Rameau: Behind the Triple Bill with Taryn Fiebig

We are so chuffed that Taryn will join us again in 2017 for a riotous evening of fabulous French opera. We know you love Taryn and she will bring the sparkle and brilliance that the evening demands. We will all be in for a treat! Here she speaks with Jessica BIrd about her approach to the work and to Pinchgut.

HOW DID YOUR ASSOCIATION WITH PINCHGUT OPERA COME ABOUT?

My association with Pinchgut came about seven years ago when I sang in L'Ormindo, it was a dramatic and satisfying experience, so I'm really thrilled to be working with them again. 

They really are such a wonderful band of committed artists making music where no one else is. 

 YOU'VE COME FROM A MUSIC BACKGROUND HAVING PLAYED CELLO, HOW DO YOU THINK THAT INFLUENCES YOUR APPROACH TO SINGING?

It's true, I have come from a instrumental back ground. Has it affected the way I sing? Yes, I think so. Playing the cello has always given me the sense I'm in a duet with myself. I always think about myself in relation to the orchestra, what is the instrumentation saying to me, am I in conversation with it or is it supporting my text? 

I think also early on I sounded more instrumental in my delivery, vibrato wasn't a big thing in my technique. Now I have become more diverse in my sound so I can switch it on and off. 

 IS THERE A DIFFERENCE TO HOW YOU APPROACH PREPARING FOR BAROQUE OPERAS WHEN COMPARING TO YOUR OTHER DIVERSE ROLES SUCH AS ELIZA DOOLITTLE AND THE MUCH-LOVE PAMINA IN THE MAGIC FLUTE?

Do I alter the way I approach a role, whether is be Eliza in 'My Fair Lady' or Pamina in 'The Magic Flute'? No, I am always text based so, I always start with the text. 

TARYN IN PINCHGUT OPERA'S PRODUCTION OF L'ORMINDO

TARYN IN PINCHGUT OPERA'S PRODUCTION OF L'ORMINDO

If it's in another language I translate it, I then look for any hidden meaning, (there's often symbolism in different eras of music) and finally, I find how the music supports the text for further insight into how best to deliver the line. Once all that's worked out I apply the same vocal technique to all the genres. 

 

THERE ARE QUITE A FEW MONTHS TO GO BEFORE REHEARSALS OFFICIALLY BEGIN FOR OUR RAMEAU TRIPLE BILL. HOW WILL YOU BE FILLING THE TIME BEFORE RETURNING TO THE PINCHGUT STAGE? 

 It's a while before I join the Pinchgut family again, but in the meantime I've met the Director Crystal Manich, whom I'm very much looking forward to working with. I have an idea of what she's wanting, so I'll start learning the score soonish with her ideas in mind.  In the meantime my head is in Cosí fan tutte land as the wonderous, naughty, ultimately flawed, manipulative maid, come landlord, Despina in Sir David McVicar's and OA's production, then onto Gutrune in Wagner's Ring cycle followed by Musetta La Boheme then to Adelaide to perform in Handel's Opera Saul , and in between that a couple of recitals in Australia and New Zealand, other than that I'm pretty bored!