food

One of the greatest loves of my life is food. I love reading about it, growing it, making it, and of course eating it. This is not unusual among singers either! I have had part time jobs in cafes and restaurants to make some money to help pay for singing lessons - I’m sure you know or have been served by people working between music or acting jobs.

When I travel I love trying out new dishes and dream of coming home to recreate them, even if they never quite taste the same! I will greedily ask you what you ate on holiday, in a restaurant, or made for your dinner party.

This month which is often associated with summer holidays (for those of us in Europe), I thought it might be fun to talk about food and singing - what foods do famous singers eat? What is advised for singers to eat/avoid? And of course some recipes to try that are associated with some of our operatic heroes.

What should I avoid eating when singing?

Well, this escalated quickly - and the truth is… that there are no hard and fast rules! Know your own body, and respond to what works for you. There is no evidence that certain foods will be good or bad, only general advice linked to reflux and heartburn.

I recently ate ice cream just before singing, and it was delicious. Dairy is not an issue for me personally, but if you notice any extra phlegm that inhibits your singing, you might want to time it so you don’t have it right before singing. But don’t presume or deny yourself certain foods if they don’t cause you issues.

Reflux

Reflux can affect the quality of the voice, causing irritation and inflammation. There have been studies that link singing/professional singers and reflux, the link is not entirely clear, the linked study was with a small number of singers. You can read it here:

If you work with and are generally more aware of your body and small day-to-day differences, you may be sensitive to changes others may not notice.

If you are experiencing problems like waking with a scratchy throat, feeling burning in your throat, hoarse voice, bad breath, bloating/heartburn, you should speak to your pharmacist or doctor for advice.

Some of the causes of reflux can be:

• Eating certain foods/drinks (coffee, tomatoes, fatty foods, alcohol, spicy food, chocolate)

• Eating late at night

• Certain medicines

• Pregnancy

• Smoking

• Being overweight

• Stress and Anxiety

So to try and reduce symptoms it is suggested you:

• Lose Weight if overweight

• Find ways to relax/destress

• raise the head of your bed when asleep by a couple of inches to use gravity to help

• Avoid food/drink that exacerbates your personal symptoms

• Don’t smoke

• Don’t drink alcohol

• Wear clothes that are loose around your middle

  You can find more information here:

  NHS advice on Acid Reflux

Anecdotes

We’ve covered the science, we’ve discussed what should be sensible, so now we can enjoy the stories and the recipes!

• It is said Pavarotti asked for three roast chickens to be available at all times where he sang. He was also famed for cooking certain pasta dishes for his friends for which there are recipes online

• San Francisco opera published a recipe book called “What Aria Cooking” published by SF Opera Guild in 1974, with favourite recipes of the stars including Leontyne Price’s ‘Crabmeat Imperial Casserole’, and Tito Gobbi’s ‘Pasta alla Tito Gobbi’. I feel I need to hunt this down! There are several other cookbooks around with recipes from opera singers

• Callas would collect recipes from famous cooks and hotels when she travelled, but was said to rarely if ever cook them. She ate mainly steak and salad to maintain her slimmer figure after her weight loss

Remember that what you eat will power you through your work - so balance the good and the not so good, and consult a personal trainer/nutritionalist if you wish specific personalised guidance to help you improve your fitness or lose weight.

Always consult your doctor if you have any concerns and before making radical changes to your fitness and diet.

I hope you enjoy trying one of the recipes below - a cocktail, pasta dish, and classic pudding for your enjoyment.

Please comment and let me know if you try one of them!

• Opera Cocktail

  1 and a 1/2 ounces of gin

  1/2 and ounce of Dubonnet (the red version)

  1/4 of an ounce of maraschino liqueur

  Dash of orange bitters (optional)

  Twist of orange or lemon peel, or slice of orange to garnish

  Method:

  1. Shake together the gin, Dubonnet, maraschino liqueur and bitters (if using) in a cocktail shaker with ice, until the cocktail is mixed and chilled.

  2. Strain the mixture into your choice of glass, and garnish. Serve with a name drop of the last famous singer you made the drink for at one of your many soirées.

