Nadine Benjamin on Her Life in Opera

British lyric soprano Nadine Benjamin is a charismatic and versatile artist who is in increasing demand on both the operatic stage and the concert platform. She is also developing great renown as an exponent of song, in particular Verdi, Strauss, Berg and contemporary American song. Nadine is an English National Opera Harewood Artist and made her debut with the Company in 2018 as Clara (Porgy and Bess), followed by Musetta (La bohème). During the 2019/20 season she will appear with ENO as Laura (Luisa Miller) and First Nymph (Rusalka), as well as in performances for Les Théâtres de la Ville de Luxembourg, Opera Holland Park and Theater an der Wien.

Do you have any creative rituals or routines?

Yes.

Food: I don't eat dairy or wheat. It keeps me lighter and makes me less congested so I can sing better.

Learning music: I always start by talking the text through and understanding the opera as if it were a play.

Rest: I do my best to ensure that I get 8 hours of sleep.

Play: It is important to me to spend time with the people who matter in my life, even if it is just by phone.

Spiritual: I aim for daily meditation for my mind and exercise for my body. Even though I struggle with exercising, I do my best to be disciplined about it.

On a day of a show, I tend to want to be on my own and so I keep to my original routine, but just do it later on in the day.

What is a role you’re particularly proud of and why?

There are actually two roles of which I am particularly proud: the title role in Puccini's Tosca and Amelia in Verdi's opera Un Ballo in maschera. With both of these roles I had to go on stage at the last minute, having had no rehearsal with the orchestra. It was such a challenge and I had to prove both my courage and self-resilience as I was not expecting to jump into either of these situations.

I am proud because I really respected the people I was covering for at the time and wanted to do a good job. I have always believed that the only way you can do this well is to be fully prepared so that your colleague knows that they can rely on you if needed.

Who/what is currently inspiring you?

Acts of courage and neuroscience really inspire me. I love how we think as human beings and how we can allow adversity to help us solve challenges and grow into opportunity.

What’s on your bucket list?

Singing a solo role at the Metropolitan Opera in New York and at the Royal Opera House, Covent Garden. Also, having a best-selling book and doing a postgrad somewhere to further my love of neuroscience and coaching.

What advice would you give your younger self?

To hold on to your dreams and not let go of the fire inside. Most importantly not to let other people’s opinions become your reality - with the caveat that sometimes someone can see something inside you that you never knew was there.

What do you like to do when you’re not working? Any hobbies?

I love to dance. I am passionate about all types of music and having a great boogie is really important to me. I also love fine dining and have often checked out the Michelin star restaurants along my international route of travel as a singer.

How far in advance do you start preparing for a role and what is the process like?

It feels really great when you get at least 12 months to learn a role but sometimes I have had as little as two weeks. Schedules can be tight and being prepared ahead of time as much as one possibly can is really important.

For a beginner or someone wanting to learn more about opera, where’s a good place to start?

I would say that attending lunchtime concerts by up-and-coming singers is a great way to get to know the music in bite-size portions. Also, watching operas like La Bohème, Gianni Schicchi and Le Nozze di Figaro. They have great story lines and are wonderful entertainment for a first-time opera goer - and you will probably be surprised as to how many tunes you will already know!

However, what seems to be really working at the moment is a lot of new work by up-and-coming composers who are turning opera on its head in terms of what we think it is supposed to sound like.

You released your debut album Love & Prayer last summer. How different is your approach to recording versus performing on stage?

I love recording - recording is something that I am so used to doing as I used to sing pop and was in a recording studio almost every day. I enjoy being in the studio and I am passionate about the editing process. It is a bit nerdy, but I truly love it!

Are there any parallels between your previous work in finance and being an Opera singer?

Yes - the sheer dedication, time and attention to detail that is required to make things happen, and always remembering that you are an individual within a much bigger team. Your role in the deal/opera is just as important as everyone else's. We are all needed to make the puzzle work - be it on the trading room floor or on the opera stage.

You set up your mentoring platform ‘Everybody Can!’ What’s something you’ve taken from mentoring others and applied to your own work?

Practicing self-discipline. As a child, I used to misunderstand discipline as being something bad or wrong because of the semantics of the word, but then I heard Will Smith talk about self-discipline being self-care, which in turn is self-love, and that it is about doing the things that are good for us even when we don't want to.

Opera marries drama and singing - what has been the most challenging part when bringing the two together?

I come from an acting background and started at the Battersea Arts Centre Youth Theatre - a part of my life that is very dear to my heart. As an actor, you can run more with your impulses and allow yourself to be free in the moment. When singing opera that is a lot harder to do, as you have to pay attention to your vocal technique and how sometimes a sudden impulse can affect how you deliver a note, plus the timing of the music is important. Finding the right balance so I can really live in the roles dramatically AND musically has been my biggest challenge, but with each year that I sing, I feel that they are coming together more and more.

What is your dream role?

Desdemona in Verdi's Otello.

Seen as a traditional art-form, the medium of Opera has been evolving and changing in recent years. Where do you see Opera going in future?

As mentioned earlier, opera is something that is always evolving. The different interpretations of opera has been really interesting and questions are being explored around what opera actually is. For me, I would like to bring opera to people that have not had the joy of experiencing it. Even if there is not an orchestra available, opera can be sung with piano, but the emotions of the music and the stories that opera tells, can speak to anyone.

What’s coming up in the next year for you?

2020 is a busy year for me. I start at English National Opera, where I will be singing Laura in Luisa Miller by Verdi and the role of First Nymph in Dvorák's opera, Rusalka. In both operas I will also be covering the main roles. This is a wonderful experience for me as an ENO Harewood Artist as it gives me the opportunity to learn the bigger roles in a caring environment. I will also be singing my first 'Beethoven 9' at the Royal Festival Hall with Marin Alsop conducting and Lili Béguin in Opera Holland Park’s production of Margot la Rouge by Delius. I also get to travel to Luxembourg and Vienna to sing in operas in both these fabulous European cities. An exciting year ahead!