbirth.

“The arc of her journey through this show is a long one and one that requires district emotions and vocal colourings from me. It’s really marvellous and I find her incredibly rewarding. Sieglinde’s music is so richly textured and every time I come back to this part I find new things about how Wagner wrote her; how he expressed her passion in music. It’s remarkable!”

It takes a certain kind of voice to be able to express the significant demands of German dramatic repertoire. Ms Wagner is no newcomer to these types of roles having also performed Elsa, Senta, Elisabeth, Branngaene and the title role in Ariadne auf Naxos, perhaps most notably at the Bayerische Staatsoper opposite Jonas Kaufmann and conducted by Kirill Petrenko.

Praised in the Chicago Tribune as possessing a remarkable voice with a “ gleaming, ample and effortless sound” as well as a “ gorgeous creamy tone,” Ms Wagner says that, simply stated, “your voice lets you know when it is ready” to tackle such roles.

“There are certain colours, stamina, power and sound required…Wagnerian singers have these (qualities) in spades…the voice yields itself to each vein…it’s natural. It bends and moves and grows where it’s most comfortable. I think Wagner singing requires stamina and sound; hugely so.” It is vital to be able to “sing over his extremely textured orchestrations and be heard but at the same time also making it sound effortless. Also colours; mixing vocal colours to bring out the nuances in the music.”

Ms Wagner says that it has been a joy putting the Opera Australia production together. “We have had such fun! It’s been a really amazing experience. This is a very special company and I am reminded of that every time I turn up for another rehearsal. A Ring Cycle is a huge project for any opera company but it seems effortless somehow with Opera Australia; you can tell its special to each person working on it and that there is a collective desire to make it special for our audiences.”

She describes being part of a production like this one as similar to being part of a large family. “We are all integral to the story. We each bring a facet to the table that is crucial and important to the overall story but that alone wouldn’t mean as much. It’s so fulfilling to work on something like the Ring and be there to witness the greatness and the moments of passion and enormous emotional singing. It makes me so incredibly grateful to have this opportunity. It’s very surreal at times. You think, is this really my office? This giant, gorgeous auditorium? It’s very humbling.”

The feeling of belonging and being musically connected makes being away from home for long periods of time so much easier. Travelling is part of the job, Ms Wagner admits. “We adapt to that part because our love of singing requires it. I don’t always manage it well; it can be incredibly daunting packing for long engagements, trying to close up your house, and I travel with my little boy so that adds another dynamic as well. I keep on getting better at the travelling part; packing less, learning not to stress before leaving, being ok with a minimal wardrobe approach rather than taking my entire closet … it’s a huge learning curve.”

But she says it has all been worth it. “We have had a great time putting this production together and we are all excited to share it with you.”

In the 2016/17 upcoming season Ms Wagner returns to the Metropolitan Opera as Senta, sings the title role in Ariadne auf Naxos for the Opera National de Lorraine a Nancy and makes her recital debut in New York with the George London Foundation at the Morgan Library.

Deborah Humble talks with dramatic contralto Liane Keegan about her musical life in Melbourne and recreating the role of Erda in the 2016 Melbourne Ring.

What motivated your return to Australia in 2012 and what is your perception of the cultural and artistic life here by comparison?

I no longer enjoyed working in opera in Germany. I had been living overseas for 20 years by this stage and felt it was time to come home.

The fest system stifles individual development if you are an ensemble member as I was at the Deutsche Opera. Without being able to supplement my monthly stipend with guest contracts it was also no longer financially viable to remain in Germany.

Since my return to Melbourne my life has been extremely happy and fulfilled. I have had some wonderful opportunities with my singing and my teaching studio was very quickly established and I now have many talented young singers working with me on a weekly basis. I also established XLArts.org, a not for profit group, with conductor Patrick Burns and we work to provide performance opportunities for developing singers of all ages and stages, to help them further develop their craft and skill set as burgeoning opera singers.

The opera and arts scene here in Australia is very different to Europe. In Australia we don’t have the commitment to the arts that the Europeans do either financially or culturally. In Europe very young children are taken to the opera not as a special treat but as a part of their daily life. Here the companies are working hard on this next generation of opera lover and there is some very fine work being done by these companies in Australia. However, I do not feel that more funding to the Arts is the answer but better education. The lack of music education in schools here now means that exposure for the young to art and culture is just not there in their foundation years and that is vitally important to the future of our artistic culture.

Melbourne is fabulously cultural and creative and certainly has the most going on in the field of opera of all our capital cities. I was amazed and rather overwhelmed by the choice of entertainment available and could not get over how much the arts scene had “exploded” in Melbourne since my departure in 1992. It is fabulous to see that there are companies and groups catering to the needs of performers at all levels and to suit all musical tastes. I was thrilled that we still have a Victorian opera company as I was overseas during the demise of its predecessor and that made me very sad indeed.

