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In this interview with Lise Lindstrom, she goes into detail about what her time in America was like and how she will again portray the leading lady, Brünnhilde in the first two cycles of The Ring Cycle in Brisbane.
Singing Brünnhilde is my absolute dream role and something that I very much look forward to anytime, anywhere – so I am very happy to be part of this project.
I started preparing for this role many years before I was actually hired to sing it the first time. I studied German in University, I studied Wagner and his compositional style and revolutionary thinking. I have spent absolute hours listening to legendary singers and watching performances of other RING cycles. For my first Walküre, I had the great good luck to work with British director Graham Vick. He started me off in a good direction of how to explore the piece, the use of language, and to continue to research and discover the vast amounts of written material in order to add to my performance. In the end, there’s no way around the fact that being a Wagnerian singer is an elite sport, and that it’s a marathon of a piece. But it is definitely the most satisfying marathon ever! When I’m in rehearsals or performances of the RING, I have to limit my social interaction with others – not only because of COVID – but because I can’t be out being a tourist and spending the energy that I will then need for work. The worst feeling in the world is standing on that stage and not being able to deliver what I want to deliver because of something I may, or may not, have done yesterday. Of course, staying in physical shape, eating the right things, not drinking alcohol. Those are all part of the deal. Often, it’s a monastic and solitary life. But it sure is worth it for those moments when everything comes together.
There are actually more similarities than differences between Australia and the USA. There is an absolute commitment from everyone backstage to create the safest and best environment for everyone. Additionally, the audiences are passionate about opera and devoted to it.
It would be impossible to name all the many people from whom I have gleaned wisdom, support, encouragement along the way. There are so many: teachers, coaches, friends, family. My path was not typical and certainly not easy. After years of failed auditions, living in NYC and scraping pennies together to pay the rent practically everyone gave up on me and encouraged me to find a better way to try to make a living. I was about to give up when a conductor from a small regional opera company in the USA hired me for my first Turandot. That man, Jerry Shannon, 100% changed my life. I have since sung Turandot all over the world and over 220 times. In fact, I sang my 200th performance with Opera Australia in the beautiful, iconic Sydney Opera house. I have been able to meet amazing people, learn amazing things, sing with amazing people, and experience a life that I had only dared to dream of. But, being a professional opera singer can be a lonely lifestyle. I know it sounds glamorous and in some moments it is, but it takes a ton of courage, close friends and/or family, and determination beyond belief. No one can make it in this business without love and support.
The preparation for performance actually begins the day before. I have a cut off time for social engagements at 5pm on the evening before a performance – or earlier if the performance the next day is early. I spend my evening at home being quiet, making dinner and trying to relax. After hopefully sleeping well, the next day I have my coffee, do some yoga and then review the opera from start to finish with my music score. I go over all the staging as well as the words and the intention I want to try to create. If I have any questions for the conductor or director, I make note of them to ask at the theater later. Then I slowly get ready to go to the theater making sure I have everything I need for the afternoon/evening with me. The operas in the RING are long and finding the right time to eat and hydrate is tricky. Usually, I bring food along in case there is none available or if I don’t want to be in a group of people to get food. These days with the dangers of COVID lurking around every corner, being in a social setting is not always a great idea, so I have to plan accordingly.
I have sung several RING cycles since I made my RING debut with Opera Australia in Melbourne, and I can easily say that not only is Brünnhilde my favourite role — but my relationship with her and the operas of the RING has deepened and become richer over the years. I just love the endless possibilities of these operas and the timelessness of Wagner’s archetypal characters. There is literally no end to the possibilities of Brünnhilde. She takes a mammoth journey from beginning to end. It is pure joy to be able to sing this role.
I was, and still am, enormously honoured to have received these awards. I could have never dreamed that would happen. But no one does any of this alone, it takes a huge team to bring it all together. As an artist, I can only offer my 100% to an audience. If the audience happens to be moved or affected by what I do, in even a small way, then I feel my hard work and sacrifice is all worth it.
Working with the amazing people of Opera Australia is always an absolute pleasure and honour. Everyone is doing 100% their absolute best to bring the best possible production to the public. People forget that Art is a service to the people. Without Art, society devolves and loses its humanity. At the end of the day, we “opera people” are sort of a special group of nerds all bringing this mammoth journey of music to life. The public might think that opera is too high brow and out of reach — but if you’ve seen Star Wars, or The Lord of the Rings — then you’ve already had an operatic experience. Everybody, from the stage to the administrative offices, is deeply committed to continuing to bring these profound stories to life. Sure there are funny moments, like when the sword is supposed to break in half during the scene, but because it is made out of an unbreakable material it just sort of bends and flops around…. that can reduce us to laughter. But most of all, we all work hard. Really hard.
The cast is also international. This is not uncommon in the opera world, and one of the aspects that makes working in opera so deeply rewarding. There is no room for discrimination of any kind in opera.
Janine has always been a part of music and performing. The first show that inspired her to go into theatre was the Velveteen Rabbit which she saw as a child, and Drew works to keep that magic alive in her work. When Drew was accepted into an internship program for audio engineering at a recording studio, she jumped at the opportunity. That was at the start of 2020, and so much has happened since then, both in her career and in the world. Since then, Drew has taken several opportunities to work at recording studios, concerts, festivals, and even large theatres while spending some time on tour. Drew's favorite by far though, has been the chance to work on Broadways and West End shows, as this was a dream come true. Drew is honoured to get to share these experiences from being inside the entertainment industry.
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