Opera Innovator

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.


 

OI Insights | Q&A with Award-winning Scenic and Costume Designer Leslie Travers

 
Award-winning Scenic and Costume Designer Leslie Travers. Photo via Linkedin.

Award-winning Scenic and Costume Designer Leslie Travers. Photo via Linkedin.

 

(Santa Fe, NM) - Here at Opera Innovation HQ, there’s one production of Salome by which all others are compared (and we’re not even talking about the artists on stage or in the pit, as incredible as they were). Santa Fe Opera’s 2015 production, designed by Leslie Travers and directed by Daniel Slater, happened to be my introduction to Richard Strauss’ one-act opera. Travers and Slater brilliantly constructed their Salome inside the pre-WW1 world of Freudian-infused Viennese high society, with a revolving set that took this opera goer on psychological journey we’ll never forget. Mr. Slater’s direction was critical to the success of this production, but Mr. Travers’ visual storytelling, fused with Strauss’ music and Hedwig Lachmann’s libretto, made Salome absolutely indelible for us.

I didn’t have the opportunity to meet Mr. Travers until a few years later, but we’ve stayed in touch across social media, and early last year I was thrilled for his upcoming 2020 Rusalka with Ailyn Pérez (we’re hoping Santa Fe will reschedule).

 
 

We’ve shared the global equalizer of COVID together, but our individual experiences remain our own. For far too many, it’s been a terrifying or, sadly, deadly experience. Almost exactly a year ago, the pandemic already sweeping the world, I happened to catch one of Mr. Travers’ first tweets about recovering from this disease. It was a terrible shock since I hadn’t yet personally known anymore who’d been exposed or was ill. I sent a message of support and received a positive message in return, as I watched him continue to work as he recovered through the summer, something we explored further during a phone conversation in early January 2021, with the intent of creating this Q&A. We’re convinced that as terrible as COVID was for him, Travers has undoubtedly emerged an even more dedicated and inspired artist. JM


OI: Based on our conversation in early January, my takeaway then and now was that you've moved to a more powerful place as an artist, a creative. Even after experiencing the terror and unknowableness of COVID-19, I heard fortitude and a sense of excitement in your voice. You mentioned how at the beginning of the pandemic, you'd quickly pivoted to remote with assistants working in Lebanon and Chicago, staying flexible, even as declination letters began to pour in. That, in your words, this beginning of loss was eventually followed by a letting go of what was, creating space for discovery and new ways to move forward and stay active. Depending upon where each of us lives, how 2021 will play out for opera and the population at large remains an open question. How are you approaching the next several months to a year? Any predictions?

LT: Undoubtedly this time had been challenging but I feel highly optimistic.  I have been much more closely involved with companies as they explore the way ahead. Being adaptable and flexible as well as helpful absolutely work best at the moment. I think we will have an uplift of creativity. Look at history.  In the meantime anything we can do to make sure our industries survive is worth pursuing. 

“Art is so much more than an entertainment, it is survival and it gives acceptance of the inevitable. I listened to music when I felt at my most ill and it was a total experience. I lived it.”

OI: I nearly fell out of my chair when you said that you designed a show for La Scala when you were feeling most ill. Many of us have probably wondered  how we'd cope if we were isolated at home, ill with COVID. And then you went and answered that very question - you created, you challenged your situation and did your best to stay on course. Not to embarrass you, but that example of artistic determination is something I'll always remember when faced with difficult challenges, professional or otherwise. You mentioned how this has all positively impacted your creative process, given you greater awareness, insight on how to "be kind to yourself," and the ability to work and produce in a calmer way. Could you speak to these profound personal and professional discoveries?

LT: COVID-19 is a mysterious and brutal illness. You can’t fight it, it does what it wants with you. I was extremely aware of that at the time. In my moments of lucidity within the illness the thought of work gave me some vibrancy. Art is so much more than an entertainment, it is survival and it gives acceptance of the inevitable. I listened to music when I felt at my most ill and it was a total experience. I lived it. That time has left a mark on me in a positive way. I feel enormously happy to be here and to continue with my work. 

“I have had a lot of time to work on process, to look at how I extract or uncover the visual world from an opera. I am cursed, or blessed, with a lot of nervous energy.  Even in lockdown work has  remained a thrill ride of exploration. I guess you channel the attributes you have.” - Leslie Travers

OI: The UK was mostly in lockdown when we spoke, but you mentioned how returning to your London studio was a joy i.e. re-engaging your creative process in a more thoughtful way; that you loved the "layering" of this process i.e. building theoretical and then physical environments for singers to inhabit, interact with and then bring to life through story and music. You also mentioned how "the design process is isolating, not sociable" while the onstage element (presumably in a city or urban area) is the exact opposite, with multiple, one to one and one to many opportunities to listen, interact and collaborate. For years, I've gotten lost in your beautiful Facebook photos of the coast and sea taken from your home in Ballycastle, County Antrim. You actually brought it up when you mentioned how this "rural focus" allows you to concentrate more on the dramaturgy of a given work, "looking at the music in deeper, more concentrated ways with less distraction." You also mentioned how 2020 made this all the more apparent for you, and has changed your work in "a positive way." Would love to hear more about this rural / urban dichotomy, and how it continues to help you in new and perhaps improved ways. 

LT: I like the contrast of working in both environments. The “rural focus” is intense and open. I can ask the big questions of the work here in North Antrim and think freely and playfully. London is executing the work, making models and drawings. I will divide my time between the two places and to explore how this influences and how it enhances my work. 

“Work in progress in the studio. #design #theatre” | Follow Leslie Travers on Twitter.

“Work in progress in the studio. #design #theatre” | Follow Leslie Travers on Twitter.

OI: Having literally survived 2020, the new year is here, as is the potential for better things ahead. What’s happening in your world?

LT: I have been working with the Israel Opera. I’ve delivered a production and I haven’t even been to Israel yet. I feel that I’ve gotten to know the (Israel Opera) staff in a much more personal way. Even over Zoom!  It’s been a joy. I’m also looking forward to opening Die Meistersinger von Nürnberg in Wagner’s home town of Leipzig. It’s a thrill to do Wagner in Germany. I’m also on an exciting adventure with Bartók for Greek National Opera and exploring working in film, but in the right way for me. Right now, I can say that I’m working with a filmmaker in the United States who has a liberating and joyously abstract view of the world.  

 

Read Leslie Travers’ recent interview in The Scenographer magazine.

Follow Leslie Travers on Twitter, Facebook and Instagram.