During the interval of Verdi’s Ernani, members from OBV organised to sell badges to raise money for providing aid to Ukraine. I am so proud of my colleagues for coming up with this initiative. I helped out by giving my break time during some of the performances to sell the badges. They were for sale on a “pay whatever you want” basis, and I was so touched at how generous our audiences were. Most people gave to us and were grateful for the opportunity to be able to support our cause. Across our thirteen performance nights in Antwerp and Ghent, we managed to raise a 5 digit sum towards the cause.

So what will the money be used for? My understanding is that the money will be shared with the local Ukrainian refugee community here in Antwerp, and that they will distribute it directly to those most in need. They have cars that are driving to the worst affected areas in Ukraine, and they will be taking supplies over there - food, clothing, medical aid. Directly to those in need. I get quite emotional thinking about it. I have felt so helpless watching the news. It’s nice to feel like I have actually been able to contribute to providing some relief to those worst affected.

It really is thanks to my colleague from the chorus Els who has masterminded everything. She really is such a caring, charitable, and action taking person. Really inspiring to me.

Her next plan is to organise a concert in the Ghent Lully Zaal. I am now learning my music for it. We have a small chamber group from the choir performing some choral songs in 3 different languages. I hope that it is a great success, maybe see you in the audience?

Our Christmas production this year was on Verdi’s first ever opera “Ernani”. The story of a love triangle involving the King. Although it was never highlighted on any of the OBV marketing, I was delighted that our main conductor, director, costume and set designer were all female. Do you know how rare it is for just one of these roles to be filled by a woman? Let alone all of them at the same time! With that brilliant female leadership, again OBV leads the way in its commitment to diversity and equality. 

However, that being said, this was an incredibly masculine production. Very grimy, militant and grey to look at. The female chorus are introduced with a maypole made of nooses. The male chorus had to climb into body bags whilst singing their number on stage. The creative choices would never have suggested anything about the festive time of year that we were performing in. It didn’t feel particularly Christmassy at all. I would love to go back to my first ever Christmas time opera 15 years ago… it was Die Fledermaus at the Royal Northern College of Music. The stage was a glittery, golden, flowing, double staircase and everyone was in bright colourful ball gowns with hoops inside. One day I would love to be a bit more “cruise ship” at the opera again. 

Anyway, back to Ernani. I loved the music in this opera. It was playful and melodic, and you can hear Verdi’s style developing. Some of the female chorus music hints to what he will later write for the witches in Macbeth. And the 3rd act male chorus singing in unison is simply spine tinglingly good. Verdi really knew how to write a melody.
One very exciting moment in the process for me, right before the public dress rehearsal, I was asked to cover the soprano character “Giovanna”. Some of the principles had been coming down with sickness so they decided to get some covers for the roles that weren’t already double cast. Although, I never got to go on and perform the role, I was ready for it.

It looks like this won’t be the last time that I will be singing Verdi this season. Our tour of our production of Schumann’s Faust to Montpellier in the South of France has now changed to a concert of Verdi’s Requiem. Bring it on.

​I can’t deny it. Mary Poppins is one of my favourite characters ever. I fell in love with her as a child - mostly because of the charm that Julie Andrews oozed during the marvellous Disney film. I also enjoyed the Emily Blunt follow on movie, but I don’t think it was quite as marvellous as the first film. That’s why I was quite anxious about going to see the West End Musical. I knew that it couldn’t be identical and that there would be some new songs interjected into it. 
Well… it didn’t disappoint and was actually quite the spectacle!

It’s quite interesting to study the mannerisms of Mary Poppins. For example she like to stand with her heels together in what ballet dancers would call “first position”. This is the iconic pose she maintains whilst her umbrella is open and she floats magestically into the air as she flies around the stage. She also elongates her neck at all times so that her spine appears to be completely straight. There is no slouching in this performance. But, If I were lucky enough to ever get the chance to play this character, the one mannerism I think is key to making the character a success, and so likeable, is her creative expression that she does when inventing the fun games or activities with the children. It’s like she purses her lips together, lifts her cheek bones up and then looks upwards and to one side using only her eyeballs. Julie Andrews did it in a kind of cheeky way, Emily Blunt in a slightly more cunning way, and they used this expression during the performance to great success.

The singing style of Mary Poppins is and in my view should be as close to Julie Andrews as possible. She is perfection. Classically trained soprano, with a high and shimmering tone, yet some how close to speech and easily transitioned into patter. It is a very challenging role for that reason. She must sound as “Practically Perfect” as she professes to be.

It is such a shame that this show is now closed on the West End. But I am so grateful that I was able to go and do some research on the character and the songs before it did. I shall have to get my hands on a vocal score and start learning all the songs just in case they decide to hold auditions again any time soon.