• Pasta alla Norma

  This recipe is also called ‘pasta con le melanzane’ (pasta with aubergine/eggplant)

  Serves 4

  Ingredients:

  2 Aubergines cut into pieces of about 3cm

  1sp salt

  4tbsp olive oil

  1 small onion

  2 cloves of garlic

  pinch of chilli flakes

  2 x 400g tins of chopped tomatoes

  1 tsp sugar

  350g spaghetti

  small bunch of basil, shredded, plus extra to decorate

  1 heaped tbsp capers

  ricotta cheese or finely grated parmesan to serve

  Method:

  1. Add the salt to the aubergine chunks and set them in a colander over a bowl to remove excess moisture.

  2. Heat 2 tbsp of oil in a casserole dish or saucepan. Fry the onion with a pinch of salt on a low heat for 10 minutes until soft but not coloured. Add the garlic and chilli for 1 minute, before adding the tomatoes and sugar. Bring to a simmer.

     Cook uncovered for 20 minutes, stirring occasionally.

  3. Heat the oven to gas mark 7/220C fan/200 C.

     Pat the aubergine dry with a clean tea towel/kitchen roll. Stir in the remaining 2 tbsp of oil, and spread it out on a baking tray and roast for 25-30 minutes until golden around the edges.

     Meanwhile cook the pasta according to packet instructions, and reserve 100ml of the pasta water.

  4. Stir the aubergine into the sauce with the basil and capers. Season to taste.

     Stir the cooked pasta into the sauce, with some of the pasta water.

  5. Divide between 4 bowls and top with ricotta/parmesan and extra basil for decoration.

• Escoffier's Peach Melba

  Serves 4

  Ingredients:

  Choose 4 ripe peaches, the best seasonal ripe peaches you can find.

  200g Fresh raspberries

  Lemon Juice (optional)

  some sugar

  100g icing sugar

  Vanilla ice cream - home made or bought

  Fresh almonds/flaked almonds to serve

  Method:

  1. Blanch the peaches for 2 seconds in boiling water, remove them with a slotted spoon and place in iced water for a few seconds. Peel them when cold.

  2. Optional- to reduce the peaches browning, place them in water with a little lemon juice. This helps if you are preparing the dessert in advance.

  3. Sprinkle the peaches with a little sugar, and place them in the fridge.

  4. Puree 200g of raspberries and pass them through a fine sieve to remove the seeds. Mix with the icing sugar, and refrigerate.

  5. When ready to serve, either prepare one large celebratory dish or plate into 4 bowls.

     Add a bed of ice cream with the peach on top, covered in the raspberry sauce.

     Use almond flakes to decorate - Escoffier suggest only fresh and in season, but shhhh, we don’t need to tell him!

positive

‘Where you tend a rose, my lad, a thistle cannot grow.’

-Frances Hodgson Burnett, ‘The Secret Garden’ -

In life, it is often said we fall in to one of two camps: optimists and pessimists. You probably already know or have an idea which you are! It’s not entirely the whole truth though, as many of us are a little of both, switching between the two.

In the arts we are often very hard on ourselves, and being self-employed we can feel the loneliness of working by ourselves for long stretches between gigs. I’ve heard of one artist describing success from one in ten auditions - so how do we handle the rejection, knock-backs and self-belief if we work in an industry by ourselves. And why should we be positive? There is a romantic fiction that performers are notoriously depressed, sarcastic and negative off stage…

Firstly, and most importantly, being positive is good for us. It not only makes us feel better, it is good for our health overall in many different ways.

The Benefits of having a Positive Mindset:

• Increased lifespan

• Better stress management

• Lower rate of depression

• Better cardiovascular health and reduced risk of death from stroke and cardiovascular disease

• Greater resistance to illness

• Lower levels of distress and pain

• Improved creative thinking

• Stronger leadership skills

Have I convinced you yet? It’s a fairly conclusive list. These health benefits would make you better at performing as your body would be better at processing stress and recovering after.

Positive emotions actually widen our span of attention and it also changes our perception and focus on more of the “we” instead of the “me”

(Goleman, 2013. p170)

Well that covers the problems performers can have focussing on our own issues instead of thinking about the bigger picture.

So steps could we take to think more positively in our every day life and our life as performers?

• Keep a practise diary and look back on past goals to acknowledge your progress. Slow progress is still progress, and is usually longer ingrained.