The orchestras in Melbourne are also world class and I have been most fortunate to work with the Royal Melbourne Philharmonic and the Melbourne Symphony Orchestra as well as the many and varied community and council sponsored orchestras. We now have the Melbourne Recital Centre and the vast amount of performances offered there are of an extremely high standard. As an audience member all my needs are catered for and I am more often than not, spoilt for choice! My needs as a performer are also met here in Melbourne and I am busier than I ever was in Europe.

The last time Wagner fans heard you sing Erda was in the celebrated Adelaide Ring. How differently do you sing the role in 2016 and how have you evolved vocally and dramatically?

 Since singing Erda in Adelaide in 2004 my voice has become much richer and my technique more secure. This allows me a lot more freedom within my interpretation to express and project my voice more easily. I am older and wiser and so I can bring a maturity to Erda that I think she needs and gravitas to the sound world of her character as well.

The character of Erda is not one of the largest or longest roles in the Ring Cycle but her prophecies cast a long shadow over proceedings. What are the challenges of singing a role like this?

One of the great challenges of singing Erda is the stillness that is required. She is a character of great depth and complexity and although not on stage for very long at all in relation to the amount of time other characters sing, she has a limited time to make an impact and contrast herself to the other characters. She has little over 4 minutes in Das Rheingold to exert her influence over Wotan and still leave him keen to create Brunnhilde not so far into the future! Wagner’s genius in creating Erda’s music with this gravitas and import means the singer must sing with extraordinary legato and clarity of tone and text to create the maximum effect with minimum effort in a short space of time.

How has Erda changed by the time we see her in Siegfried as opposed to her first appearance in Das Rheingold?

In Das Rheingold Erda is immediately to the point with Wotan with her warning and then spends no time waiting for interaction with him once her point is made. When we see her in Siegfried she is confused and befuddled by sleep and bewildered that Wotan would awaken her after she gave such succinct advise in Das Rheingold! She is particularly fazed by what he has done to their child Brunnhilde. Her frustration and distress is shown clearly by her outburst towards the end of their scene. He has wrought havoc among the gods and yet he is still expecting her to come up with some answers as to how he stop this rolling wheel of disaster he has created. She is exhausted and confused and longs to have him allow her to return to sleep.

With Neil Armfield’s re-imagined production for Erda in both Das Rheingold and Siegfried we see first hand Erda’s frustration with Wotan and his vanity and the scene in Siegfried is more a domestic argument between husband and wife who have been together for an extremely long time and have endured much.

You describe yourself as a “true dramatic contralto” which is a rare and often misunderstood voice type. What is the difference between a contralto and a mezzo and which other roles in the contralto Fach (system of classification) do you enjoy singing?

I am a true Dramatic Contralto. I think the term Contralto is greatly misunderstood as the perception when people hear the title, imagine a voice like Kathleen Ferrier, a traditional English sounding low female voice. I have the range of a Dramatic Soprano, however the colour and timbre of my voice is dark and rich whilst having the ability to project and cut through a large orchestra.

These elements to a Dramatic Contralto voice are required to sing roles such as Azucena, Ulrica, Erda, 1st Norn, Waltraute, Klytemnestra, Mistress Quickly, Principessa (Suor Angelica), Principessa (Adriana Lecouvrer), Old Prioress (Dialogue of the Carmelites), Genevieve (Pelleas and Melisande), Dalilah; these are just a few of my favourite roles that require a darker, richer but at times more powerful and dramatic sound, where not only low notes are essential but powerfully projected top notes as well in many cases.

A mezzo-soprano has a more lyric quality and is often required to sing in higher tessitura for longer, without the need for a lot of singing in the lower and bottom part of the voice for long periods. Roles such as Dorabella, Sesto, Cherubino, Octavian and Composer are examples of such roles.

You have commented on how wonderful it is to finally be singing this repertoire in the Arts Centre, Melbourne, your home city. Can you tell us why it feels like such an achievement?

Having sung internationally for 20 years it was my dearest wish that I should come home and sing at the State Theatre, it being Melbourne’s Opera house. This year I will have sung in both the Concert Hall and The State Theatre and it was well worth the wait! When you leave Australia as an aspiring young singer it is never very far from your mind, no matter where you sing overseas, that there is nothing like singing to your home town audience. It is also in the back of your mind as you suffer through the trials of being on the other side of the world, alone and far from all you know and love, that the reason you are doing all this is to earn your place, after you have attained your experience and developed into an International artist, on that stage. I was fortunate to sing Verdi and Wagner roles in every other state in Australia but not in here in Melbourne at the State Theatre, until now.

How have you enjoyed the rehearsal process so far?

