Classic Melbourne
  • News
  • Reviews
  • Calendar
    • Terms and conditions
    • Apply to post your events
    • Post Your Event
  • Newsletter Signup
  • About
  • Contact
Classic Melbourne
  • News
  • Reviews
  • Calendar
    • Terms and conditions
    • Apply to post your events
    • Post Your Event
  • Newsletter Signup
  • About
  • Contact

Interview: Liane Keegan

by Deborah Humble 14th November, 2016
by Deborah Humble 14th November, 2016

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.

_______________________________________________________

 

Wagner Interviews
0
FacebookTwitterLinkedinEmail
Deborah Humble

Mezzo-Soprano Deborah Humble is one of Australia’s best-known and most successful opera singers, and your guide to the 2016 Wagner Ring Cycle in Melbourne.

After gaining a Bachelor of Music from the University of Adelaide and a Masters Degree from the University of Melbourne Deborah was a member of the Victoria State Opera Young Artist Programme. Having been a Principal Artist for both Opera Australia and The State Opera of Hamburg she has embarked upon a freelance career which takes her all over the world.

Recognised internationally for her performances of Verdi and Wagner, Deborah’s recent engagements include Erda in Das Rheingold with the Hong Kong Philharmonic, Brangaene in Tristan and Isolde with the Mexico City Symphony, Amneris in Aida for Opera Australia, Alisa in Lucia di Lamermoor for the Theatro Mario del Monaco in Treviso, Erda in Siegfried for the Boston Symphony, Verdi’s Requiem at the Sage Concert Hall in the UK, Mahler’s Symphony No 8 at the Esplanade Theatre in Singapore, Elgar’s The Kingdom for the Melbourne Bach Choir and Ring Cycles in Hamburg, Halle, Bari, Ludwigshafen and Melbourne.

Future engagements include Mary in The Flying Dutchman with Opera Lille, Erda in Siegfried with the Hong Kong Philharmonic, recorded for Naxos, Venus in Tannhauser in Edinburgh and concert engagements in Auckland and Perth.

Her recordings include Clarissa in The Love for Three Oranges with Opera Australia for Chandos, a complete Der Ring des Nibelungen with the Hamburg State Opera released on the Oehms label, Offenbach’s La Belle Helene with the Theatre du Chatelet in Paris for Deutsche Gramophone and Mozart’s Il Sogno di Scipione for EMI.

Deborah was a recipient of Australia’s prestigious Dame Joan Sutherland Scholarship, a finalist in the 2008 International Wagner Competition in Seattle, and was recently included in the Who’s Who of Australian Women. This year Deborah returned to Australia to act as a mentor in The Dame Nellie Melba Trust Programme for young opera singers and to adjudicate The City of Sydney Eisteddfod Opera Aria Scholarship.

previous post
Avi Avital with the ABO
next post
Pianist’s choice program

Related Posts

Volunteers worth their weight in Rheingold

29th November, 2016

Interview: Amber Wagner

21st November, 2016

Interview: Anna-Louise Cole

7th November, 2016

Interview: Warwick Fyfe

31st October, 2016

Interview: Matthew Hassall

23rd October, 2016

Interview: James Johnson

17th October, 2016

Events Calendar

Loading view.
  • August 2022

Calendar of Events

M Mon

T Tue

W Wed

T Thu

F Fri

S Sat

S Sun

2 events, 1

1:00 pm - 2:00 pm

Songmakers Australia: Schwanengesang

August 1 @ 1:00 pm - 2:00 pm

Songmakers Australia: Schwanengesang

Program Franz Schubert Schwanengesang D 957 Songmakers Australia Schubert’s last song cycle was published after his untimely death at the age of…

Free
6:00 pm - 7:00 pm

Seraphim Trio – Gallic Charm

August 1 @ 6:00 pm - 7:00 pm

Seraphim Trio – Gallic Charm

A performance of cherished works and Gallic beauty. About the artists Seraphim Trio is as much a lifelong friendship as a…

$40 – $50

0 events, 2

1 event, 3

11:30 am - 12:40 pm

Mostly Mozart – Musical Mavericks

August 3 @ 11:30 am - 12:40 pm

Mostly Mozart – Musical Mavericks

Riveting passion balanced with delicate lyricism. About the artists Scottish born James Crabb is widely regarded as one of the world’s…

$42 – $49

0 events, 4

0 events, 5

1 event, 6

7:30 pm - 9:00 pm

Ray Chen

August 6 @ 7:30 pm - 9:00 pm

Ray Chen

World-renowned violinist Ray Chen makes his long-awaited return to Australia with some of the most demanding, impressive, and emotionally riveting works…

$65.55 – $159

2 events, 7

2:30 pm - 3:30 pm

Flinders Quartet Concert 2

August 7 @ 2:30 pm - 3:30 pm

Flinders Quartet Concert 2

Join Flinders Quartet for the sumptuous romanticism and grandeur of Brahms, and the ingenuity and wit of Haydn. Thibaud Pavlovic-Hobba -…

$29 – $38
5:00 pm - 7:00 pm

Corpus Medicorum Concert #3

August 7 @ 5:00 pm - 7:00 pm

Corpus Medicorum Concert #3

Corpus Medicorum Rebirth 2022 Concert Series. Artists Charlotte Miles cellist Keith Crellin OAM conductor Program Edward Elgar Cello Concerto, Op.85 Antonín Dvořák Symphony No.7…

$10 – $60

1 event, 8

6:00 pm - 7:00 pm

Stewart Kelly – Schubert’s Swansong

August 8 @ 6:00 pm - 7:00 pm

Stewart Kelly – Schubert’s Swansong

A journey to the corners of human experience with Schubert’s Schwanengesang. About the artists Stewart Kelly is one of Australia’s most sought-after…