• Visualize success. Not always winning first prize/the part, but singing your best, feeling connected in the performance, engaging with the audience, portraying your character well.

• Being grateful. Maybe there are parts of your work that are hard, but do they allow you to work with great colleagues? Can you work from home and reduce travel away from family? Has a job unexpectedly led to another job that you love - maybe that will happen again?

• Make plans. Treat your job like a business and do a full plan assessing where you are, and where you want to go. What are the ways you can get yourself to those end goals? Are there some in-between steps you can take to gain experience? Remember to book a six month assessment into your diary to establish what has worked and what you will change.

• Remember past successes. How did that make you feel?

• Read stories about the heroes in your industry and their journey to success. There are very few stories of instant/easy success, most artists strived and struggled through difficult times, having to find their way through multiple issues.

• Exercise and diet. Ensure you are giving your mind and body the fuel it needs. Find someone to help you with these if it keeps you motivated.

• Acknowledge your struggles. Being positive isn’t about pretending and living your life as a lie. Be real, but don’t allow that to pull you down and become your only reality. Deal with your sadness, anger, frustration, and move on.

As ever, these things can be talked about with your teacher and incorporated into your practise routine. If you feel your issues run deeper, seek professional help from a professional. Professional help will be a sound investment in your career and life.

If you have any comments or tips on how you stay positive, feel free to comment below.

breathe

“Who has seen the wind?

Neither you nor I

but when the trees bow down their heads,

the wind is passing by.”

Christina Rossetti

We breathe and take breath every second, minute, and hour of hour lives. Yet when it comes to singing, we must breathe and use our bodies to regulate air in a slightly different way. Breathing should feel easy, use our whole body, feel relaxed, and aid our music making and communicating. But how often have we truly felt that?

As always, my blog today is not here to teach you the one and only amazing technique to fix your problems or follow for perfect singing. For that you need to work with a trained and trusted teacher who can work with you, your body, your health, and your voice. Every singer will need a different balance of the individual elements.

Instead, I will describe what breathing well does, give some guidance for better breathing, ways to balance the different things that might be going against your goals, and talk about techniques to calm anxiety. I hope I might guide you to improve your knowledge and ability to assess your own breathing needs. If you have health concerns, consult your Doctor before trying any new exercises.

The Body

Breathing is part of what is known as the autonomic nervous system, or ANS. These automatic body functions are mostly involuntary, and include things like:

• Digestion

• Speed of breathing

• Body Temperature

• Regulating blood pressure

By regulating your breathing through exercise or for instance singing, you can regulate your your ANS, which in turn has the following benefits:

• Lowers heart rate

• Relaxes the body and mind

• Regulates blood pressure

• Lowers the release of the hormone cortisol, known as the stress hormone

Diaphragmatic Breathing

Pupils and fans of tv singing shows all know that diaphragmatic breathing is needed in singing. But what does that actually mean? And why is it good for singing?

The diaphragm is just one of the many muscles that we need to use to breathe.

Our bodies need to feel loose and relaxed when we sing both for good breathing and resonance, so try to include some stretches that feel like they relax and lengthen your body so you start in a neutral state without tension.

Your intercostal muscles between your ribs help expand your rib cage to allow your lungs to fill with air. The diaphragm is below the lungs and contracts on inhalation to make extra space for the lungs to fill and move into.

In order to breathe well, we need to breathe deeply with movement and expansion around the 360 degrees of the trunk of our body.

Deep breaths should be slower, without tension, and more relaxed. Shallow breaths are often made higher the body, and tend to be more tense, sometimes faster. You can experiment with this and feel the difference for yourself. We know we want as little tension as possible when we sing, so deep, slow, low breaths using the diaphragm and filling our lungs more fully is preferable.

For some people, focussed breathing or breathing exercises might increase their anxiety or be bad for their health- so take care to pay attention to your own body and mind, and only continue if you feel happy to do so.

Breath Control

Once that breathe has been taken, it is important not to let it out without control. Good imagery to explain this is the bellow taking in air and expelling it with focus through the small opening. Or a balloon being filled with air, and being let go to produce a long sound as it expels the air slowly through the small neck of the balloon.

