As The Widow, Hanna Glawari, taken backstage during a performance at the SOH, when I went on as the cover. As a young artist it was terrifying covering the two scheduled Widows – Glenys Fowles and Dame Joan herself. Never in my wildest dreams did I think I’d be on at the second performance and again a week later!
In order for drama and music to be full partners in operatic performance, singers must have a working understanding of how their bodies communicate and are perceived on stage. I believe in training young artists to be just as articulate in their physical characterisations as they are in musical and vocal terms.” Spatial awareness, physical coordination, body confidence – all these are necessary to communicate effectively with an audience.
Read More ..
A singer's body must be fit for purpose. Certain postural and lifestyle habits can cause seemingly insurmountable hurdles for the developing singer. This website contains links to highly effective, professional practitioners who may be able to young singers to get their bodies in optimal working condition for singing. Included are links to Feldenkrais, Laryngology, Massage, Osteopathy and Speech Pathology
As an opera singer I was often found at the production desk during stage rehearsals. This is the operating base for the director, lighting designer and stage manager when rehearsing an opera. The realisation that I wanted to direct as well as sing, lead to me directing operas for Opera Q (formerly Opera Queensland), Pacific Opera, Sydney Conservatorium of Music, Pacific Opera and restaging and assisting at Opera Australia. I truly love this work – especially when working with emerging artists and look forward to taking on more of it in the future.
'Our Glad - Memories of Gladys Moncrieff'.
Christine has partnered with pianist extraordinaire Glenn Amer and playwright Melvyn Morrow to create a nostalgic tribute to the late, great Australian singer and household name, Gladys Moncrieff. “