Pinchgut Opera's Performer Introductions

Our final three introductions - Andrew Goodwin, David Greco and Alexandra Oomens. Three wonderful young Australians making their way in the world of singing and opera, each with their own story to tell; from Russian studies, to beautiful Bach, and the experience of singing with Gondwana Choirs.

Andrew Goodwin last performed with Pinchgut in 2010, sing Orfeo in Haydn's L'anima del filosofo (pictured above). Since then he's been busy with operas, oratorio, recordings and recital all over the world. Andrew talks about Russian studies, singing opera and his mum:

'I think your aesthetic as a performer really depends on which teacher you end up with. My first teacher was interesting, but I soon realised the sound I was cultivating was not the one I actually wanted. And to be totally honest, my mum didn't really like it either. When your own mum doesn't like the way you sound, you know something's not quite right! It must be said that my mother has an incredible sense of good singing. She only listens to tenors such as Wunderlich, Björling, Tauber, Schipa and Gigli, so it can be a little difficult sometimes, but I love her input when I'm sounding lousy.

There definitely is a Russian sound. The stereotype is a dark, swallowed sound, especially amongst the baritones and sopranos. It used to be the case that the voices are heavier and larger, and the tenors a little too reedy, but it has changed a lot since I first arrived in 1999. The evidence is in the list of international competitions around the world. Have a look at the list of prize-winners from the last five years, and you'll almost definitely see a Russian amongst them. That says to me that there is seriously good singing happening there now.

Studying in Russia was an incredible experience that changed my life. As a young boy I had studied piano, violin and later organ, but I gave these away after watching my father die of cancer. After a two-year break from music, it was my piano teacher who later recommended I travel to St Petersburg to study either conducting or singing. What was meant to be a 6-month trial period turned into a 7½-year stint. On arriving in St Petersburg as a fresh-faced 20-year-old, I was flooded with Russian culture and it was exactly what I needed to kick-start my interest and love of music again.Opera brings together singer, conductor and up to 80 people in the orchestra pit, as well as heavy makeup, blinding lights and acting. It's an incredible feeling to be part of such a massive machine in the production of operatic music, but it is definitely not a walk in the park. Opera singers not only have to be 'with' an orchestra, but they also have to lead the orchestra. If there's a quiet passage, or the orchestra is tucked under the stage [never the case with Pinchgut! - Ed.], it becomes a game of trust with the conductor who you see, and your inner rhythm of the music you are singing.

Alison, our artistic administrator, introduces you to David Greco: 'Antony Walker and I first met David when he must have been about 19. He asked to audition for Cantillation. I remember it very well - he sang Bach's incredibly beautiful 'Mache dich, mein Herze, rein' from the mighty St Matthew Passion.

David sang it amazingly well; best he'd ever heard "for any age", said Antony, "let alone nineteen." As many of you know David sang with Cantillation for eight years or so; and sang in every Pinchgut Opera production (except Semele - as he away at the time), until David & Jonathan which was his last one as he then left to go overseas. He often sang a small role in our shows - including Dardanus, Idomeneo and David & Jonathan. David is a beautiful ensemble singer, and we really missed him when he left. First in the Netherlands, and then in the UK, David has done amazing things since he left us - singing with the Tallis Scholars, Freiburg Barockorchester, Ton Koopman and the Amsterdam Baroque Orchestra and the Glyndebourne Festival Opera among many others. We've been trying for a while to get David back to sing with us again, with a couple of near misses, and so we are delighted that this year he is able to make it for the wonderful role of Oreste - Isifile's
henchman. Welcome back David; we are so proud of what you have achieved. (And on a slightly less formal note David does the most wonderful impressions of singers - including an incredible Queen of the Night!).'

Newcomer Alexandra Oomens is making her Sydney operatic debut with Pinchgut this year in the role of Alinda. We strongly recommend you look out for this protostar on the ascendancy...Why do I sing? I wouldn't know where to start. Music has always been an essential part of my life. I'm more passionate about music than anything else in the world. It's everything. I compose and I trained as an instrumentalist but singing has always been for me the best means by which I can express myself. Singing with Gondwana Choirs taught me so much and provided me with some of the most incredible experiences of my childhood. It was Lyn Williams' guidance that helped direct my passion for music. She presented me with so many opportunities and instilled in me the highest respect for those who dedicate themselves to music. I cannot thank her enough for how much she has contributed to my life. I'myoung and know that there is much study and hard work ahead of me. This doesn't worry me in the slightest. I want to be the best musician I can be and I know that it won't come easily. Early music fascinates me: that music composed hundreds of years ago can be so vital, complex and engaging, and still leave room for individual expression. My study and work in this area have been a revelation to me. I'm always singing (sometimes to the annoyance of others). I think that perhaps my irrepressible enthusiasm for music has infiltrated most other aspects of my life. I write music, play music and listen to as much music as I can. When not singing, I'm thinking about singing!

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