$40 – $50

0 events, 9

0 events, 10

1 event, 11

6:00 pm - 7:00 pm

Melbourne Guitar Quartet – Flow My Tears

August 11 @ 6:00 pm - 7:00 pm

Melbourne Guitar Quartet – Flow My Tears

Innovative arrangements, technical flair and superb playing. About the artists Melbourne Guitar Quartet have carved out a reputation for curating utterly…

$40 – $50

0 events, 12

0 events, 13

3 events, 14

3:00 pm - 4:15 pm Recurring

Rutter’s Requiem and the 16th RMP Aria Final

August 14 @ 3:00 pm - 4:15 pm Recurring

Rutter’s Requiem and the 16th RMP Aria Final

Now firmly established as one of Australia’s most prestigious singing events, the RMP Aria is Australia’s pre-eminent competition for oratorio soloists.…

$25 – $56
5:00 pm - 7:00 pm

The University of Melbourne Symphony Orchestra

August 14 @ 5:00 pm - 7:00 pm

The University of Melbourne Symphony Orchestra

The University of Melbourne Symphony Orchestra’s third concert of the year takes us through works by Benjamin Britten, Don Bank, and…

Free
7:00 pm - 10:00 pm Recurring

Rutter’s Requiem and the 16th RMP Aria Final

August 14 @ 7:00 pm - 10:00 pm Recurring

Rutter’s Requiem and the 16th RMP Aria Final

Now firmly established as one of Australia’s most prestigious singing events, the RMP Aria is Australia’s pre-eminent competition for oratorio soloists.…

$25 – $56

0 events, 15

0 events, 16

0 events, 17

0 events, 18

0 events, 19

1 event, 20

2:30 pm - 4:00 pm

Real and Right and True – Lotte Betts-Dean and Calvin Bowman

August 20 @ 2:30 pm - 4:00 pm

Real and Right and True – Lotte Betts-Dean and Calvin Bowman

"Real and Right and True" - a celebration of the art song tradition of Australia and the United Kingdom. Lotte Betts-Dean,…

$10 – $35

0 events, 21

0 events, 22

0 events, 23

0 events, 24

0 events, 25

0 events, 26

0 events, 27

0 events, 28

0 events, 29

0 events, 30

0 events, 31

0 events, 1

0 events, 2

0 events, 3

1 event, 4

3:00 pm - 4:30 pm

Wanderlust

September 4 @ 3:00 pm - 4:30 pm

Wanderlust

The Friends of the Auburn Tower Inc presents Wanderlust, featuring Elyane Laussade, piano, and Luke Severn, bass baritone, in a musical…

$20 – $35
August 1
August 1 @ 1:00 pm - 2:00 pm

Songmakers Australia: Schwanengesang

August 1 @ 6:00 pm - 7:00 pm

Seraphim Trio – Gallic Charm

  • There are no events on this day.
August 3
August 3 @ 11:30 am - 12:40 pm

Mostly Mozart – Musical Mavericks

  • There are no events on this day.
  • There are no events on this day.
August 6
August 6 @ 7:30 pm - 9:00 pm

Ray Chen

August 7
August 7 @ 2:30 pm - 3:30 pm

Flinders Quartet Concert 2

August 7 @ 5:00 pm - 7:00 pm

Corpus Medicorum Concert #3

August 8
August 8 @ 6:00 pm - 7:00 pm

Stewart Kelly – Schubert’s Swansong

  • There are no events on this day.
  • There are no events on this day.
August 11
August 11 @ 6:00 pm - 7:00 pm

Melbourne Guitar Quartet – Flow My Tears

August 14
August 14 @ 3:00 pm - 4:15 pm Recurring

Rutter’s Requiem and the 16th RMP Aria Final

August 14 @ 5:00 pm - 7:00 pm

The University of Melbourne Symphony Orchestra

August 14 @ 7:00 pm - 10:00 pm Recurring

Rutter’s Requiem and the 16th RMP Aria Final

August 20
August 20 @ 2:30 pm - 4:00 pm

Real and Right and True – Lotte Betts-Dean and Calvin Bowman

September 4
September 4 @ 3:00 pm - 4:30 pm

Wanderlust

  • There are no events on this day.
August 14
August 14 @ 3:00 pm - 4:15 pm Recurring

Rutter’s Requiem and the 16th RMP Aria Final

August 14 @ 5:00 pm - 7:00 pm

The University of Melbourne Symphony Orchestra

August 14 @ 7:00 pm - 10:00 pm Recurring

Rutter’s Requiem and the 16th RMP Aria Final

  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
August 20
August 20 @ 2:30 pm - 4:00 pm

Real and Right and True – Lotte Betts-Dean and Calvin Bowman

  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
  • There are no events on this day.
September 4
September 4 @ 3:00 pm - 4:30 pm

Wanderlust

View Calendar

Classic Melbourne’s reviews policy

audio
Our point of differenceby Editor Suzanne Yanko

Your browser does not support the audio element.

Follow us on Facebook

Classic Melbourne

Melbourne Arts Centre

Melbourne Arts Centre

Melbourne Recital Centre

Melbourne Recital Centre

Introducing Classic Melbourne

audio
Speech at launch by Conductor Andrew Wailes

Your browser does not support the audio element.

  • Facebook
  • Twitter
  • Email

@2019 - All Right Reserved.

Read alsox

Brunnhilde saves the World

25th November, 2016

National Opera Review – Melbourne session

2nd February, 2015

Monteverdi: The Tale of Orpheus – Review

17th September, 2017