In the HMT dressing room of soprano Stacey Alleaume, we were discussing the highs and lows of her profession.
Quite literally.
“I do think the demands of an opera singer these days compared to back in the golden years are much more,” Stacey said, speaking on the last night of Don Pasquale at His Majesty’s Theatre. The opera reached the Granite City after playing Glasgow, Edinburgh and Inverness.
“We’re singing outdoors in the elements, at heights, hanging from a chandelier or a helium balloon – all things that I have done – on top of a shipping container, singing horizontally while three guys are holding me in the air…
“I think the demand is much greater because directors are a little bit more crazy these days.”
Opera is not always what you expect
Despite the sporadic “craziness”, it is clear from the sparkle in Stacey’s eyes and her expressive gesturing that she loves her job.
When asked how it feels to hit those notes that most can only dream of, she smiles wide and says: “It’s really exhilarating, especially because now I know how to do it.
“When you’re a young singer and you don’t know how to do it, it’s
like the most frightening thing in the world.
“But when you know how, it’s really fun”.
As she speaks, Alison Chalmers, the tour wigs manager for Scottish Opera, is fitting her wig for her character of the quick-witted Norina in the comedic opera Don Pasquale.
It is only after we chatted for a while that Alison, who has been with the company for 26 years, revealed she had never seen opera before getting the job.
Having admitted it had never really appealed in the past, Alison, on seeing Stacey’s worried look and hearing the quiet in the room, quickly reassured us all with a laugh: “I like it now.”
Stacey made a quick ‘phew’ motion in the mirror.
Alison said: “You meet such great people.”
And nodding at Stacey, she added: “And she’s one of the good ones.”
‘Pop songs never sounded right’
Much like Alison, for many people, the idea of opera seems foreign and perhaps unappealing.
So much so, that it is often classed as “highbrow” culture and deemed out of reach for anyone unfamiliar with it.
But for Stacey, it was the option that made the most sense.
“My dad used to sing opera at home, not professionally, but there’s a bit of family history surrounding opera in Mauritius where my parents are from,” the Opera Australia principal said.
“I think my voice just really naturally suited this art form.
“I would try to sing pop songs, but it didn’t feel right. It just sounds very classical if I try to sing a modern day song.”
For the last 13 years, Stacey has performed in numerous roles including Violetta Valéry in La Traviata, Micaëla in Carmen, and the voice behind Danielle Macdonald’s performance in Netflix’s Falling For Figaro.
‘Talking about my job goes one of two ways…’
Despite her knowledge and background, Stacey is aware of the stereotypes that surround opera.
Especially when asked what she does for a living.
“You tend to get two ends of the spectrum,” she said. “Some people do a double take and don’t even know what an opera singer is.
“The other side is where people say ‘Oh my gosh that’s so cool.’
“It’s always an interesting conversation. It’s good when you get someone who doesn’t really know about opera because then you get to explain the cool things you do in the job because it’s never the same.
“I love the variety.
“You get to meet new people, wonderful colleagues, sing with amazing artists all over the world, dress up – and that’s my job.
“I get the best of both worlds.”
Filipe Manu on opera, being a fake accountant and silent rugby games
During a pause in our conversation, her co-star Filipe Manu who plays the part of Don Pasquale’s nephew Ernesto, could be heard warming up his voice on the other side of the adjoining wall.
He also tends to get the same reaction about his profession.
“It’s usually a mix of fascination and curiosity, which is understandable — it’s a bit off the beaten path,” he admitted.
“When I’m feeling extra cheeky, I’ll sometimes say I’m an accountant.”
Despite the mixed reactions, it’s clear he shares the same passion as Stacey for opera.
“From my perspective, we’re just normal people with the privilege of singing extraordinary music,” said Filipe.
“We share everyday stories and emotions, with a touch of drama — because otherwise, we’d all just stay home and watch Netflix.
“It’s ordinary people connecting with everyday people in an extraordinary way. I love that.”
Aside from warming up vocally, it seems that staying healthy on tour also involves staying physically fit, having a good diet, taking supplements and trying not to overdo things.
Which the New Zealander said he usually copes fine with. Unless the All Blacks are playing.
He added: “If there’s an All Blacks rugby match on during a show, you’ll find me in my dressing room, quietly cheering at my iPad, trying not to get too carried away and hoarsen my voice for the performance that’s still going on stage.”
‘Don’t let the language put you off – the opera is a great night out’
Back in Stacey’s dressing room, Alison is nearly finished with her hair and make-up for the character of Dorina, who Stacey described as “fun, a little bit feisty and a bit of a minx”.
While like many operas the show is not performed in English, Stacey encouraged people to not let the language barrier hold them back.
“Don Pasquale, for instance, is actually quite a short opera and it is a comedy. It’s very bright and vivid so it’s a great one for first-timers.
“I always try to make it fun and make it accessible for people, and show them that opera can be fun. This is a comedy.
“We have subtitles so you don’t need to be afraid about not knowing the language and not being able to follow.
“So there’s lots of ways that you can really enjoy it. It’s a great night out and you’ve got the interval where you can have a drink, you know?”
As we finish up, I spot a Thank You card to Stacey from the smallest member of the cast – Bridget the chihuahua.
The adorable fluffy face – who is our next stop – has stolen many hearts and a lot of media attention on the tour.