I have enjoyed the rehearsal process enormously. I have loved working with Neil Armfield and it has been a wonderfully collaborative process, to develop an Erda very different to his previous one created by you, Deborah Humble. You and I have a very different stage persona and so Neil has created an Erda for me retaining more of her earth mother qualities and this is reflected very much in the costume and style of direction in my scenes with Wotan. Many directors can be inflexible when it comes to their productions with a change of cast. It has been very refreshing to work with a director of vision such as Neil Armfield.

Being conducted by Pietari (Inkinen) is also a joy. He genuinely likes singers, a huge bonus when conducting The Ring, and he is relaxed and calm. The Sitzproben (first rehearsals with the orchestra) have been fabulous and it is wonderful to hear what he is creating with the orchestra. I am looking forward to being in the audience for Die Walkure and Die Gotterdammerung.

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Deborah Humble introduces soprano Anna-Louise Cole who talks about her recent successes, singing in the Melbourne Ring Cycle and future engagements. With two roles and an understudy to prepare for, Cole is one very busy young singer.

“Could you tell us about your recent competition success and experiences?”

“I feel like I’ve had a pretty amazing two years! I was working full time in social policy development in the former Victorian Department of Human Services, and had just started exploring the younger dramatic soprano repertoire. In December 2014 I was offered a full time position in the Opera Australia chorus, and in mid 2015 my partner and I moved up to Sydney so I could work full time with the company.

Around that time, the casting of the Ring was announced, and I felt so lucky to be given the opportunity to perform two wonderful roles – Gerhilde and the Third Norn – and to understudy Sieglinde.

I was aware of both the Elizabeth Connell prize and the Vienna State Opera Award for the Opera Foundation for young Australians, and in 2015 was named the reserve finalist in the Connell Prize. When these came around in 2016, I remember thinking I may as well put my entries in – that it wasn’t likely I’d win or be a finalist, but that I should probably give them a go, because I’d hate to think I might have missed out if I didn’t at least try.

I remember leaving the audition for the Vienna Award and feeling like I’d sung well, but I genuinely didn’t think I’d win. I knew there were a number of other singers who I really respect who’d also applied, and just felt the odds made it unlikely, just on the numbers! So when I received the call, I was incredibly surprised, but obviously delighted.

The experience of the Connell Prize was quite different, as it’s run as two public concerts, and you spend a lot of time with your fellow competitors. It was a wonderful experience, and I have to say my fellow finalists were the loveliest people. We had a lot of fun backstage and everyone was so generous and supportive.

Looking forward, I’m not sure yet what repertoire I’ll be working on in Vienna, but I’m sure it will be a transformative experience. It’s such a huge house, with such an enormous amount of repertoire. I really can’t wait.

After that I am looking forward to returning to Australia to sing Crobyle in Thaïs with Nicole Car. Then I will perform Aida in Coolangatta, sharing the role with the lovely Natalie Aroyan. Aida is such an amazing role and I can’t wait to work on it with Hugh Halliday who directed me a long time ago in so many productions for Melbourne Opera. I feel he taught me so much of my basic stage technique; I can’t wait to work on such a beautiful and complex role with him.

What are your personal feelings about competitions and their value to emerging singers?

Competitions are generally pretty gruelling experiences, but they are incredibly valuable for young singers at every point. The application processes teach you to be professionally organised; the performances throughout the stages of competition are really similar to auditions. One learns to deal with performance nerves and prepare oneself to perform in sometimes stressful and/or crowded conditions (also like some auditions). You meet fellow singers, develop professional relationships and gain an insight into how big concerts operate. This is all so important – and all before you might even be in a final or win a prize!

If you miss out, it teaches you how to be a generous and gracious colleague, as you’ll likely know those who’ve had success. It also teaches you how to take criticism, and reflect on how you can use your experiences to improve yourself and your singing.

If you’re lucky enough to be in a final or win something, the exposure which you receive is so important for the development of your career and professional reputation.

Finally, for the lucky and persistent, any special opportunities and/or financial support you receive can be absolutely life changing, particularly for Australians given the particular challenges we face of distance and fewer opportunities for young singers than you might find in Europe or the US.

Are the roles of Gerhilde and Third Norn your first foray into Wagner repertoire? How do you find singing Wagner and are there any further roles by him you would like to tackle?

Three years ago I sang der Friedensbote in Rienzi with Melbourne Opera during the Wagner festival that accompanied the first Melbourne Ring, which was a wonderful experience, particularly because the main roles were sung by a real powerhouse cast. I think it’s fair to say that Rienzi is written quite differently to the Ring operas as it was so early in his career, although there are still a lot of similarities, particularly in the Italianate way Wagner treats the German language.