We’ve noted how to expand our ‘bellows’ or ‘balloon’ by expanding around the trunk of our body, and we must now think of the air when expelled . It travels up the trachea (wind pipe) and out through the mouth, first meeting resistance in the larynx through the vocal folds. The vocal folds meet together in a waving/pulsing motion at great speed to make sound as the air passes through. We use our bodies to gently support the voice, and regulate the expulsion of air so that it is is gentle, not tense or forced, and the correct speed. Each singer will will find their body works slightly differently and needs different elements tweaked through their lives to support the sound they wish to make.

These are the basic concepts of breathing and breath control in singing that are needed to make sound that is healthy and sustainable. Not all types of singing, emotions, repertoire or voice production will need the same levels of breath support or the same breath, so at all times ask yourself questions about your voice:

• Does is feel comfortable?

• Is it sustainable?

• Do I like the sound I am making?

• Can I make the sound more sustainable/comfortable by changing something?

As ever, let me know in the comments if you have any thoughts or feelings about this months blog, and if you would like to read about some more exercises for anxiety or better breathing click on the link below.

love

‘And the stars were shining, and the earth was scented. The gate of the garden creaked and a footstep grazed the sand… Fragrant, she entered and fell into my arms.’

translation into English, from Tosca, by Puccini

Love is the emotion we are probably asked to convey more than any other, in music. This month, my blog is going to give you some singing and performance tips and tricks on how to convey the emotion of love in your singing or music performance. Whether new to performance or a pro, these are some of the ways to experiment as part of your practise to leave the audience in no doubt of what you are trying to convey, without having to make a heart with your hands!

1 Text, context, character, historical research.

If you are singing something in/from an opera or musical, make sure you understand your character and the plot before and after your aria. You need to find out if your character really means it. Are they so madly in love as to make the eventual heartache/tragedy even more poignant? Or perhaps your character isn’t sure, they have some questions. Is your character merely full of lust instead of love? You might want to think of ways to convey this in your performance - is your voice or body language fully committed to the words you are saying? By experimenting in your own practise you will try out a multitude of versions, perhaps also trying out some different things just as a director might wish to ask you to do in the production.

If you are singing a song or playing an instrumental piece - what is the character you will choose for your performance? How do you choose to convey the meaning of the poem? Has this altered over the centuries? What are the ways other recordings and artists have conveyed the emotional message?

If you are singing or playing a duet, are you playing in harmony? If you are making beautiful music in thirds… love birds are in the air!

2 Thought: Breathe: Sing

Whether singing or playing, the thought must come first. Music and singing are the conveying of an emotional message using language both with and without text. We sang before we had language. We talk by first thinking of the emotional content before breathing and talking.

It will alter the tone and colour of your voice - just as when you talk your voice is different when you are saying the same phrase but with a different emotion.

• If your body is playing an instrument, it is also useful to communicate in your playing with your body - if you are impassioned, or full of enthusiasm you may move more.

• If you are angry those movements may be more staccato.

• If you are calm and serene your movements will be very legato and smooth, perhaps long and flowing.

3 Mirror Practise

It is hard to always know how successful our movements or facial acting are, so don’t forget your best friend the mirror. It not only shows you what you might not want to do, but also what you should do more of. Subtlety not usually connected with displays of love or passion! Whilst your subtlety may be beautiful in a small room - does it read in a Concert Hall?

As you observe your performance check in on these questions:

• Do I look like I’m in love? For instance: Smiling, happy, bright face, enthusiastic, long glances and holding eye contact with the other character

• Is my body language matching the emotion I wish to portray? For instance: open posture, hugging/selfhug posture, stroking/smooth movements when moving, wide arms and shoulders, legs routed hip distance or so apart not narrow, legs uncrossed, confident walk, relaxed movements or energised excited. We often talk about people who are in love walking around in a daze, or being in their own world. If this is suitable, perhaps you are staring into the distance smiling.

4 Showing emotion in the voice

Adding colour to the voice to portray different emotions is integral to your technical work. The work of breathing and opening into spaces is often done for you if you simply add an emotion, then breathe, then sing. That’s right: singing is not just a list of anatomical movements that will make you a good singer.

Arias and music of great love and passion are usually legato, rich, full, have swells of dynamics. So how will you use this in your performance?

