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Lisa Gasteen National Opera School 2014: 22 November to 21 December

22/12/2014

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So, after a few fantastic days of R&R in Darwin, spent swimming in waterfalls and scrumping mangoes from an abandoned mango farm, I flew straight to Brisbane to start a month’s work at the Lisa Gasteen National Opera School 2014.

This was the fourth year that the School has been running and, to date, the longest and most intensive program. Six days a week for four weeks, sometimes 12 hour days, it was a true Operatic Boot Camp. Top coaches and singers from all over the world with pedigrees from the likes of Covent Garden, La Scala and The NY Metropolitan Opera came together to instruct and inform, including John Fisher, Sharolyn Kimmorley, Robert Lloyd, Richard Hetherington, Giovanni Reggioli, Phillip Mayers, Stuart Maunder, Norma Marschke and of course Lisa Gasteen. As well as one on one coaching, we prepared scenes for the Gala Concert and Liederabend, participated in public masterclasses, and had lectures, Alexander Technique sessions, auditions for industry representatives and Italian (and Russian) language lessons.


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Add in there the drama of the first week’s “supercell” storm which mashed large parts of Brisbane, toppled the tree outside the window of the room I was staying, flooded my accommodation (including said room) and meant we were without power for a night, and it was a fairly full on end to the year! Basically my brain exploded. In a good way.

It was such a luxury to have so many encouraging experts (“They’re nice, but not necessarily kind”, I heard someone comment, a good balance when teaching at that level I think) but also the luxury of having such a warm, supportive and collegial group with whom to study and learn – often not the case in a competitive industry. I met so many gorgeous and talented characters this month (both singers and repetiteurs) in amongst the Euco-steamers, neck vibrators and youtube clips of Anna Russell, with whom I am very grateful to have made a connection, and we had a lot of fun both onstage and off. 

(On the left here are Lisa and I, with "Dave" and her Brünnhilde spear from the 2004 Adelaide Ring Cycle: "Nobody ever asked how Wotan lost his eye!" she says, waiving the spear around wildly. She is such a hoot.)


I stumbled away from the experience with (hopefully) greater mastery, more knowledge, a renewed sense of inspiration and direction, and a renewed caffeine habit with which I must deal in the new year.

I want to thank the organisers of the School, most especially Dominique Fegan, who is an absolute powerhouse, and the generous sponsors of my scholarship to the School, Dr & Dr Ritchie, without whom I most definitely would not have been able to afford to attend. And to all my fellow LGNOS participants, whom I miss already, “Bravi tutti!”

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    ____ In 2005 I found myself in London, broke, constantly sick, and working in a job I hated. I had dropped out of Uni and run away from Australia years earlier, and had had a mind-boggling succession of actually-I'm-not-going-to-share-them-on-a-professional website adventures. But I looked up one day and realised I really wasn't happy with my life. "So if you're going to change things," I asked myself, "what is the dearest dream you once had? What is it worth turning everything around for?"

    I had chronic pain from (unbeknownst to me) dislocated bones; both my lungs and my throat were compromised. I smoked a pack a day. I hadn't worn an evening gown since my Year 12 formal and couldn't really walk in heels. I didn't read music, and had never sung an aria, nor studied music at school. But I knew what I wanted: I wanted to serve the muse. Bit mad, really.

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