This current blog entry is a cautionary tale for the modern auditioning opera singer. I have quite recently been forced to remove my older videos from my website. Here is why.
I recently read a heated debate that no singer should listen to another singer perform a role that they are learning, otherwise they will copy them and that is artistic laziness. Here’s my two cents on why I will always listen to recordings.
Today is the first day back of the Theater Augsburg season. As I prepare for the gala concert, I reflect on how lucky I am to be full-time employed in one theater and not freelance. Here's why.
Tonight I perform my first Malcolm in Verdi's version of the Shakespeare's greatest tragedy, Macb*th. There was never, and never will be, a play surrounded by such superstition. However unlucky, the play and opera are surely amongst the great works of art in drama and music. In this article, I discuss my character, superstitions and the relationship between the play and the opera.
Tomorrow I debut in perhaps my biggest role so far in Europe, as Belfiore in La Finta Giardiniera. A tangled story of tangled love, taking place in a tangled garden. Here's a brief taste of what it's all about.
Kidnapper of children, murderer, cannibal and sorcerer. A nice fun role to play. Here are some musings on finding the character of the Witch in Humperdinck's Hänsel und Gretel.
Updated 29th January, 2018.
With everything else going digital these days, including books to Kindle, is the days of the paper scores numbered? Here is my attempt at switching over to digital music.
When people sing in opera, most people tend to focus just on the voice. However, if you sing in a modern German theatre, you have to do a lot more than that! A look at Theater Augsburg's production of My Fair Lady.
Every now and then, a singer is too sick to go on-stage. So, in the case of illness, the theatre will often phone up other opera houses looking for someone who can fill in at the last minute.
Last Thursday, I received one such opportunity. Here's how I prepared.
Patrick Kinmouth's critically acclaimed production of Don Giovanni at Theater Augsburg is being revived tomorrow evening. Is it the same piece? Why? An insight into how a revival is rehearsed and performed.
Singing competitions are a win-win for both audiences and singers alike. Here's why!
I recently organised my second solo concert in Melbourne. Every time I do it, I'm learning something new. Here is what I've learnt so far...
Tonight, as of this post, I am opening a new production of Korngold’s first opera Der Ring des Polykrates in the role of Florian Döblinger. It is one of the biggest Spieltenor roles I have played in my career so far. Tenor? Spieltenor? What do I mean? Find out here!
Updated 29th January, 2018.
I have a lot of toys. Sound recording & web design are major hobbies of mine and are well and truly related to the promotional side of my profession. But here are some of the tools of the trade that I feel, as an opera singer in the 21st Century, you shouldn't live without.
I hope I get it... I really hope I get it! Here is how I prepare and do an audition. And I've done plenty! I hope this helps someone out.
Theatre folk are a superstitious lot - and most of the superstitions are based on tradition. What is a Toi Toi Toi? Do we do anything special at a Theatre Premiere? Why do I have to wish my opera singing friend to "Break a Leg!"? Why is it bad luck whistle backstage? Some of your questions will be answered here.
La Traviata is an opera based on a true story about a shy, sensitive young man who falls in love with a courtesan. The Viscount Gaston is the friend who introduces the two together. But who is this man exactly and what does he want? Find out here.
No blog about opera, written by an operatic tenor, would be complete without naming who
the greatest tenors of all time my favourite tenors are. Here are ten of them!
In this edition of the Opera blog, I attempt to unravel the mystery of the complex character that is Don Ottavio, the yin to Don Giovanni's yang. If you ever wanted to know what was going on in his mind - now is your chance!
When I focus on my goals for the year, improving myself as an opera singer are at the very top of the list. Who do I think are great opera singers? What abilities and skills do they have that make them great? How do I become that great? What should we improve on first? Here are my theories.
My last role for the 2011/2012 season is The Steersman in Richard Wagner's Der Fliegende Holländer (The Flying Dutchman).
This are my thoughts on who Daland's Steersman really is, what he represents and how I play the role.
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