I absolutely adore singing Wagner. I have a German degree and I really love the language itself, which I think really helps singing Wagner. Wagner wrote his own libretti for the Ring and in a way created his own idioms, playing with the modern language and the old German in which the sagas are written. Having a knowledge of German and having also briefly studied Das Nibelungenlied at university means that in singing the Ring I’m not dealing with entirely foreign concepts or words, although the German in the Ring is still incredibly complex! The way Wagner plays with the onomatopoeia of the language and uses alliteration is just so beautiful, sometimes even sexy.

I’d really love to sing more Wagner, if I am able to get the chance. He wrote so many completely wonderful roles for women of my voice type: Senta, Elisabeth, Elsa and Eva to name a few so I really hope one day I’ll get the chance to sing some of them.

How has the rehearsal process been so far? Your roles are very much team efforts. How has it been working with such a large company?

At the beginning of rehearsals I was lucky to be able to rehearse the entire role of Sieglinde with the rest of the cast which was just incredible. Amber Wagner who sings the role was not available for the first weeks of our schedule. It has been so helpful as a cover/understudy to be able to rehearse the whole role from beginning to end, because even though some things have changed through the rehearsal process with Amber, I’ve had the chance to physically feel the journey, emotionally and vocally. It was such a gift.

I also feel lucky that as a chorister within the company I have had a long time to both learn and be coached in these roles with some of the best coaches in the country, perhaps in the world. I have had such a supportive experience learning these roles and I feel so lucky to have been coached particularly by Tony Legge, who has worked on these operas at Bayreuth, among other places.

Preparing the Norns and the Valkyries has been fun. The women I am singing with in both of these operas are all such lovely people, and such beautiful singers; they are all just wonderful and we have bonded well already. Musically, the Norn’s section builds so beautifully, and when all the Valkyries sing together it’s such a thrilling sound to be a part of. We can all physically feel each other’s sound!

Having worked full time at Opera Australia now for well over a year I know so many of my colleagues onstage and off, so there is a really wonderful sense of us all being part of something much bigger than ourselves.

Also, as a Melbourne girl who once wanted to be a cellist, I know quite a few members of the orchestra from as far back as high school, the Melbourne Youth Music orchestras I played in as a teenager and the Conservatorium at Melbourne University. I feel so proud of this endeavour, as a member of this company but also as a Melbournian and an Australian.

Do you have a favourite musical or dramatic moment in the Ring? Is there a particular scene you like so far?

I think at the moment, my favourite parts are the ones I know the best: the second half of Act 1 of Walküre when the twins are falling in love, and the beginning of Act 3 where we enter as Valkyries. The orchestration of both of these parts of the score is just incredible.

We are currently in the middle of the Sitzproben (first rehearsals with the orchestra) and the physical experience of being in the same room as these extraordinary sounds – from both the singers and the orchestra – is something I’ll never forget.

I remember seeing the dress rehearsals of the Ring in 2013 and being blown away by the orchestra so I really can’t wait for the performances.

What can young singers learn by being on stage with some of the most experienced dramatic voices in the world in this repertoire?

I’ve found observing the principal cast so educational and so important for my development as a singer. As well as being consummate artists they are all lovely people and so well liked within the rehearsal room. Observing the rehearsals is important because you can really see the myriad facets of intelligence, effort, experience and craft that build into being a top level singer and delivering an amazing performance of this hugely complex repertoire. It’s also incredible to hear and see these voices up close and be able to watch how these singers produce sound; how they stand, how they breathe, how they deal with consonants and tricky passages.

It’s not just about singing the music well and understanding the language. You have to be an expert in stagecraft; you have to be flexible and able to immediately respond to notes and corrections. It is necessary to judge how to pace yourself singing huge repertoire for hours, giving as much as you can while keeping enough in reserve. You have to build an understanding of your character and their motivations within the piece, and then be prepared to adjust this according to the director and conductors’ approaches. Finally you have to be a wonderful colleague and respectfully work with others in often quite unusual circumstances for a workplace, such as kissing someone you may have only just met (who is playing your brother)!

It’s also wonderful to observe the delicate balance these singers strike between being confident and knowing how to do their jobs so well, but also embodying vulnerability and frailty on stage, in front of thousands of people. It’s a real art. I think those who will see our Ring this time are in for a real treat.

Do you have any amusing stories or experiences you would like to share from the process so far?

The Valkyries scene is quite boisterous and Neil Armfield has really encouraged us to play to the bloodthirsty energy and toughness of these heroines. Unfortunately in the first piano dress trying to physically embody this I swept my right arm very confidently out while Hyeseon Kwong (singing Helmwige) was, I thought, crossing behind me. Actually she wasn’t moving yet and somehow without looking at her I put my index finger straight into her mouth, while she was singing! She was very gracious about it but I now know definitely not to gesture out at that point! We had a great laugh about it afterwards as I was mortified!”