Bizet

Breaking Opera's Rules | OI Insights Q&A with Claudillea

 

(Santa Fe, NM) - We discovered London-based artist Claudillea Holloway by accident. Like many things these days, it started on Instagram. While scrolling through the stories of friend and tenor Elliott Paige, a video of Claudillea performing an operatic cover of The Rolling Stones’ Paint It Black appeared. Given OI’s love of all things that move the dial for opera, we literally fell out of our chair, screaming. Elliott shared that he and Claudillea are friends from their time together at Manhattan School of Music and that she was a contender in 2020’s The Voice UK, originally with Meghan Trainor but whisked away by the one and only Will.I.Am. An online introduction ensued, lots of DMs and even the generous opportunity to hear some of Claudillea’s new music, which we think could change perceptions of opera in popular culture; how classically trained voices can and should be seamlessly integrated with contemporary pop and dance music. 

We recently spoke with Claudillea via WhatsApp, which was an opportunity to learn more about her process, her approach to music and how hard she had been working to prepare for the release of Habanera. As of this writing, in association with Black Box Los Angeles, her Habanera video has captured over 98K views in just three (3) weeks, with organic YouTube search placing her version of one of opera’s greatest pieces at #4 – a huge accomplishment in itself!

OI Insights wanted to spotlight Claudillea as an emerging crossover artist who’s moving the dial for opera, as well as creating important connective tissue between the business of opera and popular music globally. 


OI: We’re thrilled with how Habanera is being received on YouTube and undoubtedly via streaming, too. Based on our recent chat, you’ve long had ideas about how to transform opera from both the inside and the outside. Regarding the latter, we see your Habanera is an homage that invites both opera and pop music fans to join you in a brand new place with, we might add, a signature sound. Your thoughts?

CH: Firstly, thank you so much James and OI for your continued support and encouragement- it is incredibly humbling. When working on Habanera, it was important to me that we respected what Bizet created 147 years ago, but also messed with it just enough to bring it into the 21st century. I think most people who are not used to listening to Operatic voices, often find the vibrato a little startling and then tune out from listening to it again, and so I wanted to blend classical and pop timbres together, to make it a little easier on the ears for a non-classical audience, whilst also hopefully whetting their taste just a bit for more Opera and Operatic vocals. I’ve always admired artists who seamlessly blend different genres together, creating new sounds, and I myself listen to an array of genres, so why not put electronic trap music - which I love - with one of my favourite arias?  I would love people to listen to something like Habanera and realise the beauty of these old works, in that they are timeless, and speak of things we still talk about and deal with today. Opera was the pop music of it’s day!

OI: We’ve long said that opera singers are brands. How would you describe brand Claudillea? Your brand identity, the ethos – or spirit, vibe – that you’re trying to create and make your own?  How does your concept of OPPOP play into it?  

CH: I’m trying to start an Anti-Box revolution! That’s my “brand.” I don’t want to play by anyone’s rules (just as Carmen did not). In almost all aspects of life, we have to check which box we fit into…from gender to sexuality to race to fach. I’m technically a coloratura soprano, so it’s almost sacrilegious to sing a mezzo aria, but why the hell not? During my studies, I wasn’t encouraged to explore the lower, darker sides of my voice, and I find that a real shame because as humans and singers we all have different colours with which to play. And that extends out to persona and music. As a whole, my music is extremely different, and I want to be able to wake up and choose whomever I want to be on that particular day. I also want to exude a strong feminine energy, almost Sasha Fierce-like, because I’ve spent my whole life being “the good girl”; through my music and branding, I will stand in my own power. In regards to OPPOP, I was debating going down the route of using “popera,” but I felt like the term was somewhat stuck in the past, and our current crossover genre needed a bit more fire and edge, hence OPPOP. I guess the vibe is Rebel Without a Cause?! (laughing).

Watch the Habanera video.

OI: Let’s talk about the video. Typically, opera videos are live performance-related, usually as a recital, concert or live opera performances. There have been exceptions like Joyce DiDonato’s landmark work with James Darrah and others, but we’re hard-pressed to think of an opera-infused video that also looks and sounds like Dua Lipa, Kylie or Gaga could walk out at any moment. We’d love to hear about any technical aspects or technological highlights we should know about, as well as how video is a powerful tool for you when working to change perceptions.

