Next month, Brisbane fans of opera are in for a treat! After delays caused by the COVID-19 pandemic, Opera Australia’s productions of all four operas in The Ring Cycle and Aida will be performed on the Queensland Performing Arts Centre’s (QPAC) Lyric Theatre stage for a majority of the month – opening 1 December 2023 and 6 December 2023 respectively. For more information on each work, the run dates, and how to book tickets directly from Opera Australia, read my extensive article from last week.
In advance of Aida opening on 6 December, Opera Australia was kind enough to provide me with interviews with a number of performers and creatives for both productions. To start off with, I got to pitch a few questions to Conal Coad, a bass-singer who has worked with the company on numerous roles over the years, and will be fulfilling the role of The King in the 2023 Brisbane production of Aida.
Having trained in Auckland, Sydney, New York and Europe, Coad’s career is marked by a rich tapestry of roles across prestigious global stages including the Royal Opera House London, Opera du Rhin, and La Monnaie Brussels to name just a few. His extensive Opera Australia repertoire, showcasing versatility and depth, spans many iconic works including The Marriage of Figaro, Billy Budd, and Don Carlo. This New Zealand-born artist who calls the Gold Coast home, has also made significant contributions through recordings such as “Mozart Bass Arias” and directing endeavours, notably in “Don Pasquale” for the New Zealand Opera.
Scroll down to read the full interview:
Could you share with us your journey in the opera industry, highlighting key moments or experiences that have shaped your career and your approach to performing roles such as The King in Aida?
My operatic journey with Opera Australia (The Australian Opera) began in 1974 when I was engaged as a Trainee Principal in the Opera Studio. This was a great opportunity for me since it involved acting, languages, movement classes, singing tuition, as well as under-studying various roles and even performing small parts in occasional productions. I can never forget covering Neil Warren Smith as Leporello (Don Giovanni) in which Dame Joan Sutherland and Don Smith were performing. In 1981 I moved to Europe and began to establish myself working internationally.
Although my career has generally been with the operas of Britten and the great operatic comedy roles, Aida has a special place in my heart. The King was the first role I returned to sing with Opera Australia from Europe (although I had performed it earlier for the Victorian State Opera). I always remember the support and kindness shown to me by the great Bruce Martin (singing Ramfis). Both the King and Ramfis I have performed frequently, particularly in the stadium versions before vast audiences. In Paris the overwhelming sight of 250 French Army soldiers suddenly appearing over the back of the enormous stage in Egyptian costume was probably the Aida Grand March never to be forgotten. However, today’s Opera Australia production with the amazing digital screens present the work in a way that even a few years ago would have been impossible.
How do you approach the role of The King in Aida? What aspects of this character do you find most compelling or challenging?
Preparing a role like the King, involves immersing yourself into the work. The music first – always – to see how it sits in your vocal register and then a study of the libretto (the story). Developing musical ‘colours’ to demonstrate the character and mood of the role i.e. in love, raging, broken hearted – must all be portrayed if we are to keep our audiences enthralled. But striving for vocal beauty whenever possible… and not hitting the champagne the night before!
From being one of the more iconic operatic works being performed for the last century-and-a-half to receiving a musical adaptation in the late-90s, what do you think has helped Aida stand the test of time?
Aida is truly one of Verdi’s most alluring operas, with its tale of jealous love and majestic scenes to overwhelm the senses and it has always remained a great favourite with audiences throughout the world. The grandeur of the music with its huge choruses and wonderful famous arias brings it to the forefront of his many marvellous works.
Having performed for many prestigious organizations and opera houses worldwide, how do you find audiences differ in their reception and appreciation of opera?
Presenting a much-loved opera to a European audience is rather similar to presenting a sports match before an Australian one. In many European theatres following a performance, the bars surrounding the theatre will be packed and the appearance of a performer might well receive the enthusiasm of a cricketer here! Of course, these old theatres have the advance of a great operatic history and major financial support. They also have a huge number of performers and creatives on hand to call upon. There, it is historically accepted as a major part of life.
Reflecting on your vast repertoire and experience with different operatic productions and companies, how has your approach to performing evolved over the years?
Has my approach to performing changed over the years? Probably not… The single most important element is knowing the role. I can think of nothing more terrifying than appearing on stage under- prepared. So never over-extending yourself by accepting too many offers is a major issue. Following that, being in good health with your voice in the best condition is of equal status. I will never want to fly directly before performing since that can dangerously dry out your chords, so I make sure to always have several days available to prepare before going on stage.
What insights or advice would you give to young opera singers aspiring to a career as rich and varied as yours, or even an aspiring performer looking to consider opera as the area of the performing arts industry to work in?
I judge various singing competitions in Australia and New Zealand, and it gives me great pleasure to hear wonderful young voices hoping to begin full-time singing. A much more difficult career to pursue these days, where the importance of an agent able to ‘sell’ their ‘stable’ to the management of an opera company cannot be underestimated. I received one of my first European roles by turning up and being permitted to audition. It would be almost impossible to follow this route today.
Thank you very much to Conal Coad for taking some time out of his busy calendar to answer some of my questions, and I wish him all the best in the coming weeks as Aida is underway. Many thanks must also go to Opera Australia’s publicity team, especially Caitlin Eames, for facilitating this interview.
This is one of three interviews that will be going live around The Ring Cycle and Aida over the coming week. Please look to future instalments in the ‘A Conversation With’ series here on The Otaku’s Study and The Theatre Sphere.