Isolate a phrase or passage and experiment with these:

• Any legato passages make sure you are using every inch of space in your voice. Stroke those phrases like the bow on the string

• Crescendos and diminuendos in keeping with the era the music is from - always historically informed, obviously!

• To add or ensure you are using a rich velvety colour experiment with speaking the phrases with feeling

‘I loooove rich chocolate’ over emphasising the sung quality of the spoken voice, open into the space you will then sing your passionate phrase.

Gently sirening on an mmMMMMmmmm with a crescendo and diminuendo as though you love the smell of what is cooking, or a favourite perfume/aftershave.

As ever, the best way to work on communication is with a teacher who will guide and help you experiment to find your own true performance. What works for one singer or performer will not work for another - so you are looking for your interpretation and technique. This will ensure you sing with your own true voice and complete commitment to the music.

Happy Experimenting!

I’ve made a Youtube playlist on my channel with some of my favourite romantic arias, duets, and trios from opera and musicals. They were all recorded live - and chosen because they feature some wonderful examples of singing and performance. Enjoy researching and being inspired by these wonderful artists.

As always, feel free to leave your comments below - what helps you convey love in a performance? Did I miss something out? Did you find this post useful in your practise?

Witches and Bitches: Opera that goes bump in the night…

Join me as we explore some spooky operas, with ghosts, witches, and scary characters designed to chill you to the bone.

Each opera will get a spooky rating out of 5 (yes that’s right, I’ll be judging, comment with your opinion, it’s always welcome!), these are perfect operas to listen to on these dark and stormy nights… just don’t take any life lessons from this lot!

The Turn of the Screw, Britten

Aren’t kids lovely?… em. Yesssss, when they aren’t possessed or summoning ghosts.

This young Governess arrives at a bleak house far from anywhere, to look after two children. She has never met her employer, and has strict instructions not to contact him… which is surely a fairly big employment red flag, pre modern safeguarding procedure!

Various spooky ghostly moments and stories of terrible things happening in the past lead up to the boy being posessed, and admitting he didn’t deliver the letter which was written to get help, and blaming it all on a ghost. This gets rid of the ghost but also kills the boy.

There is no happy ending just regret, tears, and questions. Lots of questions!

SPOOKY RATING: 5/5

Lulu, Berg

A rare night out away from your darling children, babysitter watching your netflix, expensive Ubers, this is probably not the ‘date night’ opera for you… not unless you are both into some fairly serious dark things.

We follow femme fatale Lulu as she spirals from affluent mistress in Vienna, to prostitute in London who brings home Jack the Ripper and becomes one of his victims.

Lulu is described as the woman ‘who became the destroyer of all because everyone destroyed her.’ A. Elliott, A History of Twentieth-Century Music in a Theoretical-Analytical Context, Hoboken: Taylor and Francis

All the characters are seen as victims of society, leading awful lives, the music is very complicated serialism (don’t expect to go home singing any tunes), there is often a film element added, it is an artistic triumph but not a toe-tapping upbeat experience.

If you love dark stories exploring the dark corners of society and ‘man’s inhumanity to man’ (not forgetting women’s inhumanity to women) this is the opera for you. Maybe not spooky as such, but very dark…

SPOOKY RATING: 4/5

Macbeth, Verdi

Ah yes. The Power Couple who want it all, and are happy to get it any way they can… We all know ‘The Scottish Play’ and the many superstitions in the theatre associated with it.

This opera features witches, battlefields, refugees, revenge, ghosts, executions, castles, a very persuasive wife, and some tricky laundry and cleaning issues. Turns out, blood really is a tricky stain.

SPOOKY RATING: 5/5

Un ballo in maschera

Hands up who loves a good party?… - thank you, I can see you all, you may put your hands down now- well, this opera has a party, a masked ball. But think ‘Married at First Sight’ dinner party around week 5 and times that by 10, and you’ll not be far off the levels of drama.

Set at the end of the 18th century, Riccardo loves Amelia, Amelia loves Riccardo. But, Amelia is married to Renato.

Riccardo learns of some conspiracies against him, and is also told that a local woman, Ulrica, is guilty of witchcraft. There are calls for her to be banished. They go to her house in disguise to find out for themselves.

Instead, Ulrica makes a prophecy, advises on a magic herb, and generally sets about several storylines that end with multiple misunderstandings and people vowing to kill someone else.

