My production of Magic Flute for Pacific Opera got whittled down from major to minor and turned me into lighting designer as well – thats showbiz. Here are L to R Glenn Amer as Monostatos, Emily Edmonds as 2nd Lady, Amanda Windred as 3rd Lady, Angela Brun as Queen of the Night and Sarah Ann Walker as 1st Lady.
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.
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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.