CH: Gosh, I’m obsessed with Joyce’s video, and honestly everything she does, she’s a massive inspiration for me - I’ve always stanned her! While Rebekah (Habanera’s amazing director) and I were discussing the concept of the video, I was adamant that we created a video that you’d never expect from or associate with Opera. I wanted it to have urban elements, and we achieved that through LED lighting, styling and the use of dance. Dance is so heavily involved in pop music culture, so it was really important to me that alongside the production, the movement was something that people could also relate to. Video is such a powerful medium. We live in a visually-dominated world and YouTube, in particular, is global. Whereas audio streaming platforms can varyfrom territory to territory, YouTube has uniform, global presence and accessibility. So, as an artist, I believe it’s a must to have a presence there and to use it as a (primary) vehicle to build global audience.

OI: Two things in your biography jumped out at me: “Originally from Cambridgeshire, but raised in Borneo, Malaysia, Claudillea’s multicultural upbringing gave her global perspective and a sense of limitlessness.” Also: “For me, the opera world actively excludes certain demographics, and I want to help make it more accessible. Bring it into 2021.” Lots to unpack there, but also not, in our opinion! We agree that opera’s lack of diversity and, in some cases, lack of vision for reaching new audiences is understood - so much so that even non-opera people recognize and label it. This is why OI Insights recognize Habanera and other cuts on your forthcoming album as powerful tools to shock the system i.e. the “limitless” opportunities to change the culture and introduce new people to operatic voice in a format they understand and find relatable. Could you expand on how a global perspective specifically influences your approach to musical innovation ?

CH: I was fortunate to grow up in Malaysia which is such an amazing multicultural society; my friends growing up, came from all different walks of life. Whilst within my family, we also have a big blend of cultures -my dad is South African by way of Lebanon and Italy while my mother is English by way of the Seychelles. This I believe, informed my perspective that there are no limits. It can be as simple as the many different flavours in different cuisines, you don’t have to like just one in particular, you can enjoy Indian, Italian, Chinese, etc. - one cuisine isn’t reserved for one group of people. I sometimes found it disappointing that while I was studying in New York, I’d go to The Met to watch various Operas, and the same demographic was usually in attendance. While there is some innovation around this and people/companies are striving to make audiences more diverse, I honestly didn’t think there was enough at the time. We still have opera houses doing the same works over and over again, with little to no change, generally without removing barriers to entry for certain demographic groups to attend. Unfortunately, (opera) still has this very elitist veil over it, which is a shame. I believe it should be enjoyed by everyone. I do think fear plays a massive role when it comes to the lack of innovation around audience development i.e. the fear of upsetting people. Fear of damning a sacred piece of art. Fear of the unknown. Perhaps if people exposed themselves to new worlds, cultures, music and so on, fear would dissipate. Because then, everyone would realise there are no limits except the ones we place on ourselves individually or as a society.

OI: Thanks for connecting with us, Claudillea. We don’t toss the term opera innovator around loosely, but we think you’re the absolute definition. Brava and much continued success!

CH: That literally means the world to me, thank you. And thank you for all you are doing for the Opera world - it desperately needs you!!


Visit claudilleaholloway.com

Habanera and other cuts from Claudillea’s “Chaos is My Friend,” her 2022 EP, now on the Opera Innovations Playlist.


 

Opera Innovation | No. 1 Playlist + Liner Notes

 

Surprise! Welcome to the Opera Innovation | No. 1 playlist + liner notes.

Since we’re still about opera and the classically trained voice, we thought we’d highlight artists who’ve been on the blog or our social media channels since we launched in late Spring 2020. Some people here are friends I’ve known for a while, others I’ve only met online, and some who are sadly no longer with us but live on through their one-of-a-kind work. We also include some classics already featured on our Instagram and the blog. Ultimately, the purpose of these liner notes is to provide background on why each piece is represented, and if applicable, linking to current Opera Innovation content and artists represented.

CLICK IMAGE TO HEAR THE OPERA INNOVATION | NO. 1 PLAYLIST

CLICK IMAGE TO HEAR THE OPERA INNOVATION | NO. 1 PLAYLIST

There will succeeding playlists, too, so the fun is just beginning. Once you’ve listened, you’ll find that this is definitely not your typical opera playlist. Enjoy!

  • “Ave Maria” by Marnie Breckenridge

    We met and befriended Marnie Breckenridge when we became supporters of Opera Parallele’s world premiere opera Today it Rains. In the ensuing two years, Marnie’s been productivity plus, notably with San Francisco Symphony’s SoundBox and Toronto’s Tapestry Opera, where she world premiered Jacqueline with cellist Matt Haimovitz, winning a 2020 DORA Award for Best Individual Performance. And then the pandemic hit. However, we were delighted that Marnie went ahead with plans to record new music, her Happy Golden Days EP and two (2) singles released just in time for the holidays (and on repeat at our house).