In the end, Riccardo is killed at the Masked Ball, but discloses that Amelia was entirely faithful to her husband and did not break her marriage vows… He pardons the conspirators and dies.

SPOOKY RATING: 1/5

Lohengrin, Wagner

Wagner’s opera sets a story that could easily be a new action movie to music.

The people of Brabant suffering political quarrels and division, and also from an evil power from pagan times, seek to return the region to pagan rule. A mysterious charismatic Knight sent by God arrives with superpowers, to unite the people and defend Elsa, who has been wrongly accused of murder.

The one condition is no one must ask the Knight his name, or his origin… Batman?… Mandalorian?…!

SPOOKY RATING 3/5

Hansel and Gretel, Humperdink

Ahhhh, more cute kids in a lovely fairytale! not quite. Humperdink writes a few beautiful tunes in this opera based on the Grimm brother’s fairy tale, so it’s not as dark as some of the other operas in the list.

The opera was proposed to Engelbert Humperdink (No, not that one) by his sister who had written a few sketches and tunes, which they fleshed out with her libretto into the opera.

Hansel and Gretel are meant to be doing their chores, but are too hungry to work. When their mother returns, she is furious they haven’t don’t their chores, threatens to beat them, a jug of milk is upturned… so she sends them out into the woods to pick strawberries.

When their father returns home drunk but having bought lots of food, he is shocked to hear the children are in the wood where the evil Gingerbread Witch is said to live. She lures children with her sweets and cakes, then cooks them in the oven where they turn into gingerbread and she eats them. Yes. Really.

In the forrest the children are protected by angels and the Sandman, and the Dew Fairy. Inevitably, this is not enough, and the children are caught nibbling on the gingerbread house… however, the children manage to trick the Witch and push her into the oven instead, also undoing her magic and freeing lots of other children who have been turned into gingerbread, turning them back into children again.

Mother and Father return, hugs all round, and stern warnings about naughty people getting their comeuppance! This popular opera often performed at Christmas is a dark fairytale but definitely full of fun and magic suitable for children.

SPOOKY RATING 3/5

Faust, Gounod

Like all good stories, this opera starts with a pact with the Devil. Well, we all know that will go well!

Marguerite is young and beautiful, Faust is an ageing scholar. He curses his age, fails to kill himself due to his faith, but when Mephistopheles agrees to help him gain his youth in exchange with helping him in Hell, he readily agrees thinking he will win Marguerite with his new youthful appearance.

Let’s not go into all the troubling and ridiculous issues this opera raises, least of all why Faust spends less time agreeing to the terms given to him than most of us spend choosing our daily coffee order.

This opera has a long and complicated story full of witches, angels, and the theme of being saved… based on Goethe’s poetic drama, a gothic ‘good versus evil’ horror movie set to music. It really ticks all the Spooky boxes.

SPOOKY RATING: 5/5

I hope you’ve enjoyed this bonus Spooky rundown of operas - there are many more I could have added. What is your favourite? As ever get in touch in the comments with your pick.

Witches and Bitches - strong women in opera

It’s autumn, the wind is blowing, the nights are drawing in… and I am thinking about the dark stories and characters that we love to indulge in at this time of year. What does opera have to offer? Grab a mug of hot chocolate, stick another log on the fire, cuddle up in your favourite blanket and read on… if you dare!

Not all is as it seems in opera… we love a spooky story, and we love a villain! But occasionally we are guilty of creating a one-dimensional character who we wrongly judge to be ‘bad’… are we being entirely fair? I’m going to take you through a few spooky or ‘bad girl’ female roles in opera so we can decide. Some you will know, some you may not. No sitting on the fence, thumbs up or thumbs down.

All rise, the court is in session, with Judge Lisa presiding, please be seated and solemnly swear to take this very seriously!

Defendant 1 : Carmen, from the opera Carmen, Bizet

Look, we’ve all been there. You like a boy, but he’s a little dull, you like parties… you read your cards at a party and decide death is your fate and spiral out of control eventually having yet another knife fight and being killed by the dull boy. It’s a tale as old as time.

Carmen is a strong woman who uses sex and her allure to control, but her chaotic life, love of playing games and run-ins with the law catch up with her mentally and leave her unable to see a way out from her life.

Verdict: Guilty of being very bad

Sorry Carmen, you aren’t very kind (slashing your friends face…), and you are probably guilty of gaslighting Don Jose which ultimately ends in Don Jose stabbing you. You are the opera character we all love to hate, but modern eyes see your crimes with similar eyes.

Defendant 2: Emilia/Elina, from the opera The Makropolous Case, Janacek

Who wants to live forever?… Well, actually, nope, not really, thank you.

Poor Elina was born in 1585 and has spent 3 centuries living an itinerant life escaping any long connections, because her father invented and tested his successful potion on her. She lives currently as Emilia, a world famous opera singer - she’s had a lot of extra time to perfect her craft!

Youthful and beautiful, she has had a string of lovers and admirers, but by the time we see her in the opera she is tired of life and love, apathetic to others.

A mix up of papers and wills eventually leads to her confession. At the same time the potion is finally wearing off and she ages in front of her friends, convincing them of her fantastical story. She offers the parchment with the potion to another young singer, who refuses it and burns it in front of her. Emilia dies reciting the Lords Prayer in Greek.

This spooky story plays on the human fascination with ageing and death - playing out the scenario of how it might feel to live longer and experience more of life than our allotted 3-score-year-and-ten.

Verdict: not guilty of being bad

Emilia certainly is a very string woman, but was a child when she was given the potion to try, so would not have been able to refuse or see the consequences. The criticism that she is cold and emotionless is just, but she is a victim of her very very long life and the struggle to stay young. A story still relevant today!

Defendant 3: Mimi, from the opera La Bohème, Puccini

Surprised to see this opera included?… read on!

La Bohème is a fairly standard love story - between two bohemian artists living in poverty in Paris. Deeply in love, Mimi is ill with what is probably tuberculosis.

Rodolfo breaks up with Mimi telling his friend at first this is because she is a flirt, and then admits it is because she is ill, and that he hopes she can find someone wealthier who can pay for help with her illness. She hears this. (Yes. Pretty brutal.)

Mimi then tells Rodolfo that she is in fact leaving him… which is a pretty strong move to save face. However their love is ‘too strong’ and they agree to stay together until the spring as no one should be alone in the winter.

We cut to the spring and the men are talking about their past girlfriends who have found much wealthier partners, except that we learn Mimi is now severely weakened by illness and alone. They go to her, but she dies shortly after and Rodolfo is heartbroken.

Mimi is in the dock because a director once described her to me as ‘a b****’. emmmm SHOW ME THE EVIDENCE?

Verdict: not guilty of being bad

Isn’t this just a story of young impetuous people who are in love and don’t always act the way we all probably should? I still don’t see that Mimi has anything to answer for, Rodolfo however…

I’d love for you to supply me with fresh evidence that might reverse my judgement, but for now, NOT GUILTY

Defendant 4: Violetta from the opera Traviata, Verdi

She loved parties, she lived as a courtesan, and she fell in love. Original audiences were shocked at this tale which portrays Violetta as a moral and good person who just so happens to be a prostitute to pay her bills. She is independent and free in a way women were not at that time, her only reliance was on men and financial.

Holed up in the country with the love of her life, Alfredo, she is visited by her father-in-law, who begs her to give up his son for the sake of his family, as living unmarried was scandalous. The scandal would ruin them. Heartbroken she agrees.

Violetta returns to her old life, sad, and fatally ill with tuberculosis (yes… another female victim of ill health).

She is finally visited by her dashing Alfredo just as she dies.

Verdict: not guilty of being bad

Violetta is a victim of poverty, societal judgement, and of course the lack of a medical cure! The one time she follows her heart, she is persuaded to give up her happiness for the good of others, and does so.

Luckily, we all see this story with more modern eyes, and instead it is the sadness of the situation that stays with us.

The court thanks you all for your time and fair judging - did I miss anyone out? How do you feel about Mimi? Pop your comments and other suggestions in the comments box below.

Join me next time on All Hallows Eve, when we will discuss some very spooky operas, if you dare!…

“I love Italian opera - it’s so reckless. Damn Wagner, and his bellowing at Fate and death. Damn Debussy, and his averted face. I like the Italians who run all on impulse, and don’t care about their immortal souls, and don’t worry about the ultimate”

— D.H. Larence