When asked how it feels to share the spotlight with a small dog, Stacey laughed and joked:“I mean you only need three seconds to steal the show. You do your job really well that’s it. What are people going to remember?
“We all work for two hours and 25 minutes and the dog comes out and steals everything.”
An enthusiastic and hairy greeting from the smallest cast members
Navigating the twisting and increasingly busy stairs, outside a dressing room labelled “Dogs”, we were greeted by two very small and fluffy delights.
Bridget is the star of the show and plays a cat on stage for a grand performance of 30 seconds while her granddaughter Rita plays her understudy.
The older pooch belied her age and professionalism by seeming the much more calming presence, while eight-year-old Rita was quick to use the charm offensive.
So much so that I quickly realised taking notes might have to wait after said hairy juvenile leapt into my lap, as I squatted in the cupboard-sized dressing room.
Photographer Kami was smirking at me until he found out the floor was not a safe space for anyone.
“This is not what I planned,” he laughed as Rita jumped into his arms.
Bridget the chihuahua
Her seasoned opera counterpart on the other hand is much more demure.
Their owner Denise Symon, who has another four chihuahuas at home, smiled and said: “Bridget’s a really laid-back wee dog.
“She’s just got that lovely kind of ‘who cares’ attitude to life.”
The pooch first performed in Scottish Opera’s Don Pasquale in 2014.
When it was announced the production was due to tour again this year, Bridget was brought out of retirement for one last hurrah.
“She’s only on stage for about five seconds,” said Denise. “She wears a cat costume and Dorina presents her as a gift to Don Pasquale but he thinks it’s a cat and he’s allergic to cats.
“But it’s not and then they pull her head off – in the nicest possible way – and reveal that she’s a dog. And that’s the end.”
So how did rubbing cheese on Paul Mescal happen?
While Bridget is certainly a star, her daughter Charlotte is the only one in the family who is sometimes recognised in the street.
The chihuahua appeared in a music video by American singer songwriter Phoebe Bridges for her song Savior Complex which famously featured actor Paul Mescal.
Denise laughs: “That’s all anyone wants to talk about.”
In a few seconds, it is clear why.
“At one point I had to rub cheese on Paul Mescal’s chest for the dog,” she admitted.
Trying to get Charlotte lying on the Oscar-nominated actor’s chest, Denise said it was certainly a strange scenario.
“But he wasn’t that well known at that point,” she added.
“He was a big dog lover and was really nice. He was exactly as you’d expect, a cheeky Irish chappy.
“And Phoebe Bridgers… she was such a nice person as well. She just walked about with Charlotte all day and carried her everywhere.”
Denise has yet to see Don Pasquale but said she did not appreciate opera before
While Paul Mescal was certainly a highlight, Denise said the decision to work with Scottish Opera again was a no-brainer.
“I loved musical theatre but with opera, I didn’t appreciate how talented they are.
“Their talent’s phenomenal. It amazes me that they can do this without mics,” she added, gesturing to the beautiful renditions coming from the stage balance call through the dressing room intercom.
However, despite their long stint, the closest she has got to seeing the show is listening in the dressing room due to dog-sitting duties.
But she said: “I had a lot of friends coming to see the opera the last time, and this time some of whom haven’t been to see opera before.
“And they came away saying ‘Oh my god that was so funny’, ‘That was great’, ‘I really enjoyed it’… and they all said ‘I would go and see an opera again based on that’.
“Because I think a lot of people don’t know what it’s about.”
David Stout: The zoologist turned opera lead
Covered in fur and thoroughly charmed, we made our way behind the stage at HMT.
And here we found our former zoologist turned opera singer, David Stout.
A keen singer from a young age, but not believing it would take him anywhere career-wise, David chose to study Zoology at Durham University.
He continued to sing in choirs in his spare time and went on to become a freelance safari guide in Zimbabwe, Botswana and Namibia, and a biology teacher at Epsom College.
It wasn’t until his late 20s that David decided to try and pursue singing full-time.
More than 15 years later, he is one of the UK’s most in-demand and “versatile” baritones with a long list of acclaimed roles under his belt.
However, he said playing the comedic role of Don Pasquale is a definite career highlight.
“He’s so diverse a role,” he said.
“There are moments of silliness, lightness, and stupidity, but there are also touching and tender moments in this opera.
“It is just such a joy.
“It’s so well written musically and it hangs together so nicely. You can put so much colour into the role of Don Pasquale to make the silly old fool really, really not garner any sympathy whatsoever from the audience.”
‘I think people underestimate the fun, sheer scale and excitement that surrounds opera’
Behind the stage, David was gathered around a piano with the main leads, his wife and conductor for the night Susannah Wapshott, and the head of music.
In a moment named the recit call, the singers had a few minutes to go over any moments they wanted to rehearse.
Hitting all sorts of highs and lows with a lot of laughter in between, it is a brief glimpse into a side to opera that is sometimes forgotten.
David said: “I think people underestimate the fun, sheer scale and excitement that surrounds opera.
“Don Pasquale is borderline pantomime. It really is a lot of fun.
“But even the darker and more sinister operas, the sheer scale of it, music, size of the orchestra and wonderful singing of the chorus, it’s all combined into a really thrilling sound.”