    • We love how Marnie paired her powerful voice with Grammy Award-winning Bluegrass Guitarist Tim Stafford for this Ave Maria. Stay tuned for more releases in 2021.

  • “The Reporters” from Thumbprint by Kamala Sankaram

    We’ve not yet met Ms. Sankaram, although she’s a part of our recent American Lyric Theatre expert Diversity Q&A panel series on Facebook, as well as that company’s ongoing CLDP Opera Writers Symposium. But I first encountered her when she began working with Opera Innovation contributor Mark Campbell on West Edge Opera’s new opera incubator Aperture. We wanted to get a sense of her work as a composer, and we thought this opening piece from her and Susan Yankowitz’s 2014 “opera / theatre work” Thumbprint was a good introduction - Thumbprint is inspired by the experiences of Mukhtar Mai, the first female victim of gang rape to bring her male attackers to justice in Pakistan.

    • The ability to capture an audience’s attention at the beginning of an opera - think Salome - and then exponentially build excitement are the reasons The Reporters resonated for us. Boom!

  • “Thanks for Coming” from The (R)evolution of Steve Jobs by Mason Bates, Mark Campbell, Edward Parks

    While I was still vibrating after seeing the world premiere of this opera in Santa Fe in 2017, long before Mason Bates and Mark Campbell won the 2019 Best Opera Recording Grammy for it, I found Mr. Campbell so that I could tell him that it should play Broadway - a crossover, operatic hybrid backed my Mr. Bates’ electronic beats and sounds. He agreed without any hesitation. In so many ways, this piece defines what operatic innovation looks and sounds like and I’ll never forget the thrill of experiencing its launch and Edward Parks’ 1000 % believable Steve Jobs. It’s also an opportunity to shout out great friends Kristen Choi, Adelaide Boebecker and Jessica E. Jones, who are also cited on this Grammy-winning recording.

    • There are many new operas, but (R)evolution will continue to be part of “the rep” since its represents everything new, possible, daring, responsive and innovative that can happen in opera. A case study to be modeled!

  • “Lightning Strikes” by Klaus Nomi

    Our appreciation and deep respect for Klaus Nomi is somewhat recent. Having heard this former Deutsche Oper usher, countertenor and underground artist’s name referenced in passing at various times over the years, I didn’t investigate further until late last year, discovering what a landmark artist he was, sadly dying of AIDS at just 39 years old and the apex of his performance career.

    • Everyone needs to hear Nomi’s countertenor applied to his delightful cover of Lou Christie's 1960’s hit Lightning Strikes. A “secret” project forthcoming!

  • “I Wish I Loved Someone” by Mr. Max with Joanna Ceja

    Mr. Max is an LA-based surf punk rock band with a growing Southern California fanbase, but we came to know about them and band founder Max Cohen through friend, classically-trained vocalist and actress Joanna Ceja, who sings back up on several Mr. Max singles. Platonic collaborators, both have managed to continuing working in music during the pandemic; we remain in support of their new projects, together and separate. And yes, that’s Joanna in gorilla head drag, but more on her operatic roots found here. Max is featured in this Voyage LA Magazine profile from January 2021.

    • We admire this melding of musical and vocal styles, which originated out of a chance Uber meeting. These are cool, kind entrepreneurial creatives who make their respective art forms great.

  • “Lakmé and Mallika” by Emily M Cheung

    At the end of 2020, as the holidays, election and pandemic horror were all upon us, we were heartened by a returning holiday-season Volvo commercial from 2018. In it, soprano Emily M Cheung performs a version of “Der Holle Rach,” a piece advertisers seem to love regardless of it being a homicidal aria called as "The Vengence of Hell" from Mozart's The Magic Flute. We shared it on Instagram and Facebook, where it went a bit viral, undoubtedly spreading the Opera Innovation word (our sincere thanks). When putting this playlist together, we were glad to find this single from Ms. Cheung, which includes a version of “Lakmé,” one of my favorite arias-as-advertising for British Airways, the airline’s go-to sound branding for decades.

    • We love the arrangement of “Lakmé-Mallika” - contemporary music that just so happens to showcase a classically-trained voice. Emily’s found her sound and style, is this the future of contemporary music, full stop?

  • “Le Voyageur, Op. 18 No. 2” by Gabriel Fauré, Brian Asawa, Sir Neville Marriner

    There will never be another Brian Asawa. We happened to meet Mr. Asawa when he was quite literally the moment, kicking in doors for countertenors in the early 1990s. We were also fortunate enough to work with him during the last few years of his life on social media, content and brand strategy briefs. But it was more than the work. Brian was our OG opera innovator who not only freely shared the opera singer experience, but also the art of singing. We are forever grateful for these things, his friendship, his artistry and beautiful gift to opera and music history.

  • “Biblical Songs, Op.99: II Lord Thou Art My Refuge” by Antonín Dvorák, Elyse Anne Kakacek & Ryan Johnson

    Sometimes things just happen. We’d just launched Opera Innovation and it was either through the algorithm or stories, but we came across Frisson Films and founders Elyse A. Kakacek and Ryan Rivard, which led to their writing one of the first OI blogs (we’re forever grateful). Fast forward to August and the release of Elyse’s Formless album featuring the Biblical songs of Dvorák. We listen at least once a week to this beautiful album by Elyse and Pianist Ryan Johnson.

    • Formless should be listened to as an album, so start with this first movement. It remains our centering, work music staple, brimming with hope, joy and peace- things we all need more of these days.

  • “Preach Sister, Preach: No. 1, Simone de Beauvoir; No. 2, Mae West; No. 3 Gilda Radner” by Evan Mack, Megan Marino, John Arida

    We first had the pleasure of meeting and befriending mezzo Megan Marino at Santa Fe Opera in 2015. Megan’s progress thought the business of opera has been a bit of a bellwether for us - an extremely talented artist with a no-nonsense approach to her work, tempered by equal parts compassion and empathy. Just last weekend, she dropped The Travelled Road, a new album with Composer Evan Mack, Pianist John Arida and Cellist Jameson Platte. We had no prior notice about this new music, but it arrived right on time for this playlist!

    • We love this album and actually wanted more when the three song cycles and stand-alone pieces had ended. It should be listened to as a whole album. This thought found on composer Evan Mack’s Twitter account: “If you’ve been feeling numb to the world, Evan Mack’s music, combined with the powerful words of others, may be the antidote.” - Kristina Driskill

  • “Are You Good?” by Aurelia’s Voice

    “Classically rooted and refreshingly creative,” per David MacKay, Auralia’s Voice is the songwriting moniker for Flint MI-based classical singer Tiffany Thorpe. We “met” last week when she followed Opera Innovation on Twitter, so we decided to investigate the new EP she was promoting - a good decision. We followed her back, asking if I could share Are You Good? since this was our first meeting. Fortunately, she agreed. From her Spotify account, words again from Mr. MacKay: “Aurelia’s Voice floats in dreamy tones on a sea of complex emotions. Her music is evocative--drawing the listener to the sensations of pain, regret, frustration, and ultimately hope. Hope in oneself for the future. Hope in who we all can become when we realize the strength that dwells within.”

    • A cohesive 5-song EP powered by classical voice. Are You Good? speaks to our now beautifully. Go!

  • “Thinking Out Loud” by Damon K. Clark

    Damon K. Clark began following us on Instagram and has been greatly supportive of what we’re doing there and on the blog (our sincerest thanks). Damon has been a professional vocalist for over 20 years, performing and touring globally. He began his career as an opera singer and later ventured into folk, rock, neo-soul, and jazz. He also has a vocal studio in Dallas, where he’s based, which has pivoted online due to the pandemic. It was wonderful to find his cover version of Ed Sheeran’s “Thinking Out Loud,” which has become our preferred version!

    • Come for Damon’s classically-trained voice, stay for his storytelling and beautifully arranged musical pieces. We understand there may be some opera coming, please look for it on future playlists.

  • Carmen, WD 31 | Act 1: “L’amour est un oiseau rebelle” (Habanera) by Georges Bizet, Elīna Garanča, Orchestra Sinfonica Nazionale Della RAI, Karel Mark Chichon, Coro Filarmonico del Regio di Torino

    No, we don’t know Ms. Garanča, but we added this piece because:

  • La Wally | “Ebben? No andrò Iontana” by Alfredo Catalani, Wilhelmenia Fernandez, Vladimir Cosma and the London Philharmonic Orchestra

    We featured a clip from “DIVA,” one of our favorite films, on Instagram last year because it marked the first time opera moved us as, a 12 year old kid watching this French film on PBS.

  • Norma | “Casta Diva” by Vincenzo Bellini, Maria Callas, Orchestre du théâtre national de l’opéra, Georges Sébastien, Choeur du théâtre national de l’opéra

    We thought this 1958 recording of La Divina was appropriate to denote Jean Paul Gaultier’s use of “Casta Diva” in his recent Le Mâle fragrance “Welcome On Board” campaign, which we featured via Instagram Reels. Although our only live experience of this iconic piece is with the wonderful Sonya Radvanovsky, there doesn’t seem to be a publicly available recording of her singing it (but if anyone knows where to stream one, please let us know).

    STAY TUNED FOR NO.2 THIS